A Quote by Theodor Adorno
The work of art still has something in common with enchantment: it posits its own, self-enclosed area, which is withdrawn from the context of profane existence, and in which special laws apply.
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We have learned that beneath the surface of an ordinary everyday normal casual conscious existence there lies a vast dynamic world of impulse and dream, a hinterland of energy which has an independent existence of its own and laws of its own: laws which motivate all our thoughts and our actions.
Art is a creative effort of which the wellsprings lie in the spirit, and which brings us at once the most intimate self of the artist and the secret concurrences which he has perceived in things by means of a vision or intuition all his own, and not to be expressed in ideas and in words-expressible only in the work of art.
The business of every art is to bring something into existence, and the practice of an art involves the study of how to bring into existence something which is capable of having such an existence and has its efficient cause in the maker and not in itself.
All thought of something is at the same time self-consciousness [...] At the root of all our experiences and all our reflections, we find [...] a being which immediately recognises itself, [...] and which knows its own existence, not by observation and as a given fact, nor by inference from any idea of itself, but through direct contact with that existence. Self-consciousness is the very being of mind in action.
A text makes the word more specific. It really kind of defines it within the context in which it is being used. If it is just taken out of a context and presented as a sort of object, which is what - you know, which is a contemporary art idea, you know. It is like an old surrealist idea or an old cubist idea to take something out of context and put it in a completely different context. And it sort of gives it a different meaning and creates another world, another kind of world in which we enter.
My studio is arranged so that I have a comfortable seating area for meeting with clients, an office area beyond that and a painting area, which includes room for art students to sit and watch as I work.
Before games are played in common, no rules in the proper sense can come into existence. Regularities and ritualized schemas are already there, but these rites, being the work of the individual, cannot call forth that submission to something superior to the self which characterizes the appearance of any rule.
What is called "objectivity," scientific for instance (in which I firmly believe, in a given situation) imposes itself only within a context which is extremely vast, old, firmly established, or rooted in a network of conventions ... and yet which still remains a context.
What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life. That art is something which is specialized or which is done by experts who are artists. But couldn't everyone's life become a work of art? Why should the lamp or the house be an art object, but not our life?
Some people flinch when you talk about art in the context of the needs of society thinking you are introducing something far too common for a discussion of art. Why should art have a purpose and a use? Art shouldn't be concerned with purpose and reason and need, they say. These are improper. But from the very beginning, it seems to me, stories have indeed been meant to be enjoyed, to appeal to that part of us which enjoys good form and good shape and good sound.
I believe that both art and the human striving for cognitive comprehension are manifest forms of the grand game in which nothing more is stipulated than the game's rules; both art and actively solicited perceptions are but special cases of the recurring creative act to which we owe our existence.
In the Greek cities, it was reckoned profane, that any person should pretend a property in a work of art, which belonged to all who could behold it.
As I have already urged, the practice of that which is ethically best - what we call goodness or virtue - involves a course of conduct which, in all respects, is opposed to that which leads to success in the cosmic struggle for existence. In place of ruthless selfassertion it demands self-restraint; in place of thrusting aside, or treading down, all competitors, it requires that the individual shall not merely respect , but shall help his fellows. It repudiates the gladiatorial theory of existence. Laws and moral precepts are directed to the end of curbing the cosmic process.
It is in this mutual dependence of the functions and the aid which they reciprocally lend one another that are founded the laws which determine the relations of their organs and which possess a necessity equal to that of metaphysical or mathematical laws, since it is evident that the seemly harmony between organs which interact is a necessary condition of existence of the creature to which they belong and that if one of these functions were modified in a manner incompatible with the modifications of the others the creature could no longer continue to exist.
Holiness is the strength of the soul. It comes by faith and through obedience to God's laws and ordinances. God then purifies the heart by faith, and the heart becomes purged from that which is profane and unworthy. When holiness is achieved by conforming to God's will, one knows intuitively that which is wrong and that which is right before the Lord. Holiness speaks when there is silence, encouraging that which is good or reproving that which is wrong.
A scenario is suggested by which the universe and its laws could have arisen naturally from nothing. Current cosmology suggests that no laws of physics were violated in bringing the universe into existence. The laws of physics themselves are shown to correspond to what one would expect if the universe appeared from nothing. There is something rather than nothing because something is more stable.
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