A Quote by William Shenstone
Offensive objects, at a proper distance, acquire even a degree of beauty.
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The taste of the more recent accessions to the leisure class proper and of the middle and lower classes still requires a pecuniary beauty to supplement the aesthetic beauty, even in those objects which are primarily admired for the beauty that belongs to them as natural growths.
Beauty is an inner phenomenon. Beauty is not in objects, not in people, not even in the eyes of the beholder. It lies in the heart of every person
A certain degree of ceremony is a necessary outwork of manners, as well as of religion; it keeps the forward and petulant at a proper distance, and is a very small restraint to the sensible and to the well-bred part of the world.
At 27 or so I thought, you know, I actually do really want to make money and have a proper life, and I don't want to be a loser. I know! I'll go to university and get a proper degree and maybe get a job in media... I went and did an English degree.
Our sight is the most perfect and most delightful of all our senses. It fills the mind with the largest variety of ideas, converses with its objects at the greatest distance, and continues the longest in action without being tired or satiated with its proper enjoyments.
The secondary Imagination I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate: or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.
I feel that a lot of human spirituality stems from the belief that we are unique and special in the universe, but maybe we are just what happens when there is proper temperature and proper distance from the right type of star.
However, I think a plain space near the eye gives it a kind of liberty it loves; and then the picture, whether you choose the grand or beautiful, should be held up at its proper distance. Variety is the principal ingredient in beauty; and simplicity is essential to grandeur.
I will concede to you one thing - 'Hustler' is offensive, even to the point of being iconoclastic. That's our purpose - to be offensive.
True beauty comes from the inside out. It emerges from proper thinking, as well as proper nutrition and exercise.
Success or failure in business is caused more by mental attitude even than by mental capacity. Banish the fear-attitude; acquire the confident attitude. And remember that the only way to acquire it is-to acquire it.
The problem is that humans have victimized animals to such a degree that they are not even considered victims. They are not even considered at all. They are nothing. They don't count; they don't matter; they're commodities like TV sets and cell phones. We have actually turned animals into inanimate objects - sandwiches and shoes.
Fashion is not a real element of beauty in external objects; and to persons who possess a good endowment of Form, Constructiveness and Ideality, intrinsic elegance is much more pleasing and permanently agreeable, than forms of less merit, recommended merely by being new. Hence there is a beauty which never palls, and there are objects over which fashion exercises no control.
Comedy is a wonderful device for distance that allows us to look at what we're talking about with some degree of distance and hopefully with a bit more perspective and honesty. With many exceptions, a movie with no jokes is far less appealing to me.
The problem is that humans have victimized animals to such a degree, that they aren't even considered victims. They aren't even considered at all. They're nothing. They don't count, they don't matter, they're commodities like TV sets and cellphones. We've actually turned animals into inanimate objects - sandwiches and shoes. It is the greatest magic trick ever performed.
We have no other notion of cause and effect, but that of certain objects, which have always conjoin'd together, and which in all past instances have been found inseparable. We cannot penetrate into the reason of the conjunction. We only observe the thing itself, and always find that from the constant conjunction the objects acquire an union in the imagination.
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