A Quote by Howard Gardner
Beauty reveals itself in the course of an experience with an object.
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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.
Without an allegiance to beauty, art degenerates into a caricature of itself. It is beauty that animates aesthetic experience, making it so seductive; but aesthetic experience itself degenerates into a kind of fetish or idol if it is held up as an end in itself, untested by the rest of life.
To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguises.
Beauty has as many meanings as man has moods. Beauty is the symbol of symbols. Beauty reveals everything, because it expresses nothing. When it shows us itself, it shows us the whole fiery-coloured world.
Truth reveals itself in beauty.
The poetical impression of any object is that uneasy, exquisite sense of beauty or power that cannot be contained within itself; that is impatient of all limit; that (as flame bends to flame) strives to link itself to some other image of kindred beauty or grandeur; to enshrine itself, as it were, in the highest forms of fancy, and to relieve the aching sense of pleasure by expressing it in the boldest manner.
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.
The assumption behind any theology that I've ever been familiar with is that there is a profound beauty in being, simply in itself. Poetry, at least traditionally, has been an educing of the beauty of language, the beauty of experience, the beauty of the working of the mind, and so on. The pastor does, indeed, appreciate it.
Leaves are the Greek, flowers the Italian, phase of the spirit of beauty that reveals itself through the flora of the globe.
God is not a person; God is manifestation itself. We think that God is a superhuman person, but God is not a person. He is not a subject. We can never experience God in a subject/object experience. God is what makes a subject/object experience possible. We can never see God or experience God as separate from ourselves. God is a being but there is no division.
Meditation speaks. It speaks in silence. It reveals. It reveals to the aspirant that matter and spirit are one, quantity and quality are one, the immanent and the transcendent are one. It reveals that life can never be the mere existence of seventy or eighty years between birth and death, but is, rather, Eternity itself.
Beyond the beauty of external forms, there is more here: something that cannot be named, something ineffable, some deep, inner, holy essence. Whenever and wherever there is beauty, this inner essence shines through somehow. It only reveals itself to you when you are present.
For those to whom a stone reveals itself as sacred, its immediate reality is transmuted into supernatural reality. In other words, for those who have a religious experience all nature is capable of revealing itself as cosmic sacrality.
I try to write into the heart of experience. Then, through the experience of the writing, that heart reveals itself to me. To write it down for others, as a door to go through it they choose, is the price of the experience, the price of the ticket. This is the demand that God, if you like, puts on you for being an artist.
So that is the design process or the creative process. Start with a problem, forget the problem, the problem reveals itself or the solution reveals itself and then you reevaulate it. This is what you are doing all the time.
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