Quotes about aesthetics

Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted. Industrial societies turn their citizens into image-junkies it is the most irresistible form of mental pollution.

All efforts to make politics aesthetic culminate in one thing, war.

[Hegel’s] system of nature seemed, at least to natural philosophers, absolutely crazy….Hegel…launched out with particular vehemence and acrimony against the natural philosophers, and especially against Isaac Newton. The philosophers accused the scientific men of narrowness; the scientific men retorted that the philosophers were insane.

What is especially striking and remarkable is that in fundamental physics a beautiful or elegant theory is more likely to be right than a theory that is inelegant.

He had never believed that spirituality had to be anemic or aesthetic.

The goal of all principled people is to recognize truth. Simple or complex thoughts and feelings standing alone rarely express any universal truths. Thoughts and feelings combine to create profound truths and compose extravagant falsities. Truth making exposes certain falsehoods, and lies shed light upon irrefutable truths. Art reveals the pageantry of nature along with the unmitigated grotesqueness that accompanies an earthly life. The search for truth begins with an intellectual journey into d

We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.

Aesthetic value emanates from the struggle between texts: in the reader, in language, in the classroom, in arguments within a society. Aesthetic value rises out of memory, and so (as Nietzsche saw) out of pain, the pain of surrendering easier pleasures in favour of much more difficult ones ... successful literary works are achieved anxieties, not releases from anxieties.

Aesthetic criticism returns us to the autonomy of imaginative literature and the sovereignty of the solitary soul, the reader not as a person in society but as the deep self, our ultimate inwardness.

Things wabi-sabi have no need for the reassurance of status or the validation of market culture. They have no need for documentation of provenance. Wabi-sabi-ness in no way depends on knowledge of the creator's background or personality. In fact, it is best if the creator is no distinction, invisible, or anonymous.

Appreciate the aesthetic and creativity of the nature and be grateful for being part of it.

Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his conscious reflection, his progressive steps, mysterious even to himself, should enter so swiftly into the work that he is unable to recognize them in the moment of transition.

And it suggests this truth about the place where aesthetic form meets the human mind. For even if we were to find ourselves homeless, in a strange land, with nothing of ourselves left-say we lost everything-we'd still have another kind of home, in aesthetic form itself, in the familiarity, the unchanging assurance that a known rhythm, a recognised line, the familiar shape of a story, a tune, a line or phrase or sentence gives us every time, even long after we've forgotten we even know it.

Beauty is how you feel inside, and it reflects in your eyes. It is not something physical.

Desire for beauty will endure and undermine the desire for truth.

When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The re

Then there are the fully intentional pleasures, which, although in some way tied up with sensory or perceptual experience, are modes of exploration of the world. Aesthetic pleasures are like this. Aesthetic pleasures are contemplative - they involve studying an object OUTSIDE of the self, to which one is GIVING something (namely, attention and all that flows from it), and not TAKING, as in the pleasure that comes from drugs and drinks. Hence such pleasures are not addictive - there is no pathway

Your skin has a memory.In ten, twenty, thirty years from now, your skin will show the results ofhow it was treated today.So treat it kindly and with respect.

Is the world really beautified by the fact that man thinks it beautiful? He has humanized it, that is all.

We Orientals tend to seek our satisfactions in whatever surroundings we happen to find ourselves, to content ourselves with things as they are; and so darkness causes us no discontent, we resign ourselves to it as inevitable. If light is scarce, then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. But the progressive Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light—

How convenient it is to declare that everything is totally ugly within the habit of the époque, rather than applying oneself to extract from it the dark and cryptic beauty, however faint and invisible it is.

The philosophical study of beauty, art, and the splendor of nature nurtures a person’s fertile mind by exposing a person to the puzzling world of the beautiful, elegant, ugly, and grotesque. Human beings ability to experience sublime pleasure emanates from a variety of sensory experiences and a person’s ability to make discriminatory observations and judgment in taste and sentiment.

Fascism is fundamentally and at bottom an aesthetic conception, and . . . it is your function as creators of beautiful things to portray with the greatest efficacy the sublime beauty and inevitable reality of the Fascist ideal.

