In Search of the Miraculous (1949)
Elst, K. (2002). Who is a Hindu?: Hindu revivalist views of Animism, Buddhism, Sikhism, and other offshoots of Hinduism.
“To feel the art of Mont Saint Michel and Chartres we have got to become pilgrims again.”
Mont Saint Michel and Chartres (1904)
Hindu Society under Siege (1981, revised 1992)
“Art is a guaranty of sanity.”
Louise Bourgeois, "Art is a Guaranty of Sanity," title of 2000 drawing, Pencil on pink paper, 27.9 x 21.5 cm. Collection Museum of Modern Art, New York
Also found elsewhere as "Art is a guarantee(sic) of sanity, that is the most important thing I have said."
Variant: Art is a Guaranty of Sanity.
quote from Glosses on the Theories of Others (1929); also in Style and Idea (1985), p. 313-314
1920s
“What is Art, monsieur, but Nature concentrated?”
Qu'est-ce que l'Art, monsieur?C'est la Nature concentrée.
Illusions perdues http://fr.wikisource.org/wiki/Un_grand_homme_de_province_%C3%A0_Paris, vol I: Un grand homme de province à Paris, 1re partie [Lost Illusions, vol. I: A Distinguished Provincial at Paris, part I] (1839), translated by Ellen Marriage, ch. I, section 5.
"Portrait of the Artist as a Prematurely Old Man" in The Family Album of Favorite Poems (1959) edited by P. Edward Ernest
Source: 1990's, Rauschenberg, Art and Live, 1990, p. 99
Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter I, Sec. 6
Quotes from: 'Ideological Superstructure'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)
Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 247
Quote from 'I put me on this train', interview with Art Papier, 1979; as cited in: Joseph Beuys in America: Energy Plan for the Western Man, Carin Kuoni; New York, 1993, p. 44
1970's
On the Roman Catholic Church
The New York Times interview (2005)
Source: Paris France (1940), p. 12
Quote (July 1905); from: Diari 1898-1918, 2012 (citato), paragrafo 660; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Three', : 'Klee as a Secessionist and a Neo-Impressionist Artist' http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1903 - 1910
Source: 1970's, I Am Searching For Field Character,' 1973/74, p. 48
Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.199-200
Quote of De Vlaminck; as cited in Picasso, Matisse and Modernism in Paris 1900-1910, Sue Roe; Penguin Press, 2015; quoted in 'Becoming an Artist' on Widewalls https://www.widewalls.ch/artist/maurice-de-vlaminck/
Quotes undated
Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona
1950s, Tradition and Identity' (1959)
Source: Don't Start the Revolution Without Me! (2008), Ch. 2 (p. 29)
“Of all those arts in which the wise excel,
Nature’s chief masterpiece is writing well.”
Essay on Poetry (published 1723).
“There is but one art, to omit.”
As cited in The Harper Book of Quotations, Revised Edition (1993), Ed. R. Fitzhenry, HarperCollins, p. 498 : ISBN 0062732137, 9780062732132
Propositions, 2
1870 - 1903, The Gentle Art of Making Enemies' (1890)
On New York as the capital of the world. Quoted in an interview by PBS http://www.pbs.org/wnet/newyork/series/interview/dinkins.html
“A good piece of art must combine barbarism and culture: two unique elements…”
Source: The Human Form: Sculpture, Prints, and Drawings, 1977, p. 52.
"Gertrude Stein" (p. 103)
American Fictions (1999)
An Essay in Defence of the Female Sex. P. 54 https://archive.org/details/essayindefenceof00aste
“The idea becomes a machine that makes the art.”
Sol LeWitt (1965); quoted in: Joseph Kosuth, (1969), " Art after Philosophy http://www.ubu.com/papers/kosuth_philosophy.html"
Quotes of Sol Lewitt
undated quotes
Source: Machine in the Studio, Caroline A. Jones, University of Chicago Press, 1996 pp. 197-198
"Black Cultural Nationalism" in The Black Aesthetic (1971)
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter II. Ancient Oriental Urban cultures
Mont Saint Michel and Chartres (1904)
Fumito Ueda: Colossus in the Shadow https://medium.com/@SimonParkin/fumito-ueda-colossus-in-the-shadow-80e200a727dd (December 13, 2016)
as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
1971 - 1980, Memòria Personal', 1977
Speech http://hansard.millbanksystems.com/commons/1937/may/05/supply in the House of Commons (5 May 1937).
