Emily Gleason

“What if I regarded my own death with reverence instead of fear? I wondered. Or, even more radically, what if I had some sort of gratitude for the transience of my life? Would it change what I worried and cared about? Wasn’t it necessary to think about this when I was in the midst of building a life? Or rather, living my life? And the more I thought about mortality and what it had come to mean to others and what I thought it meant to me, I realized that life was simultaneously so vast and so small.
It was daybreak after a good sleep and exhaustion as the stars emerged. It was the first crisp bite of an apple, the taste of butter on toast. It was the way a tree's shadow moved along the wall of a room as the afternoon passed. It was the smell of a baby's skin, the feeling of a heart fluttering with anticipation or nerves. It was the steady rhythm of a lover's breathing during sleep. It was both solitude in a wide green field and the crowding together of bodies in a church. It was equally common and singular, a shared tumult and a shared peace. It was the many things I'd ignored or half appreciated as I chased the bigger things. It was infinity in a seashell.”
― Sunita Puri, That Good Night: Life and Medicine in the Eleventh Hour

“But it is of critical importance to ask ourselves what features which other animals do not possess have given human beings the very special capacities with which we are concerned in these lectures: the ability to utter cognitive sentences (which no other animal can do) and the ability therefore to exercise knowledge and imagination.”
― Jacob Bronowski, The Origins of Knowledge and Imagination

“Civilized human beings wear clothes, therefore there can be no portraiture, no mythological or historical storytelling without representations of folded textiles. But though it may account for the origins, mere tailoring can never explain the luxuriant development of drapery as a major theme of all the plastic arts. Artists, it is obvious, have always loved drapery for its own sake—or, rather, for their own. When you paint or carve drapery, you are painting or carving forms which, for all practical purposes, are non-representational-the kind of unconditioned forms on which artists even in the most naturalistic tradition like to let themselves go. In the average Madonna or Apostle the strictly human, fully representational element accounts for about ten per cent of the whole. All the rest consists of many coloured variations on the inexhaustible theme of crumpled wool or linen. And these non-representational nine-tenths of a Madonna or an Apostle may be just as important qualitatively as they are in quantity. Very often they set the tone of the whole work of art, they state the key in which the theme is being rendered, they express the mood, the temperament, the attitude to life of the artist.”
― Aldous Huxley, The Doors of Perception

“You cannot love the girl without being conscious of the fact that she has yellow hair, you cannot see the world without the intervention of the physical senses.”
― Jacob Bronowski, The Origins of Knowledge and Imagination