A Quote by Elias James Corey
To a synthetic chemist, the complex molecules of nature are as beautiful as any of her other creations. The perception of that beauty depends on the understanding of chemical structures and their transformations, and, as with a treasured work of art, deepens as the subject is studied, perhaps even to a level approaching romance.
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He treasured her, treasured her tears, treasured her love for others. Her heart might even be big enough to fill that empty space in his own chest. Perhaps she could be his heart as well.
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.
[G]enes make enzymes, and enzymes control the rates of chemical processes. Genes do not make "novelty seeking" or any other complex and overt behavior. Predisposition via a long chain of complex chemical reactions, mediated through a more complex series of life's circumstances, does not equal identification or even causation.
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.
We may, I believe, anticipate that the chemist of the future who is interested in the structure of proteins, nucleic acids, polysaccharides, and other complex substances with high molecular weight will come to rely upon a new structural chemistry, involving precise geometrical relationships among the atoms in the molecules and the rigorous application of the new structural principles, and that great progress will be made, through this technique, in the attack, by chemical methods, on the problems of biology and medicine.
Nature holds the beautiful, for the artist who has the insight to extract it. Thus, beauty lies even in humble, perhaps ugly things, and the ideal, which bypasses or improves on nature, may not be truly beautiful in the end.
The task of art is to take hold of the shining, the radiance, the manifestation, of that which as spirit weaves and lives throughout the world. All genuine art seeks the spirit. Even when art wishes to represent the ugly, the disagreeable, it is concerned, not with the sensory - disagreeable as such, but with the spiritual which proclaims its nature in the midst of unpleasantness. If the spiritual shines through the ugly, even the ugly becomes beautiful. In art it is upon a relation to the spiritual that beauty depends.
Beauty is on one level pure surface, and on the other hand, it's the most complex subject that we can touch upon because it says everything about us as people. It's a subject we very quickly begin to argue about. I think that's so interesting.
In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.
The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, but to the pictorial representation. In this way and in no other does art overcome the ugly without avoiding it.
Everything that depends on the action of nature is by nature as good as it can be, and similarly everything that depends on art or any rational cause, and especially if it depends on the best of all causes.
All the beautiful orders of architecture and creations of the pencil, all the conceptions of the beautiful in nature and art and humanity, are inventions extorted, as it were, from the mind to extend and increase the pleasures of sense.
No-one who has a real understanding of the art of painting attaches any importance to what we call the subject of a picture - what is represented. To one who feels the language of pictorial form, all depends on how it is presented, nothing on what.
Whenever Nature's bounty is in danger of exhaustion, the chemist has sought for a substitute. The conquest of disease has made great progress as a result of your efforts. Wherever we look, the work of the chemist has raised the level of our civilization and has increased the productive capacity of the nation. Waste materials, formerly cast aside, are now being utilized.
It is untrue that fiction is nonutilitarian. The uses of fiction are synonymous with the uses of literature. They include refreshment, clarification of life, self-awareness, expansion of our range of experiences, and enlargement of our sense of understanding and discovery, perception, intensification, expression, beauty , and understanding. Like literature generally, fiction is a form of discovery, perception, intensification, expression, beauty, and understanding. If it is all these things, the question of whether it is a legitimate use of time should not even arise.
I view all art as an effort to translate brain concepts into a work. These brain concepts are synthetic ones - the result of many experiences. But a single work of art, or even a series of works, more often than not cannot translate these synthetic concepts adequately. Yves Saint Laurent once said that he suffered greatly when creating. He is not alone in that. Most artists do the same and say as much.
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