Quotes about art

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Source: Hidden Order - How Adaptation Builds Complexity (1995), Ch 4. Simulating Echo, p. 146
Context: Model building is the art of selecting those aspects of a process that are relevant to the question being asked. As with any art, this selection is guided by taste, elegance, and metaphor; it is a matter of induction, rather than deduction. High science depends on this art.

Bill Moyers interview (2002)
Context: I used to say that arts were talked about in the arts and leisure page. Now, why would it be arts and leisure? Why do we think that arts are leisure? Why isn't it arts and science or arts and the most important thing in your life? I think that art has become a big scarlet letter in our culture.
It's a big "A." And it says, you are an elitist, you're effete, or whatever those things... do you know what I mean? It means you don't connect. And I don't believe that. I think we've patronized our audiences long enough.
You can do things that would bring people to another place and still get someone on a very daily mundane moving level but you don't have to separate art from the masses.

No. 43 (14 August 1750) http://etext.lib.virginia.edu/etcbin/toccer-new2?id=Joh1Ram.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=43&division=div1
The Rambler (1750–1752)
Context: All the performances of human art, at which we look with praise or wonder, are instances of the resistless force of perseverance: it is by this that the quarry becomes a pyramid, and that distant countries are united with canals. If a man was to compare the effect of a single stroke of the pick-axe, or of one impression of the spade, with the general design and last result, he would be overwhelmed by the sense of their disproportion; yet those petty operations, incessantly continued, in time surmount the greatest difficulties, and mountains are levelled, and oceans bounded, by the slender force of human beings.
It is therefore of the utmost importance that those, who have any intention of deviating from the beaten roads of life, and acquiring a reputation superior to names hourly swept away by time among the refuse of fame, should add to their reason, and their spirit, the power of persisting in their purposes; acquire the art of sapping what they cannot batter, and the habit of vanquishing obstinate resistance by obstinate attacks.

Emotional Architecture as Compared to Intellectual (1894)
Context: Man, by means of his physical power, his mechanical resources, his mental ingenuity, may set things side by side. A composition, literally so called, will result, but not a great art work, not at all an art work in fact, but merely a more or less refined exhibition of brute force exercised upon helpful materials. It may be as a noise in lessening degrees of offensiveness, it can never become a musical tone. Though it shall have ceased to be vulgar in becoming sophistical, it will remain to the end what it was in the beginning: impotent to inspire — dead, absolutely dead.
It cannot for a moment be doubted that an art work to be alive, to awaken us to its life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit. It must stand for the actual, vital first-hand experiences of the one who made it, and must represent his deep-down impression not only of physical nature but more especially and necessarily his understanding of the out-working of that Great Spirit which makes nature so intelligible to us that it ceases to be a phantasm and becomes a sweet, a superb, a convincing Reality.

The Education of Henry Adams (1907)
Context: p>His superiority was, indeed, real and incontestable; he was the classical ornament of the anti-slavery party; their pride in him was unbounded, and their admiration outspoken.The boy Henry worshipped him, and if he ever regarded any older man as a personal friend, it was Mr. Sumner. The relation of Mr. Sumner in the household was far closer than any relation of blood. None of the uncles approached such intimacy. Sumner was the boy's ideal of greatness; the highest product of nature and art. The only fault of such a model was its superiority which defied imitation. To the twelve-year-old boy, his father, Dr. Palfrey, Mr. Dana, were men, more or less like what he himself might become; but Mr. Sumner was a different order — heroic.</p

Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131
1950s-1990s
Context: In art, immorality cannot exist. Art is always sacred even when it takes for a subject the worst excesses of desire; since it has in view only the sincerity of observation, it cannot debase itself. A true work of art is always noble, even when it translates the stirrings of the brute, for at that moment, the artist who has produced it had as his only objective, the most conscientious rendering possible of the impression he has felt.

As quoted in Electronics (2005) by P. Arun, p. 310
Context: Anyone who has had actual contact with the making of the inventions that built the radio art knows that these inventions have been the product of experiment and work based on physical reasoning, rather than on the mathematicians' calculations and formulae. Precisely the opposite impression is obtained from many of our present day text books and publications.

