A Quote by Roger Scruton
Wine is not just an object of pleasure, but an object of knowledge; and the pleasure depends on the knowledge.
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We have no knowledge, that is, no general principles drawn from the contemplation of particular facts, but what has been built up by pleasure, and exists in us by pleasure alone. The Man of Science, the Chemist and Mathematician, whatever difficulties and disgusts they may have had to struggle with, know and feel this. However painful may be the objects with which the Anatomist's knowledge is connected, he feels that his knowledge is pleasure; and where he has no pleasure he has no knowledge.
Pleasure is not the goal of man, but knowledge. Pleasure and happiness comes to an end. It is a mistake to suppose that pleasure is the goal. The cause of all the miseries we have in the world is that men foolishly think pleasure to be the ideal to strive for. After a time man finds that it is not happiness, but knowledge, towards which he is going, and that both pleasure and pain are great teachers.
An object of art creates a public capable of finding pleasure in its beauty. Production, therefore, not only produces an object for the subject, but also a subject for the object.
When Hume insists that taste is a matter of delicacy, that it is a matter of having a sensitivity to features of an object itself, he is very close to the rationalist doctrine. Hume was really a covert objectivist (or partial one) about aesthetic pleasure because that pleasure had to be based on the sensitivity to features in the object.
It is easy to see, though it scarcely needs to be pointed out, since it is involved in the fact that Reason is set aside, that faith is not a form of knowledge; for all knowledge is either a knowledge of the eternal, excluding the temporal and historical as indifferent, or it is pure historical knowledge. No knowledge can have for its object the absurdity that the eternal is the historical.
All knowledge is oriented toward some object and is influenced in its approach by the nature of the object with which it is pre-occupied. But the mode of approach to the object to be known is dependent upon the nature of the knower.
I do not mean to object to a thorough knowledge of the famous works we read. I object only to the interminable comments and bewildering criticisms that teach but one thing: there are as many opinions as there are men.
The speculative object and the practical object of philosophy as Naturalism, science and pleasure, coincide on this point: it is always a matter of denouncing the illusion, the false infinite, the infinity of religion and all of the theologico-erotic-oneiric myths in which it is expressed.
The theory which follows is entirely based on a calculus of pleasure and pain; and the object of economics is to maximize happiness by purchasing pleasure, as it were, at the lowest cost of pain.
The philosopher is in love with truth, that is, not with the changing world of sensation, which is the object of opinion, but with the unchanging reality which is the object of knowledge.
In architecture, to do anything beyond object form is often treated as something extra-disciplinary - something outside the discipline that has nothing to do with art. So I'm making it clear that this is an artistic choice. It's not everyone's artistic choice. Some people should choose only to make object form because that's what gives them pleasure. But there are people for whom aesthetic pleasure comes from doing something else, and why would you deny that choice? It's another autonomous choice.
Wine gives great pleasure, and every pleasure is of itself a good. and
A man should cultivate his mind so as to have that confidence and readiness without wine, which wine gives.
A good government implies two things: first, fidelity to the object of government, which is the happiness of the people; secondly, a knowledge of the means by which that object can be best attained.
This object that we hold in our hands, a book... that tactile pleasure, it's just not going to go away.
Knowledge, the object of knowledge and the knower are the three factors which motivate action; the senses, the work and the doer comprise the threefold basis of action.
Wonder — the enthusiastic ardor for the sublimity of being, for its worthiness to be an object of knowledge — promises to become the point of departure for genuine insight only where it has reached the stage in which the subject, overwhelmed by the object, has, as it were, fused into a single point or into nothing.
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