A Quote by C. S. Lewis

This is our dilemma--either to taste and not to know or to know and not to taste--or, more strictly, to lack one kind of knowledge because we are in an experience or to lack another kind because we are outside it. [. . .] Of this tragic dilemma myth is the partial solution. In the enjoyment of a great myth we come nearest to experiencing as a concrete what can otherwise be understood only as an abstraction.
taste governs every free - as opposed to rote - human response. Nothing is more decisive. There is taste in people, visual taste, taste in emotion - and there is taste in acts, taste in morality. Intelligence, as well, is really a kind of taste: taste in ideas.
I think the Christ-myth stories make great stories, whether it's 'The Matrix' or 'Braveheart,' they all are tapping into some kind of deep myth in our DNA, and by myth I don't necessarily mean false.
Taste is more to do with manners than appearances. Taste is both myth and reality; it is not a style.
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.
You have to think of your brand as a kind of myth. A myth is a compelling story that is archetypal, if you know the teachings of Carl Jung. It has to have emotional content and all the themes of a great story: mystery, magic, adventure, intrigue, conflicts, contradiction, paradox.
For me, the tabletop is an easy way to eliminate the possibilities of chords, modes, melodies, and harmonies. It kind of confines you to this other sound sphere. I know anyone facing this kind of dilemma could always just find another instrument more suitable to their needs, such as a sampler or synthesizer, but I figured I have a guitar and amp so why not just use them?
Here, I think, lies our real dilemma. Probably we cannot, certainly we shall not, retrace our steps. We are tamed animals (some with kind, some with cruel, masters) and should probably starve if we got out of our cage. That is one horn of the dilemma. But in an increasingly planned society, how much of what I value can survive? That is the other horn.
In terms of the mechanics of story, myth is an intriguing one because we didn't make myth up; myth is an imprinture of the human condition.
I suppose that I was a kind of consultant for taste. Is it good taste? Or bad taste? I had an attention to detail, to what would tell best the story. Because many people get excited about the work and drift off from the story.
A myth is a fixed way of looking at the world which cannot be destroyed because, looked at through the myth, all evidence supports the myth.
Experts are able to identify patterns related to a specific problem relevant to their area of knowledge. But because nonexperts lack that base of knowledge, they are forced to rely more on their brain's ability for abstraction rather than specificity.
While I generally find that great myths are great precisely because they represent and embody great universal truths, the myth of romantic love is a dreadful lie. Perhaps it is a necessary lie in that it ensures the survival of the falling-in-love experience that traps us into marriage. But as a psychiatrist I weep in my heart almost daily for the ghastly confusion and suffering that this myth fosters. Millions of people waste vast amounts of energy desperately and futilely attempting to make the reality of their lives conform to the unreality of the myth.
I don't know when the idea of suicide first occurred to me. In some ways, it had been in the back of my mind for years. Yet, oddly, I would never have thought of it as an option. It was the perceived lack of options-the final, unacceptable solution to a grave and insoluble dilemma. I had always thought of it in the same way: If all else fails, if I have nowhere else to turn, I can do this.
A good taste in art feels the presence or the absence of merit; a just taste discriminates the degree--the poco piu and the poco meno. A good taste rejects faults; a just taste selects excellences. A good taste is often unconscious; a just taste is always conscious. A good taste may be lowered or spoilt; a just taste can only go on refining more and more.
The senses are a kind of reason. Taste, touch and smell, hearing and seeing, are not merely a means to sensation, enjoyable or otherwise, but they are also a means to knowledge - and are, indeed, your only actual means to knowledge.
Nothing will ever replace the experience of wandering haphazardly through a great bookstore, no matter how many algorithms are developed to find matches for our tastes. That's because not only is there no accounting for taste, there is no predicting it either.
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