16) "The Jew - who, as everyone knows, has a God all to himself - in ordinary life strikes us primarily by his outward appearance, which, no matter to what European nationality we belong, has something disagreeably foreign to that nationality: instinctively we wish to have nothing in common with a man who looks like that. This must heretofore have passed as a misfortune for the Jew: in more recent times, however, we perceive that in the midst of this misfortune he feels entirely well; after all his successes, he needs must deem his difference from us a pure distinction. Passing over the moral side, in the effect of this in itself unpleasant freak of Nature, and coming to its bearings upon Art, we here will merely observe that to us this exterior can never be thinkable as a subject for the art of re-presentation: if plastic art wants to present us with a Jew, it mostly takes its model from sheer phantasy, with a prudent ennobling, or entire omission, of precisely everything that characterises for us in common life the Jew's appearance. But the Jew never wanders on to the theatrical boards: the exceptions are so rare and special, that they only confirm the general rule. We can conceive no representation of an antique or modern stage-character by a Jew, be it as hero or lover, without instinctively feeling the incongruity of such a notion. This is of great significance: a man whose appearance we are obliged to hold unfitted for artistic treatment - not merely in this or that personality, but according to his kind in general - neither can we hold him capable of any sort of artistic utterance of his inner being. But far more weighty, nay, of quite decisive weight for our inquiry, is the effect the Jew produces on us through his speech; and this is the essential point at which to sound the Jewish influence upon Music. The Jew speaks the language of the nation in whose midst he dwells from generation to generation, but he speaks it always as an alien."

18)

"For every fatal shooting, there were roughly three non-fatal shootings. And, folks, this is unacceptable in America. It's just unacceptable. And we're going to do something about it."

George W. Bush

"In the standard foundations for architecture, perfection is equated with amnesia. "

aaaand

"Artworks are maximal memory stores."

- Michael Leyton,  Shape as Memory: A Geometric Theory of Architecture

20) "The composer wrote this fantasia shortly after going on a trip to Mexico, where he spent a month or so wandering among ancient Mayan temples; and he said he would sit for hours at times on a single rock, and contemplate the sites of ancient rituals. As the text, he indicates certain parts of the score where performers can introduce a magic name, the name of a God, be that a Greek God, or an Aztec God, or a God from another civilization. And also the three male singers, and one of the female singers, are given short erotic poems to recite, written by the composer himself when he was living in San Francisco and around the time he was meeting his second wife - they are in German, so save your blushes unless you are a very good German speaker. And then the other thing you might hear popping out from time to time are one or two other recognizable words, either in German or in English. The performers will remove their shoes and socks before coming onto the stage."

"I do remember I pissed once in the marmite of one of our neighbours."

Jean-Jacques Rousseau, Les Confessions, Livre premier

That's how I understood it... "Je me souviens pourtant d'avoir une fois pissé dans la marmite d'une de nos voisines [...]" 

22) "By degrees the organ of the fifteenth and sixteenth centuries had been developed to accompany music in the contrapuntal style, which was the first conception musicians had of part-music, until the point was reached when the instrument was more effective without than with the voices. So, from being an instrument of accompaniment it became an instrument of autocracy and suppression, the most domineering and unrelenting instrument in the history of music. It assumed control of the divine service in the same way that a steam-roller assumes control of the road-metal it crushes into equality without individuality."