Rupert Sheldrake Quotes

Evolution is one of the most powerful and important ideas ever developed in the history of science. Every question it raises leads to new answers, new discoveries, and new smarter questions. The science of evolution is as expansive as nature itself. It is also the most meaningful creation story that humans have ever found.

I view the art scene as an industry which is slowly developing. These days, technology has mad the world smaller. Meaning that information is a website away.

Individuals who could not form cooperative alliances, on average, died sooner and left fewer children. And so we are the descendants of the successful cooperators.

Any genuine work of art generates new work.

In the world of art, as in the whole of creation, freedom and progress are the main objectives.

In laying hands upon the sacred ark of absolute permanency, in treating the forms that had been regarded as types of fixity and perfection as originating and passing away, the Origin of Species introduced a mode of thinking that in the end was bound to transform the logic of knowledge, and hence the treatment of morals, politics, and religion.

Evolution is the fundamental idea in all of life science, in all of biology. The key to our being here now is time, 4.54 billion (Earth) years of time. Nuclear fission wasn't discovered until long after Charles Darwin and Alfred Russell Wallace published their original books and papers, for example. Our ability to measure atomic masses wasn't developed until long after their deaths. These features of nature enabled us to reckon the age of the Earth and compare it with speciation rates here.

As a matter of history great developments in art have often been remarkably separate from religious motivation and use.

New arts destroy the old.

We are in a survival mentality, and that's hard-wired into our humanity, because we are the winners of an evolutionary struggle of millions and millions and millions of years.

The different styles I have been using in my art must not be seen as an evolution, or as steps towards an unknown ideal of painting. Everything I have ever made was made for the present and with the hope that it would always remain in the present.

To open up the new, to look back on the old may bring forth like discoveries in the practice of art.

The impulse of modern art was this desire to destroy beauty.

The basic unit for contemporary art is not the idea, but the analysis of and extension of sensations.

Darwin's greatest achievement was to show that the appearance of purpose, planning, teleology (design), and intentionality in the origin and development of human and animal species was entirely an illusion. The illusion could be explained by evolutionary processes that contained no such purpose at all. But the spread of ideas through imitation required the whole apparatus of human consciousness and intentionality

Art today is a new kind of instrument, an instrument for modifying consciousness and organizing new modes of sensibility . . . . Artists have had to become self-conscious aestheticians: continually challenging their means, their materials and methods.

When people see one of these new forms of art for the first time, often they can't make sense of it. Then, if it's around long enough, a lot of people get used to it and it becomes assimilated into culture. So there's a morphic field both for the kind of art and for the appreciation of it.

It gives evolutionary biologists great status if they champion competition and the economists have to consult them. The economists have to consult the evolutionary biologists, because they are the ones who invented the idea of competition. It comes from the field of evolution.

Theories of art carry the seeds of their own destruction.

The definition of art has to shift whenever an innovator appears.

Nature, the ultimate pragmatist, doggedly searches for something that works. But as the cockroach demonstrates, what works best in nature does not always appeal to us.

We need new art. Old art cannot do that. It can do lots of other things, and of course humanity hasn't changed that much in the last thousand or two thousand years.So that the old Greek dramas are still at the very heart, core, of human experience, but still we need new stuff.

You always want to try and evolve an art form. It's not a very humble ambition; it reeks of arrogance. If you can, you want to try to do something that people haven't done before and give people something that they haven't seen.

Dinosaurs were huge and powerful; they could not adapt and they died out. And so the big difference between dinosaurs and cockroaches is adaptability: one is able to adjust, while the other, apparently, couldn't... The same analogy applies to fighting, and probably any other sport. It's not always the strong that survive. It takes brains, guts, tolerance and forward thinking. We've seen this since the beginning of mixed martial arts.

Conceptual art is only good if the idea is good.