Section 3.13 <!-- p. 183 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: St. John said, "And the light shineth in the darkness; and the darkness comprehended it not." The light shines in the darkness and the darkness does not understand it, and cannot extinguish it ( I need the double meaning here of comprehend). This is the great cry of affirmation that is heard over and over again in our imaginative literature, in all art. It is a light to lighten our darkness, to guide us, and we do not need to know, in the realm of provable fact, exactly where it is going to take us.

"The Divine Comedy" (1977)
Context: Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.

Introduction to the Art gallery at his website (2006) http://robertfulghum.com/index.php/fulghumweb/artshowentry/introduction2/
Context: I don't do art to address other people but to address myself. I've never done art with a thought of being a professional artist who makes a living by selling his art. I've never had a commercial show in a gallery. I suppose I'm like those who write poetry or songs without seeking publication. I make art in and for the experience itself — to satisfy a need to express myself in a creative, colorful, non-verbal way.

David Bomberg "The Bomberg Papers", ed. Patrick Swift, X: A Quarterly Review, Vol 1, No 3, June 1960
Context: Speaking generally Art endevours to reveal what is true and needs to be free. All things said regarding Art are subject to contradiction. An artist whose integrity sustains his strength to make no compromise with expediency is never degraded. His life work will resemble the integrating character of the primaries in the Spectrum. At the beginning, of the middle period, and at the end… I approach drawing solely for structure. I am perhaps the most unpopular artist in England – and only because I am draughtsman first and painter second. Drawing demands a theory of approach, until good drawing becomes habit – it denies all rules. It requires high discipline… Drawing demands freedom, freedom demands liberty to expand in space – this is progress. By the extension of democracy – good draughtsmanship is – Democracy’s visual sign. To draw with integrity replaces bad habits with good, youth preserved from corruption. The hand works at high tension and organises as it simplifies, reducing to barest essentials, stripping all irrelevant matter obstructing the rapidly forming organisation which reveals the design. This is drawing.

Potterism (1921) p.196. https://books.google.com/books?id=9tDSm2WzQxsC&pg=PA196
Context: Jane: What do you think of his book Arthur?
Gideon: I don't think of it. I've had no reason to, particularly. I've not had to review it.... I'm afraid I'm hopeless about novels just now, that's the fact. I'm sick of the form—slices of life served up cold in three hundred pages. Oh, it's very nice; it makes nice reading for people. But what's the use? Except, of course, to kill time for those who prefer it dead. But as things in themselves, as art, they've been ruined by excess. My critical sense is blunted just now. I can hardly feel the difference, though I can see it, between a good novel and a bad one. I couldn't write one, good or bad, to save my life, I know that. And I've got to the stage when I wish other people wouldn't. I wish everyone would shut up, so that we could hear ourselves think...

Small Houses: Their Economic Design and Construction (1922), Introduction

From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981) , p. 112
1980s
Context: When conventions are old, there's quite a good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that for him that was probably almost as exciting as discovering Cubism, rediscovering conventions of ordinary appearance, one-point perspective or something. The purists think you're going backwards, but I know you'd go forward. Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same. The Renaissance is not the same as ancient Greece; the Gothic revival is not the same as Gothic. It might look like that at first, but you can tell it's not. The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.

Man's Rise to Civilization (1968)
Context: In the far north, where humans must face the constant threat of starvation, where life is reduced to the bare essentials—it turns out that one of these essentials is art. Art seems to belong to the basic pattern of life of the Eskimo, and of the neighboring Athapaskan and Algonkian Indian bands as well.<!-- pp. 36-37

As quoted in Man Creates Art Creates Man (1973) by Duane Preble, p. 14
Variant translation: Art is solving problems that cannot be formulated before they have been solved. The shaping of the question is part of the answer.
As quoted in Architecture: form, space, and order (2007) by Francis D.K. Ching, p. ix
Context: After all, what is art? Art is the creative process and it goes through all fields. Einstein’s theory of relativity — now that is a work of art! Einstein was more of an artist in physics than on his violin.
Art is this: art is the solution of a problem which cannot be expressed explicitly until it is solved.

