Best 58 quotes of Susanne Katherina Langer on MyQuotes

All persistent practices in art have a creative function. They may serve several ends, but the chief one is the shaping of the work.

A mind that is very selective to forms... is apt to use its images metaphorically, to exploit their possible significance for the conception of remote or intangible ideas.

A philosophy is characterized more by the formulation of its problem than by its solution of them.

Art is the creation of forms symbolic of human feeling.

Art is the objectification of feeling, and the subjectification of nature.

Artistic form is congruent with the dynamic forms of our direct sensuous, mental, and emotional life; works of art are projections of "felt life", as Henry James called it, into spatial, temporal, and poetic structures.

As comedy presents the vital rhythm of self-preservation, tragedy exhibits that of self-consummation.

A signal is comprehended if it serves to make us notice the object or situation it bespeaks. A symbol is understood when we conceive the idea it presents.

Cinema is like dream.

Every artistic form reflects the dynamism that is constantly building up the life of feeling.

Feeling, in the broad sense of whatever is felt in any way, as sensory stimulus or inward tension, pain, emotion or intent, is the mark of mentality.

Fire is a natural symbol of life and passion, though it is the one element in which nothing can actually live.

If a work of art is a projection of feeling, its kinship with organic nature will emerge, no matter through how many transformations, logically and inevitably.

In human life, art may arise from almost any activity, and once it does so, it is launched on a long road of exploration, invention, freedom to the limits of extravagance, interference to the point of frustration, finally discipline, controlling constant change and growth.

Is it conceivable that mysticism is a mark of inadequate art?

It is significant that people who refuse to tell their children fairytales do not fear that the children will believe in princes and princesses, but that they will believe in witches and bogeys.

It is the historical mind, rather than the scientific (in the physicist's sense), that destroyed the mythical orientation of European culture; the historian, not the mathematician, introduced the "higher criticism," the standard of actual fact. It is he who is the real apostle of the realistic age.

Language is, without a doubt, the most momentous and at the same time the most mysterious product of the human mind.

Magic, then, is not a method, but a language; it is part and parcel of that greater phenomenon, ritual, which is the language of religion. Ritual is a symbolic transformation of experiences that no other medium can adequately express.

Most new discoveries are suddenly-seen things that were always there. A new idea is a light that illuminates presences which simply had no form before the light fell on them.

Most new discoveries are suddenly-seen things that were always there.

Music is our myth of the inner life.

Music is 'significant form,' and its significance is that of a symbol, a highly articulated, sensuous object, which by virtue of its dynamic structure can express the forms of vital experience which language is peculiarly unfit to convey. Feeling, life, motion and emotion constitute its import.

Music is the tonal analogue of emotive life.

Nature, as man has always known it, he knows no more. Since he has learned to esteem signs above symbols, to suppress his emotional reactions in favor of practical ones and make use of nature instead of holding so much of it sacred, he has altered the face, if not the heart, of reality.

Only a creature that can think symbolically about life can conceive of its own death. Our knowledge of death is part of our knowledge of life.

Philosophical questions are not by their nature insoluble. They are, indeed, radically different from scientific questions, because they concern the implications and other interrelations of ideas, not the order of physical events; their answers are interpretations instead of factual reports, and their function is to increase not our knowledge of nature, but our understanding of what we know.

Philosophizing is a process of making sense out of experience.

Pioneering is the work of individuals.

Real thinking is possible only in the light of genuine language, no matter how limited, how primitive.

Religion, even the most primitive and superstitious, is inevitably a beginning of culture. It is not possible without some kind of symbolic expression ... and begets dramatic gesture, dance, and chant.

Ritual is the most primitive reflection of serious thought, a slow deposit, as it were, of people's imaginative insight into life.

Speech is the mark of humanity. It is the normal terminus of thought.

The arts objectify subjective reality, and subjectify outward experience of nature. Art education is the education of feeling, and a society that neglects it gives itself up to formless emotion. Bad art is corruption of feeling.

The continual pursuit of meanings-wider, clearer, more negotiable, more articulate meanings- is philosophy.

The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.

The development of beings with minds is probably the highest individuation the world has ever known, and its prehistory is the history of life on earth.

The fairytale is irresponsible; it is frankly imaginary, and its purpose is to gratify wishes, as a dream doth flatter.

The faith of scientists in the power and truth of mathematics is so implicit that their work has gradually become less and less observation, and more and more calculation.... But the facts which are accepted by virtue of these tests are not actually observed at all.

The first impression of a work of art is its otherness from reality.

The function of art is to acquaint the beholder with something he has not known before.

The high intellectual value of images, however, lies in the fact that they usually, and perhaps always, fit more than one actual experience.

... the image of feeling created by artists, in every kind of art -- plastic, musical, poetic, balletic -- serves to hold the reality itself for our labile and volatile memory, as a touchstone to test the scope of our intellectual constructions.

The intellectual treatment of any datum, any experience, any subject, is determined by the nature of our questions, and only carried out in the answers.

The limits of thought are not so much set from outside, by the fullness or poverty of experiences that meet the mind, as from within, by the power of conception, the wealth of formulative notions with which the mind meets experiences.

The Past, being in the mode of memory, is closed, inalienable, and irreparable.

The power of magic has no known limits. A person knows, in a fair way, his own physical capacities, the weight of the blows he can deal, the furthest range of his arrows, the strength of his voice, the speed and endurance of his running; but the reaches of his mind are indefinite and, to his feeling, infinite.

The power of understanding symbols, i.e. of regarding everything about a sense-datum as irrelevant except a certain form that it embodies, is the most characteristic mental trait of mankind. It issues in an unconscious, spontaneous process of abstraction, which goes on all the time in the human mind: a process of recognizing the concept in any configuration given to experience, and forming a conception accordingly. That is the real sense of Aristotle's definition of Man as "the rational animal".

The secret of 'fusion' is the fact that the artist's eye sees in nature... an inexhaustible wealth of tension, rhythms, continuities, and contrasts which can be rendered in line and color.

The seeds of civilization are in every culture, but it is city life that brings them to fruition.