"The conventional set-up of both comedy and tragedy tends to be the same: a social or political problem persists due to forces beyond individual human control (the set-up), a character takes on this problem in an attempt to offer solutions, expectations are subverted. In tragedy, the hero pays a debt to the cause; in comedy, the protagonist draws attention to the ridiculousness of the situation, often calling for a need for a shift in cultural values. Thus, the set-up may be accentuated as a framing device; however, the notion of being set-up or being framed can exist either as a comedic trope (“I've been framed!”) or a tragic debt to be paid that is (sometimes) recorded in the annals of history. A set-up without resolution risks a potential misattribution of voice, not necessarily withholding catharsis, but denying a corrective — a failsafe temporarily overridden."

"Human suffering is real and it is an epistemological necessity to acknowledge suffering if we are to know truth. The aesthetics of the non-identical are an unscripted interaction between differing aesthetic patterns and classifications, arranged into “constellations” around subject matter. This arranging or rearranging of logically derived forms, expressively malleable gestures and memetic legibility unlocks the historical structures that limit the identity of objectified human beings to the boundaries proscribed by classification."

"... the right to freedom of expression is a permission, granted by the state, to engage in certain activities. But not everything that is permitted is required, nor can everything that is permitted be justified."

"Minute, representational rendering in multiple mediums and materials collides with a discursive, meta-critical treatment of subject and relationship in each group of permutations. The difference between pictorial and discursive representation—like the difference between analog and digital representation—is a function of "off" and "on." Analog representations present continuously variable properties like minutely modulated shading, carefully modeled contours, and subtly shifting hues. Digital representation on the other hand, is discrete; a drawing either is or is not a copy of such and such a book. In Morgan's work there is no ambiguity about the subject matter of her representations: they are not “more or less” representations of a given object."

Forty-Seven Easy Pound Cakes Like grandma Used To Make: Notes on a process (a drawing) (excerpt from The Dubious Sum of Vaguely Discernible Parts, 2012), Nyeema Morgan

"[...] There's a struggle between us. It's become unwieldy. A metamorphosis has happened—sentences become lines of various weights and I no longer can or care to read them. They are appendages and viscera and I begin to empathize. I pack it in nice and tight at the core—everything must fit, work its way through and into the entanglement and find its place. Sentences and words have broken down, supporting and impeding further additions. I move around them, delicately, in a satisfying display of grace and composure or I plow through them defiantly for the greater good of the body. I can't read anymore. It's difficult. It's this way for a long time. Much of my time is spent compromising, negotiating; still trying to make sense even when there's none to be made (bad habits). I'm close to the end and it has broken my will to control it. I feel changed or liberated for the moment. For this, I'm grateful and determined to carry this lesson onto the next. (I hope I won't forget). It's done. It's not the last, but one of many. I'm relieved and invigorated. I know if I continue, the work will eventually be completed. How wonderful it would be to see it in its totality—the sum of my efforts and nothing done in vain. I begin anew, cheerfully, despite the realization that my attempt at impartiality was insincere from the start."

"Furthermore, the very attempt to define how a philosophical work is supposed to be connected with other efforts to deal with the same subject-matter drags in an extraneous concern, and what is really important for the cognition of the truth is obscured. The more conventional opinion gets fixated on the antithesis of truth and falsity, the more it tends to expect a given philosophical system to be either accepted or contradicted; and hence it finds only acceptance or rejection. It does not comprehend the diversity of philosophical systems as the progressive unfolding of truth, but rather sees in it simple disagreements. The bud disappears in the bursting-forth of the blossom, and one might say that the former is refuted by the latter; similarly, when the fruit appears, the blossom is shown up in its turn as a false manifestation of the plant, and the fruit now emerges as the truth of it instead. These forms are not just distinguished from one another, they also supplant one another as mutually incompatible. Yet at the same time their fluid nature makes them moments of an organic unity in which they not only do not conflict, but in which each is as necessary as the other; and this mutual necessity alone constitutes the life of the whole."