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Tao Te Ching - 44, by Lao Tzu, translation by S. Mitchell

Fame or integrity: which is more important?
Money or happiness: which is more valuable?
Success or failure: which is more destructive?

If you look to others for fulfillment,
you will never truly be fulfilled.
If your happiness depends on money,
you will never be happy with yourself.

Be content with what you have;
rejoice in the way things are.
When you realize there is nothing lacking,
the whole world belongs to you.

Excerpt from '101 Masterpieces of Music and Their Composers' by Martin Bookspan

Even when it was new, [Beethoven's] Fifth caught the fancy of performers and listeners alike. Something about the onrushing drive, the compelling energy of the first movement converted even the anti Beethovenites. In its triumphant struggle to ultimate victory, its absolute logic at once massive and compact, its confident swagger and heroism, this symphony has served as a clarion call to victory over tyranny through the years. Surely there is a kind of divine coincidence in the fact that the rhythmic motive that is the heart of the entire symphony - three short beats and one long one - should also be the international Morse code symbol for the letter "V." During the years of the Second World War this symbolism was seized upon by the Allied powers and the opening notes of Beethoven's Fifth Symphony became the musical embodiment of the impending victory. Similarly, when the Israel Philharmonic Orchestra played a victory concert in Jerusalem to celebrate the unification of the city and the imposition of a cease fire following the lightning Six-Day Arab-Israeli War in June 1967, Beethoven' Fifth Symphony was the central work on the program. 

Excerpt from Ukiyo-E Monogatori (Tales of the Floating World) by Asai Ryoi (1612-91)

"Living only for the moment, turning our full attention to the pleasures of the moon, the snow, the cherry blossoms, and the maple leaves; singing songs, drinking wine, diverting ourselves in just floating, floating; caring not a whit for the pauperism staring us in the face, refusing to be disheartened, like a gourd floating along with a river current; this is what we call the floating world."

Excerpt from "Zen and the Art of Motorcycle Maintenance" by Robert M Pirsig

"I just think that their flight from and hatred of technology is self defeating. The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha - which is to demean oneself."

Excerpt from "Art & Physics: Parallel Visions in Space, Time & Light" by Leonard Shlain

In the latter half of the nineteenth century, while scientists fidgeted uneasily at their inability to explain puzzling features of space, time, and light, Impressionist and post-Impressionist artists alike incorporated into their art eccentric images that challenged long-held notions about these same three elements. The twentieth century opened with Einstein's brilliant 1905 solution to one of physics' unsolved problems and, simultaneously, introduced three artists who would thrust modern art through a transformative barrier. 

Early in their respective careers, Henri Matisse, Pablo Picasso, and Marcel Duchamp assaulted the art world with works that both announced and represented three radical movements: Fauvism, Cubism, and futurism. (Although Duchamp, a Frenchman, was not involved in the founding of Italian futurism, his 1910 Nude Descending a Staircase is probably the most universally recognized image of this movement.) Fauvist painters were singing the praises of light in the form of color just as Einstein was enthroning light as the quintessence of the universe. Cubism presented a new way to visualize space, which was the first creative alternative to Euclid's views in more than twenty-two hundred years. Einstein also proposed an alternative concept of space. Futurism declared war on the traditional modes to represent time. By dilating the present into the past and the future, futurist painters captured an idea that paralleled Einstein's lightspeed. It was an extraordinary coincidence that these three different art movements, each focusing on a separate element of the special theory of relativity, erupted synchronistically with Einstein's radical publication. In a strange way, it is as if the art world with forethought decided to fracture the trinity of space, time, and light to better understand each element in isolation. Within a few years clustered around 1905, an explosion of the eye accompanied a hyperinflation of the mind.