When I go on a nostalgia trip it's not aesthetic. For me it's about trying to recapture the smell or the feeling of something that I've experienced in the past personally.
What always seems miraculous is when aesthetic necessities yield an insight which otherwise I would have missed.
The artist's task is not to alter the world as the eye sees it into a world of aesthetic reality, but to perceive the aesthetic reality within the actual reality. (On photographs by Helen Levitt)
I think it is the responsibility of critics to rely less strenuously on, to use a Hollywood phrase, "what they can live with," and more on an examination of the works of art from an aesthetic and clinical point of view.
Writing is the act of creation. Put words on page. Words to sentences, sentences to paragraphs, paragraphs to 7-book epic fantasy cycles with books so heavy you could choke a hippo. But don't give writing too much power, either. A wizard controls his magic; it doesn't control him. Push aside lofty notions and embrace the workmanlike aesthetic. Hammers above magic wands; nails above eye-of-newt. The magic will return when you're done. The magic is what you did, not what you're doing.
Wine is a chemical symphony. and The Aesthetic differentiation of Chesapeake Bay oysters and Olympia oysters occurs only after we can really differentiate them. This differentiation cannot occur until we are thoroughly familiar with both. The same is true with wines.
We are devastated to learn of the death of Alexander McQueen, one of the greatest talents of his generation. He brought a uniquely British sense of daring and aesthetic fearlessness to the global stage of fashion. In such a short career, Alexander McQueen's influence was astonishing - from street style, to music culture and the world's museums. His passing marks an insurmountable loss.
We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.
The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity.
On the aesthetic level, decolonized music presents itself as a direct antagonist to the traditional values promoted by the culture industry.
That aesthetic of the Star Wars universe: the do-it-yourself, hotrod ethic that George Lucas exported from his childhood, is exactly the same kind of soul behind what we do and build for the show. It may not look pretty, but it gets the job done.
Don't get seduced by your own stuff. Don't get high on your own supply. The hardest thing as a filmmaker is when you're watching a film that you've worked on for several years. You know every frame so intimately that holding lots of the objectivity of a new viewer who has just seen it for the first time is the hardest thing. Every aesthetic decision you make - and you make thousands of them every day, have to - in theory, must be done from you being a blank slate. You almost have to run a program, like a mind wipe, every time you watch the movie.
The novel may stimulate you to think. It may satisfy your aesthetic sense. It may arouse your moral emotions. But if it does not entertain you it is a bad novel.
Only as an aesthetic product can the world be justified to all eternity.
The principle objectives in life are love, the creation and enjoyment if aesthetic experience, the pursuit of knowledge. Love comes a long way first.
...aesthetic values are changed under the influence of sexual emotion; from the lover's point of view many things are beautiful which are unbeautiful from the point of view of him who is not a lover, and the greater the degree to which the lover is swayed by his passion the greater the extent to which his normal aesthetic standard is liable to be modified.
You could say that clinical depression is an incapacity to aesthetic response. It's like there's a constant agreement within ourselves, a kind of mutual understanding between ourselves and the world.
There's an aesthetic theme, which is cities at two o'clock in the morning. Not cities packed with people going out to clubs and dancing but desolate, empty streets. It's off-putting but there's a strange comfort to it as well, that desolate urban environment.
It's so important what you're doing in your life. It's tremendously important to the work, and no aesthetic theories take that into account.
It's [Into the Badlands] something that's very, very different and I think that's why it divided critics initially because they didn't understand it or get it. They didn't understand or have a knowledge of what we were trying to do. Bringing in the Asian martial arts aesthetic to American television. For us, these are the people who will make the show a hit or a failure in future seasons. So it's for us to respect them and interact and see what they have to say.
That became my aesthetic - a very Chekhovian, American realist aesthetic in the tradition of Raymond Carver, Richard Ford, and Tobias Wolff. The perfectible, realist story that had these somewhat articulate characters, a lot of silence, a lot of obscured suffering, a lot of manliness, a lot of drinking, a lot of divorces. As my writing went on, I shed a lot of those elements.
I'm kind of still down with Virg Woolf on this one: "women must kill the aesthetic ideal through which they themselves have been 'killed' into art."
I think that there is a purity aesthetic, like "I just make art because I'm an artist and I can't help it. I don't care what the critics say." But different mediums have a different relationship with the public. If you're in a performing medium it's hard not to place some weight on whether or not people come to your shows, or whether or not they're enjoying them.
Does the unmistakeable intent of Versailles to proclaim dominion over nature destroy its aesthetic appeal, as Schopenhauer thought? Does the greenness of the lawn lose its allure when we learn how much water, sorely needed elsewhere, it uses? And historical shifts in garden taste - from formal, 'French' gardens to 'Capability' Brown's landscapes, for instance, or from the elaborate gardens of imperial Kyoto to Zen 'dry' gardens - register important changes in philosophical or religious attitudes.
When you're spending that much time by yourself in your car looking at landscapes, it's desolate. Most of the other people around you are invisible in their own cars. You're driving past houses where maybe once in a while somebody is out, but that's about it. So I was interested in that aesthetic and I decided I wanted to write an apocalyptic narrative, but the more I thought of it, it seemed bizarre and untenable to me to pick one, so I just didn't.
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