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This metropolitan world, then, is a world where flesh and blood is less real than paper and ink and celluloid.

Lewis Mumford

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Lewis Mumford
Age: 94 †
Born: 1895
Born: October 19
Died: 1990
Died: January 26
Architect
Architectural Theoretician
Historian
Historian Of Technology
Journalist
Literary Critic
Philosopher
Screenwriter
Sociologist
Flushing
Long Island
Flesh
Paper
Blood
Less
Real
World
Celluloid
Metropolitan
Ink

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The earth is the Lord's fullness thereof: this is no longer a hollow dictum of religion, but a directive for economic action toward human brotherhood.
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If we never met again in our lives I should feel that somehow the whole adventure of existence was justified by my having met you.
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Every new baby is a blind desperate vote for survival: people who find themselves unable to register an effective political protest against extermination do so by a biological act.
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The convenience of timekeeping is greatly overrated and the people who practice it so faithfully that they lose the capacity for appreciating the fixed and the static and the spatially related experiences cut themselves off from a good part of reality.
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Today, the notion of progress in a single line without goal or limit seems perhaps the most parochial notion of a very parochial century.
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Nothing is unthinkable, nothing impossible to the balanced person, provided it comes out of the needs of life and is dedicated to life's further development.
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The cities and mansions that people dream of are those in which they finally live.
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A certain amount of opposition is a great help to a man. Kites rise against, not with, the wind.
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War is the supreme drama of a completely mechanized society.
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The final goal of human effort is man's self-transforma tion.
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When cities were first founded, an old Egyptian scribe tells us, the mission of the founder was to 'put gods in their shrines.' The task of the coming city is not essentially different: its mission is to put the highest concerns of man at the center of all his activities.
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The chief function of the city is to convert power into form, energy into culture, dead matter into the living symbols of art, biological reproduction into social creativity.
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In its revolt against congestion and sordor, a space-hungry generation has, I fear, developed eyes that are bigger than its stomach.
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When art seems to be empty of meaning, as no doubt some of the abstract painting of our own day actually does seem, what the painting says, indeed what the artist is shrieking at the top of his voice, is that life has become empty of all rational content and coherence, and that, in times like these, is far from a meaningless statement.
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Misery, mutilation, destruction, terror, starvation and death characterize the process of war and form a principal part of the product.
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In vulgar usage, progress has come to mean limitless movement in space and time, accompanied, necessarily, by an equally limitless command of energy: culminating in limitless destruction.
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Geneva has the sleepy tidiness of a man who combs his hair while yet in his pyjamas.
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Because of their origin and purpose, the meanings of art are of a different order from the operational meanings of science and technics: they relate, not to external means and consequences, but to internal transformations, and unless it produce these internal transformations the work of art is either perfunctory or dead.
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He who touches the soil of Manhattan and the pavement of New York, touches, whenever he knows or not, Walt Whitman.
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It was Stieglitz's endeavor... to translate the unseen world of tactile values as they develop between lovers not merely into the sexual act but the entire relation of two personalities - to translate this world of blind touch into sight.
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