The Art Deco movement, architecture from that period and sort of the industrial aesthetic from that period. Art Deco meets tribal kind of thing. All that is my primal inspiration.
What you wear can largely govern your feelings and your emotions, and how you look influences the way people regard you. So fashion plays an important role on both the practical level and the aesthetic level of activity.
The Oriental approach to violence is a much more aesthetic and poetic approach, whereas in the western world, violence is put in because you can't solve the problem. Violence is always the last solution, but unfortunately, in cinema, it's the first solution, because it's easy. And it's often too easy.
Perhaps there may come into my art also, no less than into my life, a still deeper note, one of greater unity of passion, and directness of impulse. Not width but intensity is the true aim of modern art. We are no longer in art concerned with the type. It is with the exception that we have to do. I cannot put my sufferings into any form they took, I need hardly say. Art only begins where Imitation ends, but something must come into my work, of fuller memory of words perhaps, of richer cadences, of more curious effects, of simpler architectural order, of some aesthetic quality at any rate.
In the past, people couldn't place me. They thought that I was Danish or English or French. They never got that I am Italian. I'm not typical, maybe because my visual education was very mixed. There was a lot of London in my aesthetic: The Face, i-D, British music, and a lot of British fashion . . . But I really enjoy this contrast.
I'm not a super prolific creator, I don't make stuff everyday, and I don't have a soundtrack constantly playing in my head. I think I had years and years of pent-up aesthetic ideas that I wanted to express.
I really can't claim ever to have had an exceptionally close relationship with a minister. I'm always there. I pay my pledge. I listen and observe with interest. I'm very sympathetic with the rigor and the aesthetic quality of what they do. Aside from that, I don't have a kind of personal experience with any of them that I could consider privileged, so to speak.
I would say that if something has an aesthetic value and it is pleasing to watch or to wear, it may in fact have nothing to do with status symbol. You just like to wear it.
Fashion right now, people are so...everything is driven by the aesthetic.
[Being unique] gives so much privilege to people who can make it, rather than having some moral and aesthetic discussions.
Both Kant and Fichte thought of traditions of revealed religion as ways of symbolically (that is, with aesthetic emotional power) thinking about our moral condition. Both thought that religion would become more and not less powerful, emotionally and morally, if the claims of scriptures and religious teachings were taken symbolically rather than literally (whatever 'literally' might mean in the case of claims that are either nonsensical or outdated or historically unsupportable if taken as metaphysical or historical assertions).
Schiller never wanted to replace the moral with the aesthetic but he did want the moral to be one part of the aesthetic. He rightly notes the aesthetic dimension of morality, that we use concepts like grace to characterise people who do their duty with ease and pleasure.
When Hume insists that taste is a matter of delicacy, that it is a matter of having a sensitivity to features of an object itself, he is very close to the rationalist doctrine. Hume was really a covert objectivist (or partial one) about aesthetic pleasure because that pleasure had to be based on the sensitivity to features in the object.
I really liked the design aesthetic of the mid-century modern for furniture and the early '60s stuff for the clothes. But then, personally, I'm a huge fan of 1970s muscle cars. Cell phones is just a laziness thing because it's so much easier to have somebody have a cell phone than have to go to a phone booth. So we're sort of, I guess, cherry-picking the best and easiest from several decades.
I don't buy jewelry just for the aesthetic side.
As soon as you think you have a firm idea you allow it to dissolve and you let go of it, particularly when it comes to a stylistic or aesthetic identity. In fact, you only really find out what it is when you deconstruct it; so, yeah, that's a sort of collage sensibility of having a lot of voicings coming from all over the place and not necessarily trying to shape them or try to commodify them. It keeps you in the living language... an opportunity to not be governed so much by intellect.
Just women who are really eclectic, so every woman from Gwyneth Paltrow to Peggy Nolan, who has half a shaved head and has a totally wild aesthetic. They're woman who are doing things, running their own businesses, taking chances at different levels of success and different industries. A lot of my friends are creatives. It was just who I really adore and wanted to share with a greater audience.
It's like, say you're a dancer and you've been studying modern dance your whole life so you're used to a certain aesthetic of music or motivation or influence, if I send you something that you're totally not used to or don't understand, rarely does that work. On the average, you're not gonna feel that and it won't be you. You have to be in there.
To live well is to live in harmony with ourselves, others and nature, and that idea of harmony is, of course, an aesthetic one.
There is a sinister anachronistic interpretation of the aesthetic state as some kind of totalitarian regime that puts aesthetic over moral standards; one associates it with national-socialism. But this has nothing to do with the romantics, whose ideal of the aesthetic state has much more to do with the republican tradition.
My aesthetic is probably closer to a 15-year-old's than my dad's, but I get his conviction.
I try to bring as much taste, smartness, quality, functionality, and aesthetic qualities to everyday clothes.
For film, you know, the Tarantinos and Nolans of the world who are very focused on a certain kind of film aesthetic and a certain kind of presentation, to be honest, that comes from a place of privilege. It comes from a place of always having access to such, but when you ain't never - you can't see it because you can't even get to it.
The talent of the people in Brazil was extraordinary. I thought all of the hair and make-up was really fantastic. The aesthetic there is really something to behold. They just have such a great sense of taste.
My aesthetic is about simplicity, elegance, and comfort, whether that is interpreted in a man's suit or a track suit.
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