A philosophy that begins in doubt assails what no-one believes, and invites us to nothing believable

When art becomes merely shock value, our sense of humanity is slowly degraded.

Were we to aim in every case at the kind of supreme beauty exemplified by Sta Maria della Salute, we should end with aesthetic overload. The clamorous masterpieces, jostling for attention side by side, would lose their distinctiveness, and the beauty of each of them would be at war with the beauty of the rest.

Modernist buildings exclude dialogue, and the void that they create around themselves is not a public space but a desertification

Beauty can be consoling, disturbing, sacred, profane; it can be exhilarating, appealing, inspiring, chilling. It can affect us in an unlimited variety of ways. Yet it is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend. If there are people who are indifferent to beauty, then it is surely because they do not perceive it.

Modern art was born from a desire to destroy kitsch.

It is not the truth of Marxism that explains the willingness of intellectuals to believe it, but the power that it confers on intellectuals, in their attempts to control the world. And since, as Swift says, it is futile to reason someone out of a thing that he was not reasoned into, we can conclude that Marxism owes its remarkable power to survive every criticism to the fact that it is not a truth-directed but a power-directed system of thought.