A Quote by William Carlos Williams
But all art is sensual and poetry particularly so. It is directly, that is, of the senses, and since the senses do not exist without an object for their employment all art is necessarily objective. It doesn't declaim or explain, it presents.
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Art can heal it if art is allowed to exist. And if art is slowly wiped off the face of the planet, then what tools do we have to reach people, to appeal to them and all of their senses?
Art is about the messy and marvelous business of coming to your senses - and also, to the senses of the world.
Sensual is everything that refers to the delight of the senses. And that's what artists do, is stimulate the senses in any possible way.
We have five senses in which we glory and which we recognize and celebrate, senses that constitute the sensible world for us. But there are other senses - secret senses, sixth senses, if you will - equally vital, but unrecognized, and unlauded ... unconscious, automatic.
He who without the Muse's madness in his soul comes knocking at the door of poesy and thinks that art will make him anything fit to be called a poet, finds that the poetry which he indites in his sober senses is beaten hollow by the poetry of madmen.
No nation has ever produced great art that has not made a high art of cookery, because art appeals primarily to the senses.
Beauty satisfies the senses completely and at the same time uplifts the soul. That which gratifies the senses is pleasant, and that which uplifts the soul without being sensual in the least is good, true, right, anything you like, but not beautiful.
We should find inspiration in the senses that already exist and try to copy them and apply them to us. If we compare our senses to the senses of other animals and species that we don't have, we can get ideas for new abilities that we can adapt to humans by applying cybernetics to the body.
Inspiration in Science may have to do with ideas, but not in Art. In art it is in the senses that are instinctively responsive to the medium of expression.
The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more, making it purer and emptier, more absolute and more exclusive - non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective. the only and one way to say what abstract art or art-as-art is, is to say what it is not.
A painting or sculpture not modelled on any real object is every bit as concrete and sensuous as a leaf or a stone... but it is an incomplete art which privileges the intellect to the detriment of the senses.
To the question, ‘Is the cinema an art?’ my answer is, ‘what does it matter?’... You can make films or you can cultivate a garden. Both have as much claim to being called an art as a poem by Verlaine or a painting by Delacroix… Art is ‘making.’ The art of poetry is the art of making poetry. The art of love is the art of making love... My father never talked to me about art. He could not bear the word.
If reality impacted directly on our senses and our consciousness, if we could have direct communication between the material world and ourselves, art would be unnecessary.
there are other senses - secret senses, sixth senses, if you will - equally vital, but unrecognized, and unlauded.
Senses empower limitations, senses expand vision within borders, senses promote understanding through pleasure.
Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself.
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