A Quote by John Walford
In this same tradition, beauty is inextricably bound up with the principles of order and harmony believed to underlie the cosmos. Artists in the Classical tradition, inspired by Platonic idealism, strove to create images that represented not the world of particulars-with all its defects-but an ideal image conceived in the mind, which was taken as representing some absolute, pure, ideal form of which all particular, material forms are but a mere shadow.
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I would like my work to be recognized as being in the classical tradition (Coptic, Egyptian, Greek, Chinese), as representing the Ideal in the mind. Classical art cannot possibly be eclectic. One must see the ideal in one's own mind. It is like a memory - an awareness -of perfection.
My true function within a society which embraces all of us is to continue an age-old tradition. This tradition is to create images from the depths of the imagination and to give them form, whether visual, intellectual or musical.
I have cherished the ideal of a democratic and free society in which all persons live together in harmony and with equal opportunities. It is an ideal which I hope to live for and to achieve. But if needs be, it is an ideal for which I am prepared to die.
The aesthetic dimension of the ideal state comes out in the idea of harmony, which is the classical idea of beauty as "concinnitas" or "unity-in-variety".
I would define morality as enlightened self-interest...That old Platonic ideal that there are certain pure moral forms just isn't where we are.
In the Native American tradition... a man, if he's a mature adult, nurtures life. He does rituals that will help things grow, he helps raise the kids, and he protects the people. His entire life is toward balance and cooperativeness. The ideal of manhood is the same as the ideal of womanhood. You are autonomous, self-directing, and responsible for the spiritual, social and material life of all those with whom you live.
During my lifetime I have dedicated myself to this struggle of the African people. I have fought against white domination, and I have fought against black domination. I have cherished the ideal of a democratic and free society in which all persons live together in harmony and with equal opportunities. It is an ideal which I hope to live for and to achieve. But if needs be, it is an ideal for which I am prepared to die.
... I have developed, over the years, some sense of the difference between real horseshit that you can step in and Ideal Platonic Horseshit that exists, evidently, only in the contemplation of those who worship such abstractions; and I continue to notice that Natural Law bears an uncanny resemblance to ideal Platonic Horseshit.
The error which underlies the very existence of this debate is that there is some kind of perfect Platonic form of the computer language, which some real languages reflect more perfectly than others. Plato was brilliant for his time but reality is not expressable in terms of arbitrary visions of perfection, and furthermore, one programmer's ideal is often another's hell.
Our memories are convenient lies we create, cribbing images from others' experiences. We discard the personal specifics which don't conform to the ideal conventional beauty created by art directors and cinematographers.
When Marx, in the Theses on Feuerbach, says that only idealism up to now has understood the active side of material Praxis, what he says is more true of Fichte than of any other philosopher in the classical German tradition.
In the Classical tradition, deriving from ancient Greece and Rome, beauty was perceived as the means by which the artist captured the viewer's eye in order to engage the viewer with truth and so inspire goodness.
Those who feel guilty contemplating "betraying" the tradition they love by acknowledging their disapproval of elements within it should reflect on the fact that the very tradition to which they are so loyal—the "eternal" tradition introduced to them in their youth—is in fact the evolved product of many adjustments firmly but delicately made by earlier lovers of the same tradition.
Archimedes was my ideal. I admired the works of artists, but to my mind, they were only shadows and semblances. The inventor, I thought, gives to the world creations which are palpable, which live and work.
Every religious tradition on which we draw has a reverence for life. We are a part of an intricate web of life. Every tradition on which we draw teaches that the ultimate expression of our spirituality is our action. Deep spirituality leads to action in the world. A deep reverence for life, love of nature's complex beauty and sense of intimate connection with the cosmos leads inevitably to a commitment to work for environmental and social justice.
When I speak of the aspiration towards the beautiful, of the ideal as the ultimate aim of art, which grows from a yearning for that ideal, I am not for a moment suggesting that art should shun the 'dirt' of the world. On the contrary! the artistic image is always a metonym, where one thing is substituted for another, the smaller for the greater. To tell of what is living, the artist uses something dead; to speak of the infinite, he shows the finite. Substitution... the infinite cannot be made into matter, but it is possible to create an illusion of the infinite: the image.
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