A Quote by Virginia Postrel
Aesthetics has become too important to be left to the aesthetes. To succeed, hard-nosed engineers, real estate developers, and MBAs must take aesthetic communication, and aesthetic pleasure, seriously. We, their customers, demand it.
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Schiller never wanted to replace the moral with the aesthetic but he did want the moral to be one part of the aesthetic. He rightly notes the aesthetic dimension of morality, that we use concepts like grace to characterise people who do their duty with ease and pleasure.
Beauty has never been an important topic in the writings of the major psychologists. In fact, for Jung, aesthetics is a weak, early stage of development. He follows the Germanic view that ethics is more important than aesthetics, and he draws a stark contrast between the two. Freud may have written about literature a bit, but an aesthetic sensitivity is not part of his psychology.
Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision.
There is a sinister anachronistic interpretation of the aesthetic state as some kind of totalitarian regime that puts aesthetic over moral standards; one associates it with national-socialism. But this has nothing to do with the romantics, whose ideal of the aesthetic state has much more to do with the republican tradition.
What goes on in abstract art is the proclaiming of aesthetic principles... It is in our own time that we have become aware of pure aesthetic considerations. Art never can be imitation.
My aesthetic is not a Disney aesthetic at all, but when I met with the wonderful producers at Disney, they weren't looking for me to do their aesthetic. I'd already spent 20 years in the theater, so if they were going to hire me, they'd be hiring me for what I have to offer.
Aesthetic pleasure is not to be taken lightly; it's very important for the spirit and therefore the health.
The Puritan, of course, is not entirely devoid of aesthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely aesthetic emotion. But he fears this aesthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto.
Nothing is beautiful, only man: on this piece of naivete rests all aesthetics, it is the first truth of aesthetics. Let us immediately add its second: nothing is ugly but degenerate man - the domain of aesthetic judgment is therewith defined.
Art is not ideology. It is completely impossible to explain art on the basis of the homological relation that it is supposed to maintain with the real of history. The aesthetic process decentres the specular relation with which ideology perpetuates its closed infinity. The aesthetic effect is certainly imaginary; but this imaginary is not the reflection of the real, since it is the real of this reflection.
The Right-wingers everywhere take themselves too seriously, whether in the U.S. or the U.K. And, by the way, so does the Left. The Left can take itself a little too seriously as well.
We must have a new mythology, but it must place itself at the service of ideas, it must become a mythology of reason. Mythology must become philosophical, so that the people may become rational, and philosophy must become mythological, so that philosophers may become sensible. If we do not give ideas a form that is aesthetic, i.e., mythological, they will hold no interest for people.
I'm always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.
Beauty is the main positive form of the aesthetic assimilation of reality, in which aesthetic ideal finds it direct expression.
It's so important what you're doing in your life. It's tremendously important to the work, and no aesthetic theories take that into account.
Change is healthy and useful. It has to be fought for most of the time. It's not inevitable. It takes real leadership and real effort. But I think it's really important not to take yourself too seriously. Dwight Eisenhower used to have a rule that you should always take your job seriously but not yourself.
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