It was one of God's jokes that such a dumb mind had been put in such an eloquent body.

Any great art work … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.

To the man who loves art for its own sake, it is frequently in its least important and lowliest manifestations that the keenest pleasure is to be derived.

I think that's what art is: art is communication made in the hope that interesting miscommunications will arise.

In my box of sound bites there are no jackhammers, no snowmobiles, no Jet Skis, no children wailing. Music but no Muzak.It's my box. Put what you want in yours.

[I]t was [Barnett] Newman who made the famously wry remark, “Aesthetics is for the artist as ornithology is for the birds,

With the plundered people transferring their energies into relaxed and receptive thoughts, degradation and lust for power produced art.

In the past an artist produced things that were necessary socially; they were instruments, albeit of a special kind, that helped the dead reach eternity, spells to be cast, prayers to be liturgically fleshed. . . . The aesthetic component of those instruments enhanced their function but was never central, never an independent, nonutilitarian thing.

Tensurrealism creates actual and non-compromised reality, jamboree, fervor, fascination, poetics of an active enthusiasm, interludium, lyrical practice, active happiness.

Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.

And if, as all philosophers on the subject have noted, art is a human activity that relies on the senses to reach the soul, did it not also stand to reason that dogs -- at least dogs of Mr. Bones' caliber -- would have it in them to feel a similar aesthetic impulse? Would they not, in other words, be able to appreciate art? As far as Willy knew, no one had ever thought of this before. Did that make him the first man in recorded history to believe such a thing was possible? No matter. It was an i

there's something wrong with any art that makes a woman all bust

We sing lyrical excess, exacerbated expressionism, imponed objectivity,inventiveness, meta-baroque, extravaganza, super metaphor, sublimity, strident, exposure, super-pone, noise, super-objectivity, zillionism, fragmentation and aesthetics of facts, suractivism.

In the psychology of aesthetics, there is a name for the moment between the anxiety of confronting something new and the satisfying click of understanding it. It is called an 'aesthetic aha.

There is a sort of aesthetic poverty about conservatism

There was a product which seemed attractive, expensive, portable, beautiful and simple. Everybody talked about its beauty but they bought it for it's simplicity.

Christ is a persuasion, a form evoking desire, and the whole force of the gospel depends upon the assumption that this persuasion is also peace: that the desire awakened by the shape of Christ and his church is one truly reborn as agape, rather than merely the way in which a lesser force succumbs to a greater, as an episode in the endless epic of power. (3)

Christianity has from its beginning portrayed itself as a gospel of peace, a way of reconciliation (with God, with other creatures), and a new model of human community, offering the 'peace which passes understanding' to a world enmeshed in sin and violence. (1)

Color directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.

For if indeed God became a man, then Truth condescended to became a truth, from whose historical contingency one cannot simply pass to categories of universal rationality; and this means that whatever Christians mean when they speak of truth, it cannot involve simply the dialectical wrestling of abstract principles from intractable facts. (5)

It is with this movement, with the passage and dissolution of impressions, images, sensations, that analysis leaves off—that continual vanishing away, that strange, perpetual weaving and unweaving of ourselves.

....it seems to me that a pleasurable Contemplation of Beauty has certainly an immeasurably greater value than mere Consciousness of Pleasure.

...fiction is as useful as truth, for giving us matter, upon which to exercise the judgment of value.

Rules of taste enforce structures of power.

Writing is a series of verbal suggestions designed to provoke a psychological reaction and an aesthetic experience.

Nothing's perfect, the world's not perfect. But it's there for us, trying the best it can; that's what makes it so damn beautiful.

In the world there exists no aesthetic plane, not even the aesthetic plane of goodness.

They walked on rather aimlessly. He hoped she wouldn't notice he was touched, because he wouldn't have known how to explain why. Here lay the great discrepancy between aesthetic truth and sleazy reality.

