Quotes About Aesthetic

Originality is another criterion of aesthetic value. We may formulate an originality principle, according to which highly valuable works of art provide hitherto unavailable insights.... Notice that, although originality is a necessary condition of high aesthetic value, it is far from a sufficient condition. Many original works have little or no aesthetic value. An artwork may present a novel but uninteresting perspective, or one that is original but wrong.

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.

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.

That's what I like about the idea of the aesthetic experience, the idea of both enjoying looking at works of art and how they kind of talk to you, and also the process of making art, getting back to that idea of the aesthetic experience of making art is very important, It's another way of thinking. Instead of just using your brain, you're using your hands to think with. They're different connections, the brain that comes through the fingertips as opposed that comes through the eyes and ears.

When I say Afro-American aesthetic, I'm not just talking about the United States, I'm talking about the Americas. People in the Latin countries read my books because they share the same international aesthetic that I'm into and have been into for a long time. And it's multicultural.

Aesthetic racism is almost always a sign of inexperience. Those who have not made their way far enough into the world of amorous delights judge women only by what can be seen. But those who really know women understand that the eye reveals only a minute fraction of what a woman can offer us. When God bade mankind be fruitful and multiply, Doctor, He was thinking of the ugly as well as of the beautiful. I am convinced I might add, that the aesthetic criterion does not come from God but from the devil. In paradise no distinction was made between ugliness and beauty.

Nothing is beautiful, only man: on this piece of naivete rests all aesthetics, it is the first truth of aesthetics. Let us immediately add its second: nothing is ugly but degenerate man - the domain of aesthetic judgment is therewith defined.

The aesthetic discussion of photography is dominated by the concept of time. Photographs appear as devices stopping time and preserving fragments of the past, like flies in amber.

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.

[T]he more one is conscious of one's political bias, the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.

In New York, the impact of these concentrated superskyscrapers on street scale and sunlight, on the city's aniquated support systems, circulation, and infrastructure, on its already tenuous livability, overrides any aesthetic. ... Art becomes worthless in a city brutalized by overdevelopment.

It is so fatally easy to confuse an aesthetic appreciation of the spiritual life with the life itself-to dream that you have waked, washed, and dressed and then to find yourself still in bed.

The aesthetic event is something as evident, as immediate, as indefinable as love, the taste of fruit, of water. We feel poetry as we feel the closeness of a woman, or as we feel a mountain or a bay. If we feel it immediately, why dilute it with other words, which no doubt will be weaker than our feelings?

Old stories would tell how Weavers would kill each other over aesthetic disagreements, such as whether it was prettier to destroy an army of a thousand men or to leave it be, or whether a particular dandelion should or should not be plucked. For a Weaver, to think was to think aesthetically. To act - to Weave - was to bring about more pleasing patterns. They did not eat physical food: they seemed to subsist on the appreciation of beauty.

The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.

Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.

My first few weeks in America are always miserable, because the tastes I am cursed with are all of a kind that cannot be gratified here, and I am not enough in sympathy with our gross public to make up for the lack on the aesthetic side. One's friends are delightful; but we are none of us Americans, we don't think or feel as the Americans do, we are the wretched exotics produced in a European glass-house, the most displaced and useless class on earth!

They gutted the book, making an action movie for 15-25 year olds. Tolkien became...devoured by his popularity and absorbed by the absurdity of the time. The gap widened between the beauty, the seriousness of the work, and what it has become is beyond me. This level of marketing reduces to nothing the aesthetic and philosophical significance of this work.

My aesthetic is probably closer to a 15-year-old's than my dad's, but I get his conviction.

I don't think I was ever thinking critically about my aesthetic, I think it's enough when you're little just to understand that you can give yourself the permission to try and see things differently or create something original, even though you probably won't make anything original for a really long time.

All art preserves mysteries which aesthetic philosophers tackle in vain.

The good designer aims at a perfect fusion of the various considerations which enter into his design. He aims at an untortured unity-a direct whole. He arranges his levels consciously or subconsciously, adhearing to the requisites of the problem he is asked to solve or to his own inclination. Some designers see total act through a disc of aesthetic considerations-others, more practical minded, may put economic considerations at top level.

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.

It's just plain learning something that you didn't know. There is a real aesthetic experience in being dumbfounded.

To live well is to live in harmony with ourselves, others and nature, and that idea of harmony is, of course, an aesthetic one.

If you're anxious to shine in the high aesthetic line as a man of culture rare, you must get up all the germs of the transcendental terms, and plant them everywhere.