1937
1911 - 1940, Notes on Painting - Edward Hopper (1933)
"Reclaiming America for Christ" conference February, 2005
“In mathematics the art of asking questions is more valuable than solving problems.”
In re mathematica ars proponendi quaestionem pluris facienda est quam solvendi.
Doctoral thesis (1867); variant translation: In mathematics the art of proposing a question must be held of higher value than solving it.
At Mathura where she saw Kushan sculpture for the first time and she proclaimed.
Sikh Heritage,Amrita Shergil
Oct. 27, 1933 (writing about her diary)
Diary entries (1914 - 1974)
Quote of Hofmann in Hawthorne — the Painter: An Appreciation, (1952)
1950s
in 'Journal of Contemporary Art', Inc. accessed 2008-04-28 http://www.jca-online.com/kaprow.html
Quote from Duchamp's letter to Jean Mayoux (a Surrealist artist), New York, 8 March 1956; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 169
1951 - 1968
To the Japanese Parliament on January 21, 1936. Quoted in "The Virginia quarterly review: A National Journal of Literature and Discussion" - Page 164 - by University of Virginia - 1936.
Mont Saint Michel and Chartres (1904)
Source: Expanded Cinema, 1970, p. 346; The Artist as Ecologist http://www.screeningthepast.com/2011/11/the-artist-as-ecologist/; Partly cited in: Derek Owens. Composition and Sustainability: Teaching for a Threatened Generation. National Council of Teachers of English, 1 jan. 2001
Statement at the Masiela Lusha board page http://www.masielalusha.com/board.php
Powell's Books http://www.powells.com/authors/hawke.html (2002-08-06)
2000–2004
“The arts have to be pursued irrespective of what people think.”
Interview with Wilson Harris (2010) on being Knighted at Queen Elizabeth II Birthday Honours
Quote, 1945 of Fernand Leger, in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 33
Quotes of Fernand Leger, 1940's
Un Art de Vivre (The Art of Living) (1939), The Art of Leadership
“If thou hast sought happiness and missed it, but hast found wisdom instead, thou art fortunate.”
Source: Aphorisms and Reflections (1901), p. 85
Source: The Greening of America (1970), Chapter IX : The New Generation, p. 228
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 150, in: 'What he told me – I. The motif'
Introduction to The Golden Man (1980)
Context: That was my problem then and it's my problem now; I have a bad attitude. In a nutshell, I fear authority but at the same time I resent it — the authority and my own fear — so I rebel. And writing SF is a way to rebel. … SF is a rebellious art form and it needs writers and readers and bad attitudes — an attitude of "Why?" or "How come?" or "Who says?"
Small Houses: Their Economic Design and Construction (1922)
Man in the Modern Age (1933)
Context: When the titanic apparatus of the mass-order has been consolidated, the individual has to serve it, and must from time to time combine with his fellows in order to renovate it. If he wants to make his livelihood by intellectual activity, he will find it very difficult to do this except by satisfying the needs of the many. He must give currency to something that will please the crowd. They seek satisfaction in the pleasures of the table, eroticism, self-assertion; they find no joy in life if one of these gratifications be curtailed. They also desire some means of self-knowledge. They desire to be led in such as way that they can fancy themselves leaders. Without wishing to be free, they would fain be accounted free. One who would please their taste must produce what is really average and commonplace, though not frankly styled such; must glorify or at least justify something as universally human. Whatever is beyond their understanding is uncongenial to them.
