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The stone statue and the scientific system deny life. Mathematical number, the formal principle of an extension-world of which the phenomenal existen… - Oswald Spengler
" "The stone statue and the scientific system deny life. Mathematical number, the formal principle of an extension-world of which the phenomenal existence is only the derivative and servant of waking human consciousness, bears the hall-mark of causal necessity and so is linked with death as chronological number is with becoming, with life, with the necessity of destiny. This connexion of strict mathematical form with the end of organic being, with the phenomenon of its organic remainder the corpse, we shall see more and more clearly to be the origin of all great art. We have already noticed the development of early ornament on funerary equipments and receptacles. Numbers are symhols of the mortal. Stiff forms are the negation of life, formulas and laws spread rigidity over the face of nature, numbers make dead …
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About Oswald Spengler
Oswald Arnold Gottfried Spengler (29 May 1880 – 8 May 1936) was a German historian, philosopher and political writer, most famous for his Der Untergang des Abendlandes (The Decline of the West), the first volume of which was published in the summer of 1918 and by 1926 had gone through thirty printings.
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Native Name:
Oswald Arnold Gottfried Spengler
Alternative Names:
Oswald Gottfried Spengler
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Socialism means power, power, and more power. Thoughts and schemes are nothing without power. The path to power has already been mapped: the valuable elements of German labor in union with the best representatives of the Old Prussian state idea, both groups determined to build a strictly socialist state to democratize our nation in the Prussian manner; both forged into a unit by the same sense of duty, by the awareness of a great obligation, by the will to obey in order to rule, to die in order to win, by the strength to make immense sacrifices in order to accomplish what we were born for, what we are, what could not be without us.
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The interlaced borders of the "Late-Roman" mosaic pavements and sarcophagus-edges, and even geometrical plane-patterns are introduced, and finally, throughout the Persian-Anatolian world, mobility and bizarrerie culminate in the Arabesque. This is the genuine Magian motive—anti-plastic to the last degree, hostile to the pictorial and to the bodily alike. Itself bodiless, it disembodies the object over which its endless richness of web is drawn.
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