Finer feeling, which we now wish to consider, is chiefly of two kinds: the feeling of the *sublime* and that of the *beautiful*. The stirring of each is pleasant, but in different ways. The sight of a mountain whose snow-covered peak rises above the clouds, the description of a raging storm, or Milton's portrayal of the infernal kingdom, arouse enjoyment but with horror; on the other hand, the sight of flower strewn meadows, valleys with winding brooks and covered with grazing flocks, the descri

The darkening of the world makes the irrationality of art rational: radically darkened art.

Art is the social antithesis of society, not directly deducible from it.

God's pleasure--the beauty creation possesses in his regard--underlies the distinct being of creation, and so beauty is the first and truest word concerning all that appears within being; beauty is the showing of what is; God looked upon what he had wrought and saw that it was good.

Back then, I was still just a fan of music. And to be a fan of music also meant to be a fan of cities, of places. Regionalism—and the creative scenes therein—played an important role in the identification and contextualization of a sound or aesthetic. Music felt married to place, and the notion of “somewhere” predated the Internet’s seeming invention of “everywhere” (which often ends up feeling like “nowhere”)

I became an artist because I wanted to be an active participant in the conversation about art.

At last everything was satisfactorily arranged, and I could not help admiring the setting: these mingled touches betrayed on a small scale the inspiration of a poet, the research of a scientist, the good taste of an artist, the gourmet’s fondness for good food, and the love of flowers, which concealed in their delicate shadows a hint of the love of women

In a Fisherian world, animals are slaves to evolutionary fashion, evolving extravagant and arbitrary displays and tastes that are all "meaningless"; they do not involve anything other than perceived qualities.

I have been using art as a means to the emotions of life and reading into it the ideas of life.

Our sole concern with the long dead is aesthetic

Behind every exquisite thing that existed, there was something tragic.

When Verlaine and Rimbaud were young,” [Snyder] said, they were protesting the iron-grip bourgeois rationality had on all aspects of nineteenth-century French culture— the manners, the view of reality, and the exclusion of ‘the wild’ from public life. Rationality in business and society were dominant values. ‘Deranging the senses’ was one strategy artists like Verlaine and Rimbaud employed to break free of that.“Today,” he continued, “the bourgeoisie is sociopathic, overindulged, distracted, spo

The future will look futuristic only because we will be trying to make it look futuristic.

We are living in a moment where we have broken the equilibrium of the planet. We are not paying attention to our intuitive side. We only pay attention to our reason. We have become an urban animal

We are beginning to play with ideas of ecology, and although we immediately trivialize these into commerce or politics, there is at least an impulse still in the human breast to unify and thereby sanctify the total natural world, of which we are. ... There have been, and still are, in the world many different and even contrasting epistemologies which have been alike in stressing an ultimate unity, and, although this is less sure, which have also stressed the notion that ultimate unity is aesthet

There is none more beautiful than the lover of beauty.

In so far as the mind sees things in their eternal aspect, it participates in eternity.

New clothes left Sylvia reeling with happiness. For Sylvia, a shopping list was a poem. She always shopped alone - it suited her deliberate nature and the artistic joy with which she approached all things aesthetic.

And is not all of life material- based on the material- permeated by the material? Should not one learn, gladly, to utilize the beauty of the fine material? I do not speak of the gross crudities of soporific television, of loud brash convertibles and vulgar display- but rather of grace and line and refinement- and there are wonderful and exciting things that only money can buy, such as theater tickets, books, paintings, travel, lovely clothes- and why deny them when one can have them? The only p

Sylvia’s inherent appreciation for beauty as both artist and consumer is evident in her journals and letters…….she wrote beautifully about clothes. She wrote about them with irony and wit mixed in with all the rococo prettiness.

Aestheticism is the garbage of intuitive feeling.

Against the subtle cries of nature, I found peace. I found home. I found the past and the future strung into a present that demanded to be lived.

One interesting thing is the idea that people have of a kind of science of Aesthetics. I would almost like to talk of what could be meant by Aesthetics.You might think Aesthetics is a science telling us what's beautiful - almost too ridiculous for words. I suppose it ought to include also what sort of coffee tastes well. I see roughly this - there is a realm of utterance of delight, when you taste pleasant food or smell a pleasant smell, etc., then there is a realm of Art which is quite differen

No man sings as beautifully as when his song is accompanied by a woman’s voice.

