"From the fourth century on, the stelae and monuments of the great kings abound in insensate boasts of power and vain threats against those who might… - Lewis Mumford

A community whose life is not irrigated by art and science, by religion and philosophy, day upon day, is a community that exists half alive.

Efflorescence is an archetypal example of nature's untrammeled creativity; and the fact that floral beauty cannot be explained or justified on purely utilitarian grounds is precisely what makes this explosion so wonderful-and so typical of other life-processes. Biological creativity and the esthetic creativity that so often accompanies it exist for their own sake and transcend the organism's earlier limitations. If survival were all that mattered, life might have remained in the primal ooze or crept no further upward than the lichens. Though one may abstractly conceive a world with neither colors nor any richness of living structures, that muted world is not the actual world of life.

There was no reason whatever to make a wholesale choice between handicraft and machine production: between a single contemporary part of the technological pool and all the other past accumulations. But there was a genuine reason to maintain as many diverse units in this pool as possible, in order to increase the range of both human choices and technological inventiveness. Many of the machines of the nineteenth century, as Kropotkin pointed out, were admirable auxiliaries to handicraft processes, once they could be scaled, like the efficient small electric motor, to the small workshop and the personally controlled operation. William Morris and his colleagues, who almost single-handed salvaged and restored one ancient craft after another, by personally mastering the arts of dyeing, weaving, embroidering, printing, glass-painting, paper-making, book-binding, showed superior technological insight to those who scoffed at their romanticism.