One who would influence the masses must have recourse to the art of advertisement. The clamour of puffery is to-day requisite even for an intellectual movement. The days of quiet and unpretentious activity seem over and done with. You must keep yourself in the public eye, give lectures, make speeches, arouse a sensation. Yet the mass-apparatus lacks true greatness of representation, lacks solemnity. <!-- pp. 43 - 44
"Culture High and Dry" (1984), p. 14
The Culture We Deserve (1989)
Context: Scholarship has yielded to the irresistible pull that science exerts on our minds by its self-confidence and the promise of certified knowledge. But, to repeat, the objects of culture are not analyzable, not graspable by the geometric mind. Great works of art are great by virtue of being syntheses of the world; they qualify as art by fusing form and contents into an indivisible whole; what they offer is not "discourse about," nor a cipher to be decoded, but a prolonged incitement to finesse. So it is paradoxical that our way of introducing young minds to such works should be the way of scholarship.
In Pursuit of Valis: Selections from the Exegesis (1991)
Context: I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation. Yet this seems somehow to help a certain kind of sensitive troubled person, for whom I speak. I think I understand the common ingredient in those whom my writing helps: they cannot or will not blunt their own intimations about the irrational, mysterious nature of reality, and, for them, my corpus of writing is one long ratiocination regarding this inexplicable reality, an investigation and presentation, analysis and response and personal history. My audience will always be limited to those people.
No Coward Soul Is Mine (1846)
Context: p>With wide-embracing love
Thy Spirit animates eternal years,
Pervades and broods above,
Changes, sustains, dissolves, creates, and rears.Though earth and moon were gone,
And suns and universes ceased to be,
And Thou wert left alone,
Every existence would exist in Thee. There is not room for Death,
Nor atom that his might could render void:
Thou — Thou art Being and Breath,
And what Thou art may never be destroyed.</p
The History of Freedom in Christianity (1877)
Context: John Knox thought that every Catholic in Scotland ought to be put to death; and no man ever had disciples of a sterner or more relentless temper. But his counsel was not followed.
All through the religious conflict, policy kept the upper hand. When the last of the Reformers died, religion, instead of emancipating the nations, had become an excuse for the criminal art of despots. Calvin preached, and Bellarmine lectured; but Machiavelli reigned.
"Art Under Plutocracy" (1883).
Context: So long as the system of competition in the production and exchange of the means of life goes on, the degradation of the arts will go on; and if that system is to last for ever, then art is doomed, and will surely die; that is to say, civilization will die.
Source: 1990s, "It’s Hard to Find a Good Lamp," 1993, p. 7; Quoted in: " Furniture http://www.juddfoundation.org/furniture/judd-furniture" at juddfoundation.org, 2014
Context: The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness and scale as a chair. These are proportion, which is visible reasonableness. The art in art is partly the assertion of someone's interest regardless of other considerations. A work of art exists as itself; a chair exists as a chair itself. And the idea of a chair isn't a chair.
“You cannot underestimate what a radical thing it is to change from one art form to another.”
As quoted in "Mansfield Park and Film : An Interview with Patricia Rozema" by Hiba Moussa, in Literature/Film Quarterly 32, No. 4 (2004), p. 255
Context: You cannot underestimate what a radical thing it is to change from one art form to another. An author slaves to start with just the right word, phrase, sentence, and paragraph. The sounds of the words are crucial. But all the demands of words and prose are lifted when you make a movie. The physical presence makes many unnecessary and some necessary ones impossible. So you serve two masters as an adapting filmmaker: the author's intention and the needs of film. Sometimes "fidelity" can mean only focusing on one day of a story told over twenty years in a book.
" Love and Duty http://www.readbookonline.net/read/4310/14259/", l. 1- 21 (1842)
Context: Of love that never found his earthly close,
What sequel? Streaming eyes and breaking hearts?
Or all the same as if he had not been?
Not so. Shall Error in the round of time
Still father Truth? O shall the braggart shout
For some blind glimpse of freedom work itself
Thro' madness, hated by the wise, to law
System and empire? Sin itself be found
The cloudy porch oft opening on the Sun?
And only he, this wonder, dead, become
Mere highway dust? or year by year alone
Sit brooding in the ruins of a life,
Nightmare of youth, the spectre of himself!
If this were thus, if this, indeed, were all,
Better the narrow brain, the stony heart,
The staring eye glazed o'er with sapless days,
The long mechanic pacings to and fro,
The set gray life, and apathetic end.