More than once have I thought, Why does crime, even when as powerful as Cæsar, and assured of being beyond punishment, strive always for the appearances of truth, justice, and virtue? Why does it take the trouble? I consider that to murder a brother, a mother, a wife, is a thing worthy of some petty Asiatic king, not a Roman Cæsar; but if that position were mine, I should not write justifying letters to the Senate. But Nero writes. Nero is looking for appearances, for Nero is a coward. But Tiber

People who insist upon dressing casually also want to think casually. And in a fallen world, thinking casually means being wrong more often than not.

Man is not better treated by nature in his first start than her other works are; so long as he is unable to act for himself as an independent intelligence she acts for him. But the very fact that constitutes him a man is that he does not remain stationary, where nature has placed him, that he can pass with his reason, retracing the steps nature had made him anticipate, that he can convert the work of necessity into one of free solution, and elevate physical necessity into a moral law.

Such competence is not necessarily acquired by means of the 'scholastic' labours in which some 'cinephiles' or 'jazz-freaks' indulge. Most often it results from the unintentional learning made possible by a disposition acquired through domestic or scholastic inculcation of legitimate culture. This transposable disposition, armed with a set of perceptual and evaluative schemes that are available for general application, inclines its owner towards other cultural experiences and enables him to perc

All aesthetic judgment is really cultural evaluation.

If I beat my grandmother to death to-morrow in the middle of Battersea Park, you may be perfectly certain that people will say everything about it except the simple and fairly obvious fact that it is wrong. Some will call it insane; that is, will accuse it of a deficiency of intelligence. This is not necessarily true at all. You could not tell whether the act was unintelligent or not unless you knew my grandmother. Some will call it vulgar, disgusting, and the rest of it; that is, they will accu

Show me what a people admire, and I will tell you everything about them that matters.

Now I myself, I cheerfully admit, feel that enormity in Kensington Gardens as something quite natural. I feel it so because I have been brought up, so to speak, under its shadow; and stared at the graven images of Raphael and Shakespeare almost before I knew their names; and long before I saw anything funny in their figures being carved, on a smaller scale, under the feet of Prince Albert. I even took a certain childish pleasure in the gilding of the canopy and spire, as if in the golden palace

The big secret about Art is that no one wants it to be true.

An artist's concern is to capture beauty wherever he finds it.

What is good is also divine. Queer as it sounds, that sums up my ethics. Only something supernatural can express the Supernatural.

Everything good is good because of the love it contains.

We want people to represent us in politics—and in love and economics too. When people represent us fully, they are ourselves and are not ourselves. When an object is simultaneously the same as and different from the person concerned with it—or considering it—aesthetics is there.

To speak of sparing anything because it is beautiful is to waste one’s breath and incur ridicule in the bargain. The aesthetic sense- the power to enjoy through the eye, and the ear, and the imagination- is just as important a factor in the scheme of human happiness as the corporeal sense of eating and drinking; but there has never been a time when the world would admit it.

The old-fashioned sins of reading is the only sense that matters.

The writer has to die to give birth to the intellectual in the service of the wretched of the earth.

By engaging with film illusions both actively and passively – as I attempt to do in this book – we strengthen the capacity of our minds to reason, imagine and think through ideas in a way unrestrained by some static conception of objective Truth. In so doing, the nihilistic gap existing between the real world and the whole variety of film worlds perhaps widens, but it also serves to offer a free, open space into which our interpretations may spill, mingle and propagate in uninhibited, nihilistic

Poverty and loneliness could be seen as a liberation from strivings to become rich and popular.

A taste for ostentation is rarely associated in the same souls with a taste for honesty

When you watch Olympic athletes in competition, does your self-esteem plummet? Of course not. On the contrary, you feel wonder and admiration; you're inspired that such exceptional individuals exist. So why can't we feels the same way about beauty?

In a single wave of meaning the triumphant purity of being.

The answer to these questions is tied to the public's attitude about suicide. For many people, suicide is morally reprehensible. It's against their religion, or against their culture, or contrary to their personal values. Like other unpleasant subjects - incest, disease, discrimination - it's avoided.