Now the work of art also represents a state of final equilibrium, of accomplished order and maximum relative entropy, and there are those who resent it. But art is not meant to stop the stream of life. Within a narrow span of duration and space the work of art concentrates a view of the human condition; and sometimes it marks the steps of progression, just as a man climbing the dark stairs of a medieval tower assures himself by the changing sights glimpsed through its narrow windows that he is getting somewhere after all.

The least touchable object in the world is the eye.

The dance, just as the performance of the actor, is kinesthetic art, art of the muscle sense. The awareness of tension and relaxation within his own body, the sense of balance that distinguishes the proud stability of the vertical from the risky adventures of thrusting and falling--these are the tools of the dancer.

The line that describes the beautiful is elliptical. It has simplicity and constant change. It cannot be described by a compass, and it changes direction at every one of its points.

Entropy theory is indeed a first attempt to deal with global form; but it has not been dealing with structure. All it says is that a large sum of elements may have properties not found in a smaller sample of them.

At one of the annual conventions of the American Society for Aesthetics much confusion arose when the Society for Anesthetics met at the same time in the same hotel.

Seeing consists of the grasping of structural features rather than the indiscriminate recording of detail.