This metropolitan world, then, is a world where flesh and blood is less real than paper and ink and celluloid. It is a world where the great masses o… - Lewis Mumford

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This metropolitan world, then, is a world where flesh and blood is less real than paper and ink and celluloid. It is a world where the great masses of people, unable to have direct contact with more satisfying means of living, take life vicariously, as readers, spectators, passive observers: a world where people watch shadow-heroes and heroines in order to forget their own clumsiness or coldness in love, where they behold brutal men crushing out life in a strike riot, a wrestling ring or a military assault, while they lack the nerve even to resist the petty tyranny of their immediate boss: where they hysterically cheer the flag of their political state, and in their neighborhood, their trades union, their church, fail to perform the most elementary duties of citizenship.
Living thus, year in and year out, at second hand, remote from the nature that is outside them and no less remote from the nature within, handicapped as lovers and as parents by the routine of the metropolis and by the constant specter of insecurity and death that hovers over its bold towers and shadowed streets - living thus the mass of inhabitants remain in a state bordering on the pathological. They become victims of phantasms, fears, obsessions, which bind them to ancestral patterns of behavior.

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About Lewis Mumford

Lewis Mumford (19 October 1895 – 26 January 1990) was an American historian of technology and science, also noted for his study of cities.

Biography information from Wikiquote

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We have created an industrial order geared to automatism, where feeble-mindedness, native or acquired, is necessary for docile productivity in the factory; and where a pervasive neurosis is the final gift of the meaningless life that issues forth at the other end.

Today, all the normal mischances of living have been multiplied, a million-fold, by the potentialities for destruction, for an unthinking act of collective suicide, which man's very triumphs in science and invention have brought about. In this situation the artist has a special task and duty: the task of reminding men of their humanity and the promise of their creativity.

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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.

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