Emotionally Quotes (3 quotes)
Bradley is one of the few basketball players who have ever been appreciatively cheered by a disinterested away-from-home crowd while warming up. This curious event occurred last March, just before Princeton eliminated the Virginia Military Institute, the years Southern Conference champion, from the NCAA championships. The game was played in Philadelphia and was the last of a tripleheader. The people there were worn out, because most of them were emotionally committed to either Villanova or Temple-two local teams that had just been involved in enervating battles with Providence and Connecticut, respectively, scrambling for a chance at the rest of the country. A group of Princeton players shooting basketballs miscellaneously in preparation for still another game hardly promised to be a high point of the evening, but Bradley, whose routine in the warmup time is a gradual crescendo of activity, is more interesting to watch before a game than most players are in play. In Philadelphia that night, what he did was, for him, anything but unusual. As he does before all games, he began by shooting set shots close to the basket, gradually moving back until he was shooting long sets from 20 feet out, and nearly all of them dropped into the net with an almost mechanical rhythm of accuracy. Then he began a series of expandingly difficult jump shots, and one jumper after another went cleanly through the basket with so few exceptions that the crowd began to murmur. Then he started to perform whirling reverse moves before another cadence of almost steadily accurate jump shots, and the murmur increased. Then he began to sweep hook shots into the air. He moved in a semicircle around the court. First with his right hand, then with his left, he tried seven of these long, graceful shots-the most difficult ones in the orthodoxy of basketball-and ambidextrously made them all. The game had not even begun, but the presumably unimpressible Philadelphians were applauding like an audience at an opera.
I have no right to consider anything a work of art to which I cannot react emotionally; and I have no right to look for the essential quality in anything that I have not felt to be a work of art.
The complexity of contemporary biology has led to an extreme specialization, which has inevitably been followed by a breakdown in communication between disciplines. Partly as a result of this, the members of each specialty tend to feel that their own work is fundamental and that the work of other groups, although sometimes technically ingenious, is trivial or at best only peripheral to an understanding of truly basic problems and issues. There is a familiar resolution to this problem but it is sometimes difficulty to accept emotionally. This is the idea that there are a number of levels of biological integration and that each level offers problems and insights that are unique to it; further, that each level finds its explanations of mechanism in the levels below, and its significances in the levels above it.