Best 127 quotes in «aesthetics quotes» category

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 perceive, classify and memorize them differently. . . . In identifying what is worthy of being seen and the right way to see it, they are aided by their whole social group and by the whole corporation of critics mandated by the group to produce legitimate classifications and the discourse necessarily accompanying any artistic enjoyment worthy of the name.

Su interés en la obra es simplemente moral o simplemente físico, y no es precisamente lo que debe ser: estético. Lectores tales gozan de una poesía sería y patética como de un sermón, y de una poesía humorística e ingenua, como de una bebida embriagadora, y carecen lo bastante de gusto para exigir edificación en una tragedia o epopeya.

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.

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

The aesthetics aren't merely a side note, they're as important as anything else.

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.

The aesthetic can have its revenge upon ideology by revealing a power to complicate that is also a power to undermine.

The assignment of meanings [in music] is a shifting, kaleidoscopic play, probably below the threshold of consciousness, certainly outside the pale of discursive thinking. The imagination that responds to music is personal and associative and logical, tinged with affect, tinged with bodily rhythm, tinged with dream, but concerned with a wealth of formulations for its wealth of wordless knowledge, its whole knowledge of emotional and organic experience, of vital impulse, balance, conflict, the ways of living and dying and feeling.

The connoisseur's hushed, museum-trained gaze is not well-designed for these purposes. That gaze values subtlety, complexity, ambiguity, and irony. Its most characteristic grace note is self-congratulation at being the kind of person who likes this rare and beautiful thing, whatever it may be, laced always with contempt for those too crude, too uneducated, or too simple to be able do so.

The better looking you are the harder your life, under one condition: You're of above average intelligence. It's those unintelligent attractive people who have it best.

The beautiful is as useful as the useful. ... perhaps more so.

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

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

...the line of beauty is the line of beauty. It doesn't matter if it's been through the Xerox machine a hundred times.

The novel has accompanied man uninterruptedly and faithfully since the beginning of the Modern Era. It was then that the "passion to know," which Husserl considered the essence of European spirituality, seized the novel and led it to scrutinize man's concrete life and protect it against "the forgetting of being"; to hold "the world of life" under a permanent light. That is the sense in which I understand and share Hermann Broch's insistence in repeating: The sole raison d'etre of a novel is to discover what only the novel can discover. A novel that does not discover a hitherto unknown segment of existence is immoral. Knowledge is the novel's only morality.

The masses have a right to change property relations; Fascism seeks to give them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. The violation of the masses, whom Fascism, with its Führer cult, forces to their knees, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values.

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 to reward that can be short-circuited here, and a serotonin injection is not a cheap way of obtaining the experience of PARISFAL or THE MERCHANT OF VENICE.

There could be no objection to homicidal art as art. One could certainly object that an artwork made out of dead bodies is immoral, but from a purely aesthetic point of view, it could still be a rewarding aesthetic experience and hence a great work of art. (From the book Hannibal Lecter & Philosophy: The Heart Of The Matter)

There is none more beautiful than the lover of beauty.

There is a sort of aesthetic poverty about conservatism

they would be astonished to discover the seriously German problem that we are dealing with, a vortex and a turning-point at the very centre of German hopes. But perhaps those same people will find it distasteful to see an aesthetic problem taken so seriously, if they can see art as nothing more than an entertaining irrelevance, an easily dispensable tinkle of bells next to the 'seriousness of life': as if no one was aware what this contrast with the 'seriousness of life' amounted to. Let these serious people know that I am convinced that art is the supreme task and the truly metaphysical activity of this life in the sense of that man, my noble champion on that path, to whom I dedicate this book.

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.

They proved that it was possible to produce beauty in life by surrounding life with beauty. They discovered that symmetrical bodies were built by souls continuously in the presence of symmetrical bodies; that noble thoughts were produced by minds surrounded by examples of mental nobility. Conversely, if a man were forced to look upon an ignoble or asymmetrical structure it would arouse within him a sense of ignobility which would provoke him to commit ignoble deeds. If an illproportioned building were erected in the midst of a city there would be ill-proportioned children born in that community; and men and women, gazing upon the asymmetrical structure, would live inharmonious lives. Thoughtful men of antiquity realized that their great philosophers were the natural products of the æsthetic ideals of architecture, music, and art established as the standards of the cultural systems of the time.

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.

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.

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

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

Think of cocaine. In its natural form, as coca leaves, it's appealing, but not to an extent that it usually becomes a problem. But refine it, purify it, and you get a compound that hits your pleasure receptors with an unnatural intensity. That's when it becomes addictive. Beauty has undergone a similar process, thanks to advertisers. Evolution gave us a circuit that responds to good looks - call it the pleasure receptor for our visual cortex - and in our natural environment, it was useful to have. But take a person with one-in-a-million skin and bone structure, add professional makeup and retouching, and you're no longer looking at beauty in its natural form. You've got pharmaceutical-grade beauty, the cocaine of good looks. Biologists call this "supernormal stimulus" [...] Our beauty receptors receive more stimulation than they were evolved to handle; we're seeing more beauty in one day than our ancestors did in a lifetime. And the result is that beauty is slowly ruining our lives. How? The way any drug becomes a problem: by interfering with our relationships with other people. We become dissatisfied with the way ordinary people look because they can't compare to supermodels.

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.

Truth is beheld by the intellect which is appeased by the most satisfying relations of the intelligible; beauty is beheld by the imagination which is appeased by the most satisfying relations of the sensible. The first step in the direction of truth is to understand the frame and scope of the intellect itself, to comprehend the act itself of intellection. Aristotle's entire system of philosophy rests upon his book of psychology and that, I think, rests on his statement that the same attribute cannot at the same time and in the same connexion belong to and not belong to the same subject. The first step in the direction of beauty is to understand the frame and scope of the imagination, to comprehend the act itself of esthetic apprehension.

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

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.

What cannot be borne in reality, becomes a source of pleasure when it is transposed into the visual and somatic fiction of the dramatic spectacle.

What finite beings say about transcendence is the semblance of transcendence; but as Kant well knew, it is a necessary semblance. Hence the incomparable metaphysical relevance of the rescue of semblance, the object of esthetics.

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?

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

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 return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.’ An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art.

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, spoiled beyond measure, and unable to restrain its gluttony, even in the face of pending planetary destruction. In the face of such a threat, it has, by necessity, become the responsibility of the artist to model health and sanity.

Aesthetics, ethics, and many good things in humans are contagious.

Aesthetics is to artists as ornithology is to birds.

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

You're a beautiful boy, Clay, but that's about it.

Aesthetics is for the artist like ornithology is for the birds.

Art shouldn't be only the aesthetics we hang on the wall, but a dynamic to shape the society.

I believe that one of the most powerful things of all is aesthetics.

Design must be functional and functionality must be translated into visual aesthetics, without any reliance on gimmicks that have to be explained.

Domination has its own aesthetics, and democratic domination has its democratic aesthetics.

For me, Romanticism is the most recent and the most current expression of beauty.