Treatise on Demonstration of Problems of Algebra (1070).
Context: By the help of God and with His precious assistance, I say that Algebra is a scientific art. The objects with which it deals are absolute numbers and measurable quantities which, though themselves unknown, are related to "things" which are known, whereby the determination of the unknown quantities is possible. Such a thing is either a quantity or a unique relation, which is only determined by careful examination. What one searches for in the algebraic art are the relations which lead from the known to the unknown, to discover which is the object of Algebra as stated above. The perfection of this art consists in knowledge of the scientific method by which one determines numerical and geometric unknowns.

1960s, "Oral history interview with Donald Judd," 1965
Context: I think most of the art now is involved with a denial of any kind of absolute morality, or general morality. I think most of us in one way or another are involved in ideas of a fairly loose world, however it's expressed, whether obviously as in Chamberlain or just accidentally, or, oh, like Newman.

Ode interview (2009)
Context: It's not easy to talk about transcendence, just as it's not easy to play or listen to a late Beethoven quartet … You have to practice quite hard, like you do with any art form. Religion is hard work.

1770s, A Summary View of the Rights of British America (1774)
Context: Let those flatter who fear; it is not an American art. To give praise which is not due might be well from the venal, but would ill beseem those who are asserting the rights of human nature. They know, and will therefore say, that kings are the servants, not the proprietors of the people.

"Art a Thing of No Consequence"
The Dehumanization of Art and Ideas about the Novel (1925)
Context: Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove.
All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world.

Elegiac Verse, st. 14 (1879).
Context: Great is the art of beginning, but greater the art is of ending;
Many a poem is marred by a superfluous verse.

As quoted in "Global citizen", interview in Scouts (July/August 2010), p. 41
Context: My programme, The Art of Creative Expression, empowers young people with tools to express themselves. We teach photography, art and drama, but it's not just the medium that's important, it's about what you are trying to say.

"Einstein's Reply to Criticisms" (1949), The World As I See It (1949)
Context: There are few enough people with sufficient independence to see the weaknesses and follies of their contemporaries and remain themselves untouched by them. And these isolated few usually soon lose their zeal for putting things to rights when they have come face to face with human obduracy. Only to a tiny minority is it given to fascinate their generation by subtle humour and grace and to hold the mirror up to it by the impersonal agency of art. To-day I salute with sincere emotion the supreme master of this method, who has delighted — and educated — us all.

Section 29
The Passionate State Of Mind, and Other Aphorisms (1955)
Context: A fateful process is set in motion when the individual is released "to the freedom of his own impotence" and left to justify his existence by his own efforts. The autonomous individual, striving to realize himself and prove his worth, has created all that is great in literature, art, music, science and technology. The autonomous individual, also, when he can neither realize himself nor justify his existence by his own efforts, is a breeding call of frustration, and the seed of the convulsions which shake our world to its foundations.
The individual on his own is stable only so long as he is possessed of self-esteem. The maintenance of self-esteem is a continuous task which taxes all of the individual's powers and inner resources. We have to prove our worth and justify our existence anew each day. When, for whatever reason, self-esteem is unattainable, the autonomous individual becomes a highly explosive entity. He turns away from an unpromising self and plunges into the pursuit of pride — the explosive substitute for self-esteem. All social disturbances and upheavals have their roots in crises of individual self-esteem, and the great endeavor in which the masses most readily unite is basically a search for pride.

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 9. Of the Universal Colour Bill
Context: The Art of Sight Recognition, being no longer needed, was no longer practised; and the studies of Geometry, Statics, Kinetics, and other kindred subjects, came soon to be considered superfluous, and fell into disrespect and neglect even at our University. The inferior Art of Feeling speedily experienced the same fate at our Elementary Schools.... Year by year the Soldiers and Artisans began more vehemently to assert — and with increasing truth — that there was no great difference between them and the very highest class of Polygons, now that they were raised to an equality with the latter, and enabled to grapple with all the difficulties and solve all the problems of life, whether Statical or Kinetical, by the simple process of Colour Recognition. Not content with the natural neglect into which Sight Recognition was falling, they began boldly to demand the legal prohibition of all "monopolizing and aristocratic Arts" and the consequent abolition of all endowments for the studies of Sight Recognition, Mathematics, and Feeling. Soon, they began to insist that inasmuch as Colour, which was a second Nature, had destroyed the need of aristocratic distinctions, the Law should follow in the same path, and that henceforth all individuals and all classes should be recognized as absolutely equal and entitled to equal rights.