But am I not the nobler thro' thy love?
O three times less unworthy! likewise thou
Art more thro' Love, and greater than thy years.
“With curious art the brain, too finely wrought,
Preys on herself, and is destroy'd by thought”
Epistle to William Hogarth (July 1763), line 645
Context: With curious art the brain, too finely wrought,
Preys on herself, and is destroy'd by thought:
Constant attention wears the active mind,
Blots out our powers, and leaves a blank behind.
"The Poet & The City", p. 83
The Dyer's Hand, and Other Essays (1962)
Context: What the mass media offers is not popular art, but entertainment which is intended to be consumed like food, forgotten, and replaced by a new dish. This is bad for everyone; the majority lose all genuine taste of their own, and the minority become cultural snobs.
“Language education… may achieve what George Bernard Shaw asserted is the function of art.”
Language Education in a Knowledge Context (1980)
Context: It may come as a surprise to our technocrat philosophers, but people do not read, write, speak, or listen primarily for the purpose of achieving a test score. They use language in order to conduct their lives, and to control their lives, and to understand their lives. An improvement in one's language abilities is therefore... observed in changes in one's purposes, perceptions, and evaluations. Language education... may achieve what George Bernard Shaw asserted is the function of art. "Art," he said in Quintessence of Ibsenismn, "should refine our sense of character and conduct, of justice and sympathy, greatly heightening our self knowledge, self-control, precision of action and considerateness, and making us intolerant of baseness, cruelty, injustice, and intellectual superficialty and vulgarity." …For my purposes, if you replace the word "art" with the phrase "language education," you will have a precise statement of what I have been trying to say.
Essay as "Mr. X" (1969)
Context: The cannabis experience has greatly improved my appreciation for art, a subject which I had never much appreciated before. The understanding of the intent of the artist which I can achieve when high sometimes carries over to when I'm down. This is one of many human frontiers which cannabis has helped me traverse. There also have been some art-related insights — I don't know whether they are true or false, but they were fun to formulate.
Rolling Stone interview (1968)
Context: I think the unique thing about music and graphic art is as oposed to, say, acting and directing, that if you are good you can always create a place for yourself. In acting, for instance, there's only a certain amount of good parts; you have to find the right vehicle. But if you're making good music, man, there's so much room. I think that any group that's really good can make it, anytime. That was my feeling behind the Mamas and Papas. When I heard us sing together the first time… we knew, we knew… this is it. This was when we first came to California, after we'd left the islands.
"Freedom for Whom", as translated in Brecht on Brecht : An Improvisation (1967) by George Tabori, p. 18
Context: Firebugs dragging their gasoline bottles
Are approaching the Academy of Arts, with a grin.
And so, instead of embracing them, Let us demand the freedom of the elbow
To knock the bottles out of their filthy hands.
Even the most blockheaded bureaucrat,
Provided he loves peace,
Is a greater lover of the arts
Than any so-called art-lover
Who loves the arts of war.
Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.
"Susan Sontag Finds Romance," interview by Leslie Garis, The New York Times (2 August 1992)
Context: To me, literature is a calling, even a kind of salvation. It connects me with an enterprise that is over 2,000 years old. What do we have from the past? Art and thought. That's what lasts. That's what continues to feed people and give them an idea of something better. A better state of one's feelings or simply the idea of a silence in one's self that allows one to think or to feel. Which to me is the same.
“The magician depends for the success of his art upon the credulity of the people.”
The Art of Magic (1891)
Context: The magician depends for the success of his art upon the credulity of the people. Whatever mystifies, excites curiosity; whatever in turn baffles this curiosity, works the marvelous.
Of course human ignorance is no longer a source of profit to the magician, as it was in the days of the diviner, the oracle, and the soothsayer. Few believe nowadays that the magician claims any supernatural aid. I will scarcely be believed, therefore, when I tell my readers that in a few cities in Italy and Spain in which I have performed hundreds came to see me as a curiosity, impressed with the belief that for the power he gave me I had made a compact with the devil for the delivery of my soul. In these cities I have seen people reverently cross themselves when I was passing…
“The politician is…trained in the art of inexactitude.”