It's not so much a philosophy as much as it is a pace. We need to be personally involved with every aspect of the records including the artwork, we want everything to have a similar aesthetic.

Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'

Commercial roadways in communities that lack zoning laws, for example, are often an aesthetic nightmare not because of insufficient competition, and not because merchants are stupid or lack taste. Rather, the problem is that any individual merchant's sign won't be noticed unless it's bigger and more garish than those of rival merchants.

It seems to me the book has not just aesthetic values - the charming little clothy box of the thing, the smell of the glue, even the print, which has its own beauty. But there's something about the sensation of ink on paper that is in some sense a thing, a phenomenon rather than an epiphenomenon. I can't break the association of electric trash with the computer screen. Words on the screen give the sense of being just another passing electronic wriggle.

Elegance? It may seem odd to non-scientists, but there is an aesthetic in software as there is in every other area of intellectual endeavour. Truly great programmers are like great poets or great mathematicians - they can achieve in a few lines what lesser mortals can only approach in three volumes

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.

I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan’s work. Like Andy, Ryan’s finger is so on the pulse of culture that he’s ahead of culture. Their aesthetic and their vision of the world are very similar.

The process of preparing programs for a digital computer is especially attractive, not only because it can economically and scientifically rewarding, but also because it can be an aesthetic experience much like composing poetry or music.

Mathematics as an expression of the human mind reflects the active will, the contemplative reason, and the desire for aesthetic perfection. Its basic elements are logic and intuition, analysis and construction, generality and individuality. Though different traditions may emphasize different aspects, it is only the interplay of these antithetic forces and the struggle for their synthesis that constitute the life, usefulness, and supreme value of mathematical science.

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.

There's always a joy in newness as a painter, and in sub-Saharan Africa, I encountered different realities with regard to light and how it bounces across the skin. The way that blues and purples come into play. In India and Sri Lanka, it was no different. It became a moment in which I had an opportunity to learn as a painter how to create the body in full form, and that's a very material and aesthetic thing. This is not conceptual. It's all an abstraction.

When I was trying to create this so-called Lav Diaz verité, it just happened. At some point, I became very comfortable with the one frame, with the single take. It just happened. I didn't plan it. I was looking for my own aesthetic, my own perspective, my own voice, and it happened.

We can tolerate great diversity in our aesthetic beliefs, but we can't tolerate much diversity in our moral beliefs.

How can we say nobody's perfect if there is no perfect to compare to? Perfection implies that there really is a right and wrong way to be. And what type of perfection is the best type? Moral perfection? Aesthetic? Physiological? Mental?

I was once described by one of my critics as an aesthetic fascist.

I'm not interested in doing the same kind of picture over and over again. I pose problems for myself. Sometimes they are aesthetic problems and sometimes they are logistical problems.

All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us untouched, unaffected, unaltered. The medium is the message. Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments. All media are extensions of some human faculty - psychic or physical.

After illuminating the work of Rembrandt, Caravaggio, Louise Bourgeois, Balthus, and other modern artists, Mieke Bal again demonstrates her extraordinary flair for cultural criticism in taking on the work of Doris Salcedo, exploring the philosophical and aesthetic stakes of this committed political art and the relation between beauty, violence, and memory. A tour de force.

All movements begin and end, and all have been inspired by others that have come before them. They evolve and then deconstruct again. There are very few designers whose aesthetic I'm drawn to on a personal level. However, that's different from the ways in which I might dress the characters in my films.

To the Christian, love is the works of love. To say that love is a feeling or anything of the kind is an unchristian conception of love. That is the aesthetic definition and therefore fits the erotic and everything of that nature. But to the Christian love is the works of love. Christ's love was not an inner feeling, a full heart and what not, it was the work of love which was his life.

One of the many ways of contesting level-zero, and one of the best, is to take photographs, an activity in which one should start becoming adept very early in life, teach it to children since it requires discipline, aesthetic education, a good eye and steady fingers.

The Unexpected stalks a farm in big boots like a vagrant bent on havoc. Not every farmer is an inventor, but the good ones have the seeds of invention within them. Economy and efficiency move their relentless tinkering and yet the real motive often seems to be aesthetic. The mind that first designed a cutter bar is not far different from a mind that can take the intractable steel of an outsized sickle blade and make it hum in the end. The question is how to reduce the simplicity that constitutes a problem ("It's simple; it's broke.") to the greater simplicity that constitutes a solution.