Book I, ch. 20.
Discourses

Aristotle, Nicomachean Ethics, Book VI, sec. 4, 1140a.

Misattributed to Chateaubriand on the internet and even some recently published books, this statement actually originated with L. P. Jacks in Education through Recreation (1932)
Misattributed
Context: A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both.

Source: To the Memory of My Beloved, the Author, Mr. William Shakespeare (1618), Lines 55 - 70
Context: Yet must I not give nature all: thy art,
My gentle Shakspeare, must enjoy a part.
For though the poet's matter nature be,
His art doth give the fashion. And that he
Who casts to write a living line, must sweat,
(Such as thine arc) and strike the second heat
Upon the muses anvil; turn the fame,
And himself with it, that he thinks to frame;
Or for the laurel, he may gain a scorn,
For a good poet's made, as well as born.
And such wert thou. Look how the father's face
Lives in his issue, even so the race
Of Shakspeare's mind and manners brightly shines
In his well-turned, and true filed lines:
In each of which he seems to shake a lance,
As brandish'd at the eyes of ignorance.

Games for Actors and non-Actors (1992)
Context: Wouldn’t it be wonderful to see a dance piece where the dancers danced in the first act and in the second showed the audience how to dance? Wouldn’t it be wonderful to see a musical where in the first act the actors sang and in the second we all sang together?... This is... how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.

Vol. 1, pt. 1, translated by W.P.Dickson.
Introductory Paragraph
The History of Rome - Volume 1
Context: The Mediterranean Sea with its various branches, penetrating far into the great Continent, forms the largest gul of the ocean, and, alternately narrowed by islands or projections of the land and expanding to considerable breadth, at once separates and connects the three divisions of the Old World. The shores of this inland sea were in ancient times peopled by various nations, belonging in an ethno-graphical and philological point of view to different races, but constituting in their historical aspect one whole. This historic whole has been usually, but not very appropriately, entitled the history of the ancient world. It is in reality the history of the civilization among the Mediterranean nations; and as it passes before us in its successive stages, it presents four great phases of development, - the history of the Coptic or Egyptian stock dwelling on the southern shore, the history of the Aramaean or Syrian Nation, which occupied the east coast and extended into the interior of Asia as far as the Euphrates and Tigris, and the histories of the twin-peoples, the Hellenes and the Italians, who received as their heritage the countries bordering on its European shores. Each of these histories was in its earlier stages connected with other regions and with other cycles of historical evolution, but each soon entered on its own peculiar career. The surrounding nations of alien or even of kindred extraction, - the Berbers and Negroes of Africa, the Arabs and Persians, and Indians of Asia, the Celts and Germs of Europe, - came into manifold contact with the peoples inhabiting the borders of the Mediterranean, but they neither imparted unto them nor received from them any influences of really decisive effect upon their respective destinies. So far, therefore, as cycles of culture admit of demarcation at all, we may regard that cycle as a unity which has its culminating points denoted by the names Thebes, Carthage, Athens, and Rome. The four nations represented by these names, after each of them had attained in a path of its own peculiar and noble civilization, mingled with one another in the most varied relations of reciprocal intercourse, and skilfully elaborated and richly developed all the elements of human nature. At length their cycle as accomplished. New peoples who hitherto had onled laved the territories of the states of the Mediterranean, as waves lave the beach, overflowed both shores, severed the history of its south coast from that of the north, and transferred the centre of civilization from the Mediterranean to the Atlantic Ocean. The distinction between ancient and modern history, therefore, is no mere accident, nor yet a mere matter of chronological convenience. What is called modern history is in reality the formation of a new cycle of culture, connected at several epochs of its development with the perishing or perished civilization of the mediterranean states, as that was connected with the primitive civilization of the Indo-Germanic stock, but destined, like that earlier cycle, to traverse an orbit of its own. It too is destined to experience in full measure the vicissitudes of national weal and woe, period of growth, of full vigour, and of age, the blessedness of creative effort, in religion, polity, and art, the comfort of enjoying the material and intellectual acquisitions it has won, perhaps also, some day, the decay of productive power in the satiety of contentment with the goal attained. But that goal too will only be temporary: the grandest system of civilization has its orbit, and may complete its course; but not so the human race, to which, even when it seems to have attained its goal, the old task is ever set anew with a wider range and with a deeper meaning.

