Philosophy

"Scientific understanding is often beautiful, a profoundly aesthetic experience which gives pleasure not unlike the reading of a great poem."

""But a man may then imagine in your work what he pleases, what you never meant!" Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things: what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time with things that came from thoughts beyond his own."

"A’s papers contain a number of attempts to formulate an aesthetic philosophy of life. A single, coherent, aesthetic view of life can scarcely be carried out. B’s papers contain an ethical view of life. As I let this thought sink into my soul, it became clear to me that I might make use of it in choosing a title. The one I have selected precisely expresses this. The reader cannot lose very much because of this title, for while reading the book he may perfectly well forget the title. Then, when he has read the book, he may perhaps reflect upon the title. This will free him from all finite questions as to whether A was really convinced of his error and repented, whether B conquered, or if it perhaps ended by B going over to A’s opinion. In this respect these papers have no ending."

"People flock about the poet and say to him: do sing again; Which means, would that new sufferings tormented your soul, and: would that your lips stayed fashioned as before, for your cries would only terrify us, but your music is delightful. And the critics join them, saying: well done, thus must it be according to the laws of aesthetics. Why, to be sure, a critic resembles a poet as one pea another, the only difference being that he has no anguish in his heart and no music on his lips. Behold, therefore would I rather be a swineherd on Amager, and be understood by the swine than a poet, and misunderstood by men."

"Beauty expressed by the artist cannot awaken in us an emotion which is kinetic or a sensation which is purely physical. It awakens, or ought to awaken, or induces, or ought to induce, an esthetic stasis, an ideal pity or an ideal terror, a stasis called forth, prolonged, and at last dissolved by what I call the rhythm of beauty."

"There are certain figures in the arts who, although minor in accomplishment and equivocal in their aesthetic influence, are so completely representative of the spirit of their age...."

"My conception of phantasy, as a genuine art-form, is an extension rather than a negation of reality. Ordinary tales about a castle ghost or old-fashioned werewolf are merely so much junk. The true function of phantasy is to give the imagination a ground for limitless expansion, and to satisfy aesthetically the sincere and burning curiosity and sense of awe which a sensitive minority of mankind feel toward the alluring and provocative abysses of unplumbed space and unguessed entity which press in upon the known world from unknown infinities and in unknown relationships of time, space, matter, force, dimensionality, and consciousness. This curiosity and sense of awe, I believe, are quite basic among the sensitive minority in question; and I see no reason to think that they will decline in the future — for as you point out, the frontier of the unknown can never do more than scratch the surface of eternally unknowable infinity. But the truly sensitive will never be more than a minority, because most persons — even those of the keenest possible intellect and aesthetic ability — simply have not the psychological equipment or adjustment to feel that way. I have taken pains to sound various persons as to their capacity to feel profoundly regarding the cosmos and the disturbing and fascinating quality of the extra-terrestrial and perpetually unknown; and my results reveal a surprisingly small quota."

"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."

"In formulating a superman he is, on account of certain superior qualities inherent in him, exempted from the ordinary laws which govern ordinary men. He is not liable for anything he may do, whereas others would be, except for the one crime that it is possible for him to commit, to make a mistake."

"To make the material speak to man in the name of man, this is the aim and reality of art."

"There can be no question of selecting in any direction, but of a penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life. From this it follows that one must know all in order to be able to express all. It is the abolition of the aesthetic principle. We are not disillusioned because we have no illusions; we have never had any. What we have and what is our strength, is our joy in life; our interest in life, in all its amoral aspects. That is also the basis of our contemporary art. We do not even know the laws of aesthetics. That old idea of selection according to the beauty-principle Beautiful — Ugly, like to ethical Noble — Sinful, is dead for us, for whom the beautiful is also ugly and everything ugly is endowed with beauty. Behind the comedy and the tragedy we find only life's dramas uniting both; not in noble heroes and false villains, but people."

"In contrast to Breton we believe that — behind the false ethical and aesthetic, indeed metaphysical understandings which are out of contact with the vital interest of "man" — we find the real, the materialistic ethics and aesthetics. One includes our needs, the other is an expression of our sensual desires. It is exactly in order to liberate the true ethics and the true aesthetics that we make use of "automatism.""

"The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics."

"The law of aesthetics is the same as the law for our desire… Need says: "You must eat." Aesthetics says: "You can do it in a thousand different ways." Ethics: "You need a woman." Aesthetics: "Which woman do you want?" Thus the purpose of art is first and foremost ethical than aesthetic — even when the wish becomes need. The goal changes from the general to the individual from need to wish, from ethics to aesthetics."

"Aesthetic emotion puts man in a state favorable to the reception of erotic emotion. Art is the accomplice of love. Take love away and there is no longer art."

"What is the use of aesthetics if they can neither teach how to produce beauty nor how to appreciate it in good taste? It exists because it behooves rational human beings to provide reasons for their actions and assessments. Even if aesthetics are not the mathematics of beauty, they are the proof of the calculation."

"This is what aesthetics, development and progress depend upon: that we go out on thin ice."

"This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it. That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too — but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard."

"No government has the right to decide on the truth of scientific principles, nor to prescribe in any way the character of the questions investigated. Neither may a government determine the aesthetic value of artistic creations, nor limit the forms of literacy or artistic expression. Nor should it pronounce on the validity of economic, historic, religious, or philosophical doctrines. Instead it has a duty to its citizens to maintain the freedom, to let those citizens contribute to the further adventure and the development of the human race."

"Let architects sing of aesthetics that bring Rich clients in hordes to their knees; Just give me a home, in a great circle dome Where stresses and strains are at ease."

"To the man who loves art for its own sake...it is frequently in its least important and lowliest manifestations that the keenest pleasure is to be derived."

"It would be foolish to suggest that government is a good custodian of aesthetic goals. But, there is no alternative to the state."

"Most important of all, the film's dramatic requirements should always take precedence over the mere aesthetics of editing."

"Aesthetics is merely an undiscovered force, expressed by a yet un-devised mathematical equation."

"We have defined art as the life form and aesthetic art as the life renewal: the stimulating, animating, agitating, inspiring, inspirational, fermenting, fascinating fanaticising, explosive and outrageous: the renewal of the unknown."

"That said, we don't approach these improvements as only a surface aesthetic. The producers and we think that these men are helped with their inner needs when they pay attention to their externals."

"The story of English literature, viewed aesthetically, is one thing; the story of English writers is quite another. The price of contributing to the greatest literature the world has ever seen is often struggle and penury: art is still too often its own reward."

"All art preserves mysteries which aesthetic philosophers tackle in vain."

"I've handled colour as man should behave. With trained and sensitive eyes, you can recognise this double behavior of colour. And from this you may conclude that I consider ethics and aesthetics as one."

"I think we need the feminine qualities of leadership, which include attention to aesthetics and the environment, nurturing, affection, intuition and the qualities that make people feel safe and cared for."

"A huge part of keeping women in their place has to do with creating a really limited definition of what a 'real' woman is like. And a ton of that what-makes-a-woman nonsense is attached to motherhood. Apparently, by virtue of having ovaries and a uterus, women are automatic mommies or mommies-to-be."

"The definition of a beautiful woman is one who loves me."

"The purpose of art is expression. Of course this short sentence raises many questions. By itself it is uninformative. One should specify what art can and cannot express. One should specify what art should and should not express. These questions cannot be answered without having some notion of the nature of man. Here it is presupposed that God created man as essentially a rational being. This implies that man’s most valuable expressions are rational and intellectual. Therefore, although man can express emotion, by screaming “Ouch,” art becomes more human and valuable in proportion to its intellectual content. This does not deny that excellent technique may express triviality, evil, and insanity. It asserts, however, that what should be expressed is rational and intelligent."

"I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story."

"Like me, the great majority of Americans wish both to preserve the traditional definition of marriage and to oppose bias and intolerance directed towards gays and lesbians."

"One of the definitions of sanity is the ability to tell real from unreal. Soon we'll need a new definition."

"Once a definition of congruence is given, the choice of geometry is no longer in our hands; rather, the geometry is now an empirical fact."

"In this definition is contained the answer to the question as to what gives men the power to establish laws. What gives them the power to establish laws is the same thing which secures obedience to them - organized violence."

"We'll know homo superior when he comes — by definition. He'll be the one we won't be able to euth."

"I think that intelligence is such a narrow branch of the tree of life - this branch of primates we call humans. No other animal, by our definition, can be considered intelligent. So intelligence can't be all that important for survival, because there are so many animals that don't have what we call intelligence, and they're surviving just fine."

"Aesthetics - heightened expressions – served to separate off special objects and performances."

"If you add something to a painting, never let it be for aesthetic reasons. Only let it be for reasons of expression."

"It is precisely through one's learning about the total context in which the language of a subject is expressed that personality may be altered. If one learns how to speak history or mathematics or literary criticism, one becomes, by definition, a different person. The point to be stressed is that a subject is a situation in which and through which people conduct themselves, largely in language. You cannot learn a new form of conduct without changing yourself."

"Technopoly eliminates alternatives to itself in precisely the way Aldous Huxley outlined in Brave New World. It does not make them illegal. It does not make them immoral. It does not even make them unpopular. It makes them invisible and therefore irrelevant. And it does so by redefining what we mean by religion, by art, by family, by politics, by history, by truth, by privacy, by intelligence, so that our definitions fit its new requirements. Technopoly, in other words, is totalitarian technocracy."

"There are two levels of knowing a subject. There is the student who knows what the definition of a noun or a gene or a molecule is; then there is the student... who also knows how the definition was arrived at. There is the student who can answer a question; then there is the student who also knows what are the biases of the question. There is the student who can give you the facts; then there is the student who also knows what is meant by a fact. I am maintaining that, in all cases, it is the latter who has a "basic" education ; the former, a frivolous one."

"I guess the definition of a lunatic is a man surrounded by them."

"Definitions, like questions and metaphors, are instruments for thinking. Their authority rests entirely on their usefulness, not their correctness. We use definitions in order to delineate problems we wish to investigate, or to further interests we wish to promote. In other words, we invent definitions and discard them as suits our purposes. And yet, one gets the impression that. ... God has provided us with definitions from which we depart at the risk of losing our immortal souls. This is the belief that I have elsewhere called "definition tyranny," which may be defined... as the process of accepting without criticism someone else's definition of a word or a problem or a situation. I can think of no better method of freeing students from this obstruction of the mind than to provide them with alternative definitions of every concept and term with which they must deal in a subject. Whether it be "molecule," "fact," "law," "art," "wealth," "gene," or whatever, it is essential that students understand that definitions are hypotheses, and that embedded in them is a particular philosophical, sociological, or epistemological point of view."

"In the field of education. I refer to the meaning of the word "basic," …the meaning given to this word by some educators is not its "real" meaning. The word "basic,"… has been assigned certain meanings in order to further an education philosophy which is thought to be both sensible and effective. ...neither you nor I are under any obligation to accept their definition of what is "basic." …In short, the definition of something is usually the starting point of a dispute, not the settlement."

"I think 'having it all' is a phrase I don't particularly like. You need to have what you want. 'All' seems to me to be an imposed list, an imposed definition by society of what 'all' is supposed to be."

"Language education must include not only the serious study of what truth and falsehood mean in the context of a subject, but also what is meant by a fact, an inference, an assumption, a judgment, a generalization... In this way students will be learning both the language of a subject and the methods of inquiry in that subject, since inquiry consists of nothing else but the generation of questions, the invention of definitions and metaphors, the separation of facts from inferences, the forming of generalizations..."