A Quote by Norma Kamali
Taste is an evolution and refinement of one’s personal likes and dislikes. This evolution takes place with a constant curiosity and interest in everything. The editing consequently refines the choices and defines taste.
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Conventional sports have undergone an evolution in training methods during the last fifty years. Curiosity and the inherent improvement brought about by competition have driven this evolution to a state of high refinement such that today's athletes have a very specialized approach to training at the elite levels.
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'm always trying to figure out what my taste is, what my likes and dislikes are.
A highly cultivated taste, a taste that is knowledgeable and eclectic, is likely to be exciting and provocative, a personal taste at its highest level.
If your choice enters into it, then taste is involved - bad taste, good taste, uninteresting taste. Taste is the enemy of art, A-R-T.
The discovery of the good taste of bad taste can be very liberating. The man who insists on high and serious pleasures is depriving himself of pleasure; he continually restricts what he can enjoy; in the constant exercise of his good taste he will eventually price himself out of the market, so to speak. Here Camp taste supervenes upon good taste as a daring and witty hedonism. It makes the man of good taste cheerful, where before he ran the risk of being chronically frustrated. It is good for the digestion.
The feeling of an evolution is a constant for every artist who is pursuing the search of refinement and enlargement of his/her own means of expression.
I think that style, taste, and choices in general are forged by everything that surrounds you - everything you see, taste, touch, smell and hear. So of course, my family has influenced me as a person and in my own style, but so have all the experiences that I went through as an individual.
We are conscious co-creators in the evolution of life. We have free will. And we have choices. Consequently our success is based on our choices, which are, in turn, totally dependent on our awareness.
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.
Just as the great oceans have but one taste, the taste of salt, so too there is but one taste fundamental to all true teachings of the way, and this is the taste of freedom.
Just as the great ocean has one taste, the taste of salt, so also this teaching and discipline has one taste, the taste of liberation.
Personal evolution has nothing to do with art, it's never. Art is a sine curve: dark and light change permanently, in cumulative radicalism. Art decides what to do. The choice of colors is made by the colors themselves. The evolution of art is the evolution of the future itself.
Evolution advances, not by a priori design, but by the selection of what works best out of whatever choices offer. We are the products of editing, rather than of authorship.
Evolution is promoted by its practitioners as more than mere science. Evolution is promulgated as an ideology, a secular religion - a full-fledged alternative to Christianity, with meaning and morality. I am an ardent evolutionist and an ex-Christian, but I must admit that in this one complaint - ...and Mr. Gish is but one of many to make it - the literalists are absolutely right. Evolution is a religion. This was true of evolution in the beginning, and it is true of evolution today.
Part of what makes a language 'alive' is its constant evolution. I would hate to think Britain would ever emulate France, where they actually have a learned faculty whose job it is to attempt to prevent the incursion of foreign words into the language. I love editing Harry with Arthur Levine, my American editor-the differences between 'British English' (of which there must be at least 200 versions) and 'American English' (ditto!) are a source of constant interest and amusement to me.
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