Vague Thoughts On Art (1911)
Context: Art is the one form of human energy in the whole world, which really works for union, and destroys the barriers between man and man. It is the continual, unconscious replacement, however fleeting, of oneself by another; the real cement of human life; the everlasting refreshment and renewal. For, what is grievous, dompting, grim, about our lives is that we are shut up within ourselves, with an itch to get outside ourselves. And to be stolen away from ourselves by Art is a momentary relaxation from that itching, a minute's profound, and as it were secret, enfranchisement. The active amusements and relaxations of life can only rest certain of our faculties, by indulging others; the whole self is never rested save through that unconsciousness of self, which comes through rapt contemplation of Nature or of Art.

X magazine (1959-62)
Context: It is not necessary to subscribe to the tiresome conception of the artist as rampaging Bohemian to understand that the activity of painting is socially useless, or at best occupies a dubious position... In the remote purity of his solitariness, where the work of art is made, the artist is supremely the anti-social creature.

Speech, London (10 March 1880).
Context: Simplicity of life, even the barest, is not a misery, but the very foundation of refinement: a sanded floor and whitewashed walls, and the green trees, and flowery meads, and living waters outside; or a grimy palace amid the smoke with a regiment of housemaids always working to smear the dirt together so that it may be unnoticed; which, think you, is the most refined, the most fit for a gentleman of those two dwellings?
So I say, if you cannot learn to love real art; at least learn to hate sham art and reject it. It is not because the wretched thing is so ugly and silly and useless that I ask you to cast it from you; it is much more because these are but the outward symbols of the poison that lies within them; look through them and see all that has gone to their fashioning, and you will see how vain labour, and sorrow, and disgrace have been their companions from the first — and all this for trifles that no man really needs!

Source: Precepts and Judgments (1919), p. 214
Context: The military art is not an accomplishment, an art for dilettante, a sport. You do not make war without reason, without an object, as you would give yourself up to music, painting, hunting, lawn tennis, where there is no great harm done whether you stop altogether or go on, whether you do little or much. Everything in war is linked together, is mutually interdependent, mutually interpenetrating. When you are at war you have no power to act at random. Each operation has a raison d'etre, that is an object; that object, once determined, fixes the nature and the value of the means to be resorted to as well as the use which ought to be made of the forces.

The Art of Magic (1891)
Context: No one regards the magician today as other than an ordinary man gifted with no extraordinary powers. The spectators come, not to be impressed with awe, but fully aware that his causes and effects are natural. They come rather as a guessing committee, to spy out the methods with which he mystifies. Hundreds of eyes are upon him. Men with more knowledge of the sciences than he come to trip and expose him, and to baffle their scrutiny is the study of his life. Long years of training and exercise alone will not make a magician. … There must be some natural aptitude for the art; it must be born in a man, and can never be acquired by rule. He must be alert both in body and in mind; cool and calculating to the movement of a muscle under all circumstances; a close student of men and human nature. To these qualifications he must add the rather incongruous quality of a mind turning on contradictions. With a scientific cause he must produce a seemingly opposite effect to that warranted by order and system.
I know of no life requiring such a series of opposite qualities as the magician's. And after the exercise of all these qualities I have named, resulting in the production of the most startling and novel results, the magician has not the satisfaction, like other men, of the enjoyment of his own product. He must be prepared to see it copied by others, or after a short time discovered by the public.

Bill Moyers interview (2002)
Context: I understood really the power of art to transform. I think transformation became the main word in my life.
Transformation because you don't want to just put a mirror in front of people and say, here, look at yourself. What do you see? You want to have a skewed mirror. You want a mirror that says you didn't know you could see the back of your head. You didn't know that you could amount cubistic see almost all the same aspects at the same time. It allows human beings to step out of their lives and to revisit it and maybe find something different about it.

Source: The Revolt of the Angels (1914), Ch. XXXV
Context: Satan, piercing space with his keen glance, contemplated the little