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“A person whose skin is metallic can no more have its reproduction restricted than a black-skinned person. Regarding life as a form of machinery and intelligent machines as people without our environmental limitations is essential in understanding FAP, the Final Anthropic Principle, which deals with evolution in the far future.”

“The color of the prisoner's skin, and the form of his features, are not impressed upon the spiritual immortal mind which works beneath. In spite of human pride, he is still your brother, and mine, in form and color accepted and approved by his Father, and yours, and mine, and bears equally with us the proudest inheritance of our race - the image of our Maker. Hold him then to be a Man.”

“The Berbers, among whom even today one finds light skins and blue eyes, do not go back to the Vandal invasions of the fifth century A.D., but to the prehistoric Atlantic Nordic human wave. The Kabyle huntsmen, for example, are to no small degree still wholly Nordic (thus the blond Berbers in the region of Constantine form 10 % of the population; at Djebel Sheshor they are even more numerous).”

“... not only is life put in new patterns from the air, but it is somehow arrested, frozen into form. (The leaping hare is caught in a marble panel.) A glaze is put over life. There is no flaw, no crack in the surface; a still reservoir, no ripple on its face. Looking down from the air that morning, I felt that stillness rested like a light over the earth. The waterfalls seemed frozen solid; the tops of the trees were still; the river hardly stirred, a serpent gently moving under its shimmering skin.”

“Could truth perhaps be a woman who has reasons for not permitting her reasons to be seen? Could her name perhaps be--to speak Greek--Baubo?... Oh, those Greeks! They understood how to live: to do that it is necessary to stop bravely at the surface, the fold, the skin, to adore the appearance, to believe in forms, in tones, in words, in the whole Olympus of appearance! Those Greeks were superficial--out of profundity!”

“But colonialism in its harshest forms is not only the exploitation of new nations by old, of dark skins by light, or the subjugation of the poor by the rich. My Nation was once a colony, and we know what colonialism means; the exploitation and subjugation of the weak by the powerful, of the many by the few, of the governed who have given no consent to be governed, whatever their continent, their class, their color.”

“When we form heart-centered beliefs within our bodies, in the language of physics we're creating the electrical and magnetic expression of them as waves of energy, which aren't confined to our hearts or limited by the physical barrier of our skin and bones. So clearly we're speaking to the world around us in each moment of every day through a language that has no words: the belief-waves of our hearts.”

“I really like the interplay between thinking of text as ephemeral and thinking of it as a concrete, physical thing. With almost anything that I write, I'll stay completely immersed in the electronic text of it for a period of time and in another period, I'll stay immersed in it as a physical thing that can cut your skin. So with the apocalypses, I had them taped all over the wall and they had codes on them. Sometimes I would color code them in terms of thematic elements, sometimes in terms of voice, sometimes visual forms or images.”

“The two most important forms of diversity when it comes to innovation are visible diversity (typically skin color, age, gender, etc.) and underrepresentation (anytime someone is less than 15% of the majority group). Other forms of diversity are also relevant but these are the ones that psychologically play the most role in how someone engages with the innovative process.”

“There's always a joy in newness as a painter, and in sub-Saharan Africa, I encountered different realities with regard to light and how it bounces across the skin. The way that blues and purples come into play. In India and Sri Lanka, it was no different. It became a moment in which I had an opportunity to learn as a painter how to create the body in full form, and that's a very material and aesthetic thing. This is not conceptual. It's all an abstraction.”

“Engaged in a fiery dance, their bodies were linked and seperated by the flashing blades. At times they nearly touched, taut skin only a hair's breadth away, but then momentum would whirl them apart, and they would withdraw for a second, only to join again. Their sinuous forms wove together like twisting ropes of windblown smoke.”

“In mythos and fairy tales, deities and other great spirits test the hearts of humans by showing up in various forms that disguise their divinity. They show up in robes, rags, silver sashes, or with muddy feet. They show up with skin dark as old wood, or in scales made of rose petal, as a frail child, as a lime-yellow old woman, as a man who cannot speak, or as an animal who can. The great powers are testing to see if humans have yet learned to recognize the greatness of soul in all its varying forms.”

“Let the labyrinth of wrinkles be furrowed in my brow with the red-hot iron of my own life, let my hair whiten and my step become vacillating, on condition that I can save the intelligence of my soul - let my unformed childhood soul, as it ages, assume the rational and esthetic forms of an architecture, let me learn just everything that others cannot teach me, what only life would be capable of marking deeply in my skin!”

“Your Catfish Friend If I were to live my life in catfish forms in scaffolds of skin and whiskers at the bottom of a pond and you were to come by one evening when the moon was shining down into my dark home and stand there at the edge of my affection and think, “It's beautiful here by this pond. I wish somebody loved me,” I'd love you and be your catfish friend and drive such lonely thoughts from your mind and suddenly you would be at peace, and ask yourself, “I wonder if there are any catfish in this pond? It seems like a perfect place for them.”