A Quote by Joyce Carol Oates
Beauty is a question of optics. All sight is illusion.
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It's great we have a female Thor. It's great we have a black Captain America. But those are just optics; it's optics of change... Unless you have the structural diversity, the structural change behind the scenes - more women, more people of color actually calling the shots and editing these books - those optics won't last.
Beauty captivates the flesh in order to obtain permission to pass right through to the soul. . . . When the feeling for beauty happens to be associated with the sight of some human being, the transference of love is made possible, at any rate in an illusory manner. But it is all the beauty of the world, it is universal beauty, for which we yearn.
Beauty is no material thing. Beauty cannot be copied. Beauty is the sensation of pleasure on the mind of the seer. No thing is beautiful. But all things await the sensitive and imaginative mind that may be aroused to pleasurable emotion at sight of them. This is beauty.
Beauty addresses itself chiefly to sight, but there is a beauty for the hearing too, as in certain combinations so words and in all kinds of music; for melodies and cadences are beautiful; and minds that lift themselves above the realm of sense to a higher order are aware of beauty in the conduct of life, in actions, in character, in the pursuits of the intellect; and there is the beauty of the virtues.
That's the question: is truth an illusion, or is illusion truth, or are they essentially the same? Myself, I don't care what anybody says about me as long as it isn't true.
Nirvana is a word that means enlightenment, being beyond the illusion of birth and death, the illusion of pain, the illusion of love, the illusion of time and life.
It is better to sit in appreciative contemplation of a world in which beauty is eternally supported on a foundation of ugliness: cut out the support, and beauty will sink from sight.
It was a very proper answer to him who asked why any map should be delighted with beauty, that it was a question that none but a blind man could ask; since any beautiful object doth so much attract the sight of all men, that it is in no man's power not to be pleased with it.
To do justice to the figure of Kafka in its purity and its peculiar beauty one must never lose sight of one thing: it is the purity and beauty of a failure.
Beauty crowds me till I die. Beauty, mercy have on me! Yet if I expire to-day Let it be in sight of thee!
The refining influence is the study of art, which is the science of beauty; and I find that every man values every scrap of knowledge in art, every observation of his own in it, every hint he has caught from another. For the laws of beauty are the beauty of beauty, and give the mind the same or a higher joy than the sight of it gives the senses. The study of art is of high value to the growth of the intellect.
The part of you that is unhampered by illusion-the illusion of time, the illusion of powerlessness, the illusion of impossibility-i s waiting for you to slow down and open up so that it can speak to your consciousness. In some unguarded moment, you will hear its wildly improbable words and know that they are guiding you home.
Though dissenters seem to question everything in sight, they are actually bundles of dusty answers and never conceived a new question. What offends us most in the literature of dissent is the lack of hesitation and wonder.
The word beauty is unavoidable … it accounts for my decision to photograph … There appeared a quality, beauty seemed the only appropriate word for it, in certain photographs, and I am compelled to live with the vocabulary of this new sight … through over many years [I] still find it embarrassing to use the word beauty, I fear I will be attacked for it, but I still believe in it.
If you can recognize illusion as illusion, it dissolves. The recognition of illusion is also its ending. Its survival depends on your mistaking it for reality.
Perfect beauty implies perfect simplicity, a quality that at first sight does not arouse the emotions which we feel before gigantic works, objects whose very disproportion constitutes an element of beauty.
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