Address at London Guildhall (19 October 1959)
Context: The politician is... trained in the art of inexactitude. His words tend to be blunt or rounded, because if they have a cutting edge they may later return to wound him.
“We find that the Romans owed the conquest of the world to no other cause than continual military training, exact observance of discipline in their camps and unwearied cultivation of the other arts of war.”
Nulla enim alia re uidemus populum Romanum orbem subegisse terrarum nisi armorum exercitio, disciplina castrorum usuque militiae.
De Re Militari (also Epitoma Rei Militaris), Book I, "The Selection and Training of New Levies"
Context: Victory in war does not depend entirely upon numbers or mere courage; only skill and discipline will insure it. We find that the Romans owed the conquest of the world to no other cause than continual military training, exact observance of discipline in their camps and unwearied cultivation of the other arts of war. Without these, what chance would the inconsiderable numbers of the Roman armies have had against the multitudes of the Gauls? Or with what success would their small size have been opposed to the prodigious stature of the Germans? The Spaniards surpassed us not only in numbers, but in physical strength. We were always inferior to the Africans in wealth and unequal to them in deception and stratagem. And the Greeks, indisputably, were far superior to us in skill in arts and all kinds of knowledge. (Book 1)
The old waiter of "A Clean, Well-Lighted Place" in Winner Take Nothing (1932)
Context: Our nada who art in nada, nada be thy name thy kingdom nada thy will be nada in nada as it is in nada. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; pues nada. Hail nothing full of nothing, nothing is with thee.
“Art is the most beautiful deception of all!”
Unsourced variant: Art is the most beautiful of all lies.
The Life of the Creative Spirit
Context: Art is the most beautiful deception of all! And although people try to incorporate the everyday events of life in it, we must hope that it will remain a deception lest it become a utilitarian thing, sad as a factory. … Let us not disillusion anyone by bringing too much reality into the dream.
Source: Aesthetics and Hermeneutics (1964), p. 101 http://books.google.com/books?id=7RP-TggufEEC&pg=PA101 (quotation is from Goethe)
Context: The work of art that says something confronts us itself. That is, it expresses something in such a way that what is said is like a discovery, a disclosure of something previously concealed. The element of surprise is based on this. "So true, so filled with being" [So wahr, so seiend] is not something one knows any other way. Everything familiar is eclipsed. To understand what the work of art says to us is therefore a self-encounter.
“Art and science coincide insofar as both aim to improve the lives of men and women.”
A Short Organum for the Theatre (1949)
Context: Art and science coincide insofar as both aim to improve the lives of men and women. The latter normally concerns itself with profit, the former with pleasure. In the coming age, art will fashion our entertainment out of new means of productivity in ways that will simultaneously enhance our profit and maximize our pleasure.
Italian Report (1955)
Context: A more rewarding approach to painting, in my opinion the only valid one, is to regard it as a deeply personal and private activity and to remember that even when the painter works directly for the public — when there is sufficient common ground to allow him to do so — the real merit of the work will depend on the personal vision of the artist and the work will only be truly understood if it is approached by each in the same spirit as the painter painted it. We must be willing to assume the same sort of responsibility and share the dilemma out of which the work was created in order to be able to feel with the artist. Since the deepest and truest dilemma, from which all good art springs, is the human condition we have every right to regard the needs of our own consciousness as the final court in judging the merit of a work of art, we have in fact a moral obligation to do so. This demands the precise honesty from the spectator as was required from the artist in making the painting. It is their common ground, the area within which communication can occur. Art in the end speaks to the secret soul of the individual and of the most secret sorrows. For this reason it is true that the development that produces great art is a moral and not an aesthetic development..
[http://www.jfklibrary.org/Research/Research-Aids/Ready-Reference/JFK-Quotations.aspx Response to letter sent by Miss Theodate Johnson, Publisher of Musical America to the two presidential candidates requesting their views on music in relation to the Federal Government and domestic world affairs (13 September 1960); published in Musical America (October 1960), p. 11; later inscribed on the John F. Kennedy Center for the Performing Arts, Washington, D.C.
