“The process by which the inanimate becomes animate seems to the audience to be a real miracle.”

“All that is real in human history becomes irrational in the process of time.”

“[…] a given text may seem fictional or actual depending on the context in which we encounter it. The same is true for oral performances. [Thomas] Pavel takes the example of a theatrical scene wherein an actor mimics the gestures of a priest and pretends to bless the audience. There is nothing effective about this blessing in most contexts, but it can become effective in certain circumstances: imagine, for example, a dictatorship in which religion is banned and in which a theater audience, having kept the old faith, experiences the actor’s gesture as authentic, transforming this fictional scene in a scene of real life.”

“Architecture is shaped by human emotions and desires, and then becomes a setting for further emotions and desires. It goes from the animate and inanimate and back again. For this reason it is always incomplete, or rather is only completed by the lives in and around it. It is background.”

“What is the bottom line for the animal/human hierarchy? I think it is at the animate/inanimate line, and Carol Adams and others are close to it: we eat them. This is what humans want from animals and largely why and how they are most harmed. We make them dead so we can live. We make our bodies out of their bodies. Their inanimate becomes our animate. We justify it as necessary, but it is not. We do it because we want to, we enjoy it, and we can. We say they eat each other, too, which they do. But this does not exonerate us; it only makes us animal rather than human, the distinguishing methodology abandoned when its conclusions are inconvenient or unpleasant. The place to look for this bottom line is the farm, the stockyard, the slaughterhouse. I have yet to see one run by a nonhuman animal.”

“Work is the miracle by which talent is brought to the surface and dreams become reality.”