Knifemill Disintegrator

"What is perfect is supposed not to have become.— In the case of everything perfect we are accustomed to abstain from asking how it became: we rejoice in the present fact as though it came out of the ground by magic. Here we are probably still standing under the aftereffect of a primeval mythological invention. We still almost feel (for example in a Greek temple such as that at Paestum) that a god must one morning have playfully constructed his dwelling out of these tremendous weights: at other times that a stone suddenly acquired by magic a soul that is now trying to speak out of it. The artist knows that his work produces its full effect when it excites a belief in an improvisation, a belief that it came into being with a miraculous suddenness; and so he may assist this illusion and introduce these elements of rapturous restlessness, of blindly groping disorder, of attentive reverie that attend the beginning of creation into his art as a means of deceiving the soul of the spectator or auditor into a mood in which he believes that the complete and perfect has suddenly emerged instantaneously.— The science of art has, it goes without saying, most definitely to counter this illusion and to display the bad habits and false conclusions of the intellect by virtue of which it allows the artist to ensnare it." - From Nietzsche's, "Human, All Too Human?"