The starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion we call works of art.
We’re surrounded by anonymous, poorly made objects. It’s tempting to think it’s because the people who use them don’t care - just like the people who make them. But what we’ve shown is that people do care. It’s not just about aesthetics. They care about things that are thoughtfully conceived and well made. We make and sell a very, very large number of (hopefully) beautiful, well-made things. our success is a victory for purity, integrity - for giving a damn.
Just as eunuchs will never know aesthetics as applied to the selection of beautiful women, so neither will pure rationalists ever know ethics, nor will they ever succeed in defining happiness, for happiness is a thing that is lived and felt, not a thing that is reasoned or defined.
But aesthetics is not religion, and the origins of religion lie somewhere completely different. They lie anyway, these roses smell too sweet and the deep roar of the breaking waves is too splendid, to do justice to such weighty matters now.
Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.
It is a mistake to suppose, with some philosophers of aesthetics, that art and poetry aim to deal with the general and the abstract. This misconception has been foisted upon us by mediaeval logic. Art and poetry deal with the concrete of nature, not with separate 'particulars,' for such rows do not exist.
For it is a mad world and it will get madder if we allow the minorities, be they dwarf or giant, orangutan or dolphin, nuclear-head or water-conversationalist, pro-computerologist or Neo-Luddite, simpleton or sage, to interfere with aesthetics. The real world is the playing ground for each and every group, to make or unmake laws. But the tip of the nose of my book or stories or poems is where their rights end and my territorial imperatives begin, run and rule.
True works of art contain their own theory and give us the measurement according to which we should judge them.
The romantic temper, so often and so grievously misinterpreted and not more by others than by its own, is an insecure, unsatisfied, and impatient temper which sees no fit abode here for its ideals and chooses therefore to behold them under insensible figures. As a result of this choice it comes to disregard certain limitations. Its figures are blown to wild adventures, lacking the gravity of solid bodies, and the mind that has conceived them ends by disowning them.
For me, Romanticism is the most recent and the most current expression of beauty.
The way in which modern German poetry follows theories reminds me of pupils who, scolded by their teacher for their insubordination, justify themselves by saying that they invented new rules of propriety according to which they are quite well- behaved.
If you refuse to study anatomy, the arts of drawing and perspective, the mathematics of aesthetics, and the science of color, let me tell you that this is more a sign of laziness than of genius.
At its best, [Japanese cooking] is inextricably meshed with aesthetics, with religion, with tradition and history. It is evocative of seasonal changes, or of one's childhood, or of a storm at sea.
It's depressing to see blacks wanting to dive into the mainstream of American commercial life. They come from a magnificent African culture based on aesthetics, and they all want to become fort builders like the vicious people who originally enslaved them.
As a result of reading science fiction when I was eight, I grew up with an interest in music, architecture, city planning, transportation, politics, ethics, aesthetics on any level, art...it's just total! It's a complete commitment to the whole human race on all the Earth. That's what science fiction is about.
Every artist, writers included, have an ethics and an aesthetics, whether they can formulate them or not. I happen to think that it is good to be able to formulate - it is good to know what you are doing and to be able to talk about it.
I think that's the core of black aesthetics: the ability to improvise. That is what has enabled our [black people's] survival.
In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style. The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste. There are few violations of this taste, and there is exemplary architectural consistency. Paris has defined the aesthetics of a sophisticated urban culture.
I claim that every woman in this century and in our culture sphere who has ventured into male-dominated institutions - 'literature' and 'aesthetics' are such institutions - must have experienced the desire for self-destruction.
The connection between romantic politics and aesthetics is plain in Schiller's and Novalis's concept of the aesthetic or poetic state.
The term "black metal" has become a lot looser, or can include a larger range of sounds and extra-musical aesthetics, not just Satan and power chords.
There's no particular evidence that any of the lower mammals or any of the other animals have any interest in aesthetics at all. But Homo sapiens does, always has and always will.
The course hitherto pursued in musical aesthetics has nearly always been hampered by the false assumption that the object was not so much to inquire into what is beautiful in music as to describe the feelings which music awakens.
This is not about the aesthetics: there is a rule in a society: "Whoever you deal with, makes you become them", therefore watching the efforts of para-athletes can bring the temporary mobility disorder. If we want humanity to develop, the television should show us people who are healthy, beautiful, strong, honest and wise - not perverts, murderers, weaklings, losers, idiots or invalids.
When I would present my work as a student, often I would hear, "Your project is too formal" - it's too form-based; it's too form-driven. Which is kind of shocking for a visual practice, for someone to say something discouraging about a focus on an exploration of aesthetics.
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