1960
Context: There is a connection, hard to explain logically but easy to feel, between achievement in public life and progress in the arts. The age of Pericles was also the age of Phidias. The age of Lorenzo de Medici was also the age of Leonardo da Vinci. The age of Elizabeth was also the age of Shakespeare. And the New Frontier for which I campaign in public life, can also be a New Frontier for American art.
Source: The Sacred Depths of Nature (1998), p. 173
Context: I love traditional religions. Whenever I wander into distinctive churches or mosques or temples, or visit museums of religious art, or hear performances of sacred music, I am enthralled by the beauty and solemnity and power they offer. Once we have our feelings about Nature in place, then I believe that we can also find important ways to call ourselves Jews, or Muslims, or Taoists, or Hopi, or Hindus, or Christians, or Buddhists. Or some of each. The words in the traditional texts may sound different to us than they did to their authors, but they continue to resonate with our religious selves. We know what they are intended to mean.
"On the Conservation of Force" (1862), p. 278
Popular Lectures on Scientific Subjects (1881)
Context: Every great deed of which history tells us, every mighty passion which art can represent, every picture of manners, of civic arrangements, of the culture of peoples of distant lands or of remote times, seizes and interests us, even if there is no exact scientific connection among them. We continually find points of contact and comparison in our own conceptions and feelings; we get to know the hidden capacities and desires of the mind, which in the ordinary peaceful course of civilised life remain unawakened.
It is not to be denied that, in the natural sciences, this kind of interest is wanting. Each individual fact, taken by itself, can indeed arouse our curiosity or our astonishment, or be useful to us in its practical applications. But intellectual satisfaction we obtain only from a connection of the whole, just from its conformity with law.
St. 2
Hymn to Intellectual Beauty (1816)
Context: Spirit of BEAUTY, that dost consecrate
With thine own hues all thou dost shine upon
Of human thought or form, where art thou gone?
Why dost thou pass away and leave our state,
This dim vast vale of tears, vacant and desolate?
Ask why the sunlight not for ever
Weaves rainbows o'er yon mountain-river,
Why aught should fail and fade that once is shown,
Why fear and dream and death and birth
Cast on the daylight of this earth
Such gloom, why man has such a scope
For love and hate, despondency and hope?
Revolution (2014)
Context: Diablo and I fashioned my beard together in my trailer, together, as cautiously as you’d sculpt a peace treaty between two nations that prefer war to peace. The reality was that my identity outside of filmmaking had become more important to me. I was doing hours of yoga and meditation each day, I was going through a divorce, and the result was a kind of hirsute intransigence. I looked like the cliché of a terrorist and I behaved like one. Except the beard wasn’t the symbol, it was the cause. I feel some guilt about my lack of enthusiasm for acting, like it’s a bit ungrateful. Like I’ve let my teenage self down. Mind you, he let himself down a fair bit, the dirty little pervert. The dreams of my adolescent self were entangled with silvery screens and limousines, and I still feel that I need to offer up superficial sacrifices to his misguided altar. The fact is, though, I find filmmaking a boring process and its ends dubious. This could, of course, be due to the quality of the stuff I’ve done so far, as opposed to an essential rejection of an art form. Maybe if I’d been “R. P. McMurphy” or “The Elephant Man” or “Brian,” I’d feel different. It just wasn’t what I thought it would be. It’s not just the entertainment industry that has seemed like a mirage on arrival. What about clubs and parties? When I’m there I think, “Is this it? Is this all there is? Is this what all the fuss is about?” This feeling of disillusionment perhaps climaxed around the time of my divorce and the making of this subsequent film.
Source: The Master of Go (1951), Ch. 38, p. 164.
Context: That play of black upon white, white upon black, has the intent and takes the form of creative art. It has in it a flow of the spirit and a harmony of music. Everything is lost when suddenly a false note is struck, or one party in a duet suddenly launches forth on an eccentric flight of his own. A masterpiece of a game can be ruined by insensitivity to the feelings of an adversary.
As quoted in Virginia Tech Magazine (Summer 2013) by Denise Young; also in Digital Da Vinci: Computers in the Arts and Sciences (2014) by Newton Lee
