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“Behold the Almighty Algorithm, a snippet of computer code coming to stand for a Higher Authority in our secular age, a sort of god,” says Christopher Lydon, former New York Times journalist and host of the Radio Open Source show. And
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“But Science — I use the word for the moment in its restricted meaning —
though it may displace the Humanities, could not and cannot replace them, for it cannot provide us with any clear record of how we have developed mentally.
For this we must turn to History, but History not in the sense in which that word is customarily employed as equivalent merely to Political History, nor even in the wider sense of Sociological History.
It is the history of mankind as a whole
that we need, the history of civilization, the history of man's thoughts, of man's knowledge, of man's self.”
― Makers of Science: Mathematics, Physics, Astronomy
though it may displace the Humanities, could not and cannot replace them, for it cannot provide us with any clear record of how we have developed mentally.
For this we must turn to History, but History not in the sense in which that word is customarily employed as equivalent merely to Political History, nor even in the wider sense of Sociological History.
It is the history of mankind as a whole
that we need, the history of civilization, the history of man's thoughts, of man's knowledge, of man's self.”
― Makers of Science: Mathematics, Physics, Astronomy
“It is my twofold aim to explore, first, how Cretan myth was used
during the early decades of the twentieth century as a mirror for
modern history, society, and the psyche; and, second, how this new
perception of myth permeated all the arts simultaneously, including literature, painting, sculpture, prints, opera, ballet, and the
theater, as well as popular culture.
My undertaking is based on the
underlying conviction that the transfiguration of classical myth
in general constitutes one of the principal characteristics of classical modernism, without a grasp of which that period of twentieth-century culture cannot be fully appreciated. Among these
transfigured myths, none are more conspicuous than the matters
of Minos.”
― Minos and the Moderns: Cretan Myth in Twentieth-Century Literature and Art
during the early decades of the twentieth century as a mirror for
modern history, society, and the psyche; and, second, how this new
perception of myth permeated all the arts simultaneously, including literature, painting, sculpture, prints, opera, ballet, and the
theater, as well as popular culture.
My undertaking is based on the
underlying conviction that the transfiguration of classical myth
in general constitutes one of the principal characteristics of classical modernism, without a grasp of which that period of twentieth-century culture cannot be fully appreciated. Among these
transfigured myths, none are more conspicuous than the matters
of Minos.”
― Minos and the Moderns: Cretan Myth in Twentieth-Century Literature and Art
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