“...the hippies of the 1960s did understand something. They were right in fighting the plastic culture, and the church should have been fighting it too... More than this, they were right in the fact that the plastic culture - modern man, the mechanistic worldview in university textbooks and in practice, the total threat of the machine, the establishment technology, the bourgeois upper middle class - is poor in its sensitivity to nature... As a utopian group, the counterculture understands something very real, both as to the culture as a culture, but also as to the poverty of modern man's concept of nature and the way the machine is eating up nature on every side.”

“As a result, gender is not to culture as sex is to nature; gender isalso the discursive/cultural means by which “sexed nature” or “a naturalsex” is produced and established as “prediscursive,” prior to culture,a politically neutral surface on which culture acts”

“A man with a machine and inadequate culture is a pestilence.”

“The language of worldview tends to imply, to paraphrase the Catholic writer Richard Rohr, that we can think ourselves into new ways of behaving. But that is not the way culture works. Culture helps us behave ourselves into new ways of thinking. The risk in thinking 'worldviewishly' is that we will start to think that the best way to change culture is to analyze it. We will start worldview academies, host worldview seminars, write worldview books. These may have some real value if they help us understand the horizons that our culture shapes, but they cannot substitute for the creation of real cultural goods. And they will subtly tend to produce philosophers rather than plumbers, abstract thinkers instead of artists and artisans. They can create a cultural niche in which 'worldview thinkers' are privileged while other kinds of culture makers are shunted aside. But culture is not changed simply by thinking.”

“we can best understand the nature of this culture if we say that it found its truest mirror in a corpse”

“We are accused of being obsessed by property. The truth is the other way round. It is the society and culture in question which is so obsessed. Yet to an obsessive his obsession always seems to be of the nature of things and so is not recognized for what it is. The relation between property and art in European culture appears natural to that culture, and consequently if somebody demonstrates the extent of the property interest in a given cultural field, it is said to be a demonstration of his obsession. And this allows the Cultural Establishment to project for a little longer its false rationalized image of itself.”