A Quote by Blaise Pascal

Beauty is a harmonious relation between something in our nature and the quality of the object which delights us. — © Blaise Pascal
Beauty is a harmonious relation between something in our nature and the quality of the object which delights us.
The experience of beauty is in the eye of the beholder, as they say. The artist's relation to the object of beauty, how the art makes that happen, is a whole other subject. Beauty is an event. Beauty is something that happens. There is no such thing as a beautiful object or a beautiful woman. These things do not come near it - the experience of beauty, the event of beauty. The anxiety about it is what makes it such a central concern of culture and makes us so interested in it.
The experience of beauty is in the eye of the beholder, as they say. The artist's relation to the object of beauty, how the art makes that happen, is a whole other subject. Beauty is an event. Beauty is something that happens. There is no such thing as a beautiful object or a beautiful woman.
There is a certain standard of grace and beauty which consists in a certain relation between our nature, such as it is, weak or strong, and the thing which pleases us. Whatever is formed according to this standard pleases us, be it house, song, discourse, verse, prose, woman, birds, rivers, trees, room, dress, and so on. Whatever is not made according to this standard displeases those who have good taste.
You may object that by speaking of simplicity and beauty I am introducing aesthetic criteria of truth, and I frankly admit that I am strongly attracted by the simplicity and beauty of mathematical schemes which nature presents us. You must have felt this too: the almost frightening simplicity and wholeness of the relationship, which nature suddenly spreads out before us.
A lot of ancient poetry sees in nature a reflection of human emotions, and in a post-industrialized era, once people have become more aware of the necessity of a more harmonious relation between man and nature, we need to build cities which can connect with human spiritual needs instead of being merely functional.
As far as life is concerned, there is no such thing as "Nature". There are only homes. Home is that environment to which the individual has become adapted; and almost everything is unnatural outside his range of adaptation. Harmonious equilibrium with nature is an abstract concept with a Platonic beauty but lacking the flesh and blood of life. It fails, in particular, to convey the creative emergent quality of human existence.
Looking for the essence of beauty is comprehending and appreciating that quality in an object which is fairer and better than only what our eyes see or our ears hear, whether that be a patch of blue in an overcast sky, the fleeting laughter from a voice we love, or something as unexpected as the rainbow colors in a spot of oil on the driveway.
The city of Chandigarh is planned to human scale. It puts us in touch with the infinite cosmos and nature. It provides us with places and buildings for all human activities by which the citizens can live a full and harmonious life. Here the radiance of nature and heart are within our reach.
The scientist does not study nature because it is useful to do so. He studies it because he takes pleasure in it, and he takes pleasure in it because it is beautiful. If nature were not beautiful it would not be worth knowing, and life would not be worth living. I am not speaking, of course, of the beauty which strikes the senses, of the beauty of qualities and appearances. I am far from despising this, but it has nothing to do with science. What I mean is that more intimate beauty which comes from the harmonious order of its parts, and which a pure intelligence can grasp.
There's a kind of dynamic quality about theater and that dynamic quality expresses itself in relation to, first of all, the environment in which it's being staged; then the audience, the nature of the audience, the quality of the audience.
Let us, then, take our compass; we are something, and we are not everything. The nature of our existence hides from us the knowledge of first beginnings which are born of the nothing; and the littleness of our being conceals from us the sight of the infinite. Our intellect holds the same position in the world of thought as our body occupies in the expanse of nature.
Let me define a garden as the meeting of raw nature and the human imagination in which both seek the fulfillment of their beauty. Every sign indicates that nature wants us and wishes for collaboration with us, just as we long for nature to be fulfilled in us. If our original state was to live in a garden, as Adam and Eve did, then a garden signals our absolute origins as well as our condition of eternity, while life outside the garden is time and temporality.
A successful object is one which exists beyond its own reality, which creates a dual (and not merely interactlve) relation (with its users also), a relation of contradiction, misappropriation and destablilisation.
Electrical science has disclosed to us the more intimate relation existing between widely different forces and phenomena and has thus led us to a more complete comprehension of Nature and its many manifestations to our senses.
For after all what is man in nature? A nothing in relation to infinity, all in relation to nothing, a central point between nothing and all and infinitely far from understanding either. The ends of things and their beginnings are impregnably concealed from him in an impenetrable secret. He is equally incapable of seeing the nothingness out of which he was drawn and the infinite in which he is engulfed.
As we speak of poetical beauty, so ought we to speak of mathematical beauty and medical beauty. But we do not do so; and that reason is that we know well what is the object of mathematics, and that it consists in proofs, and what is the object of medicine, and that it consists in healing. But we do not know in what grace consists, which is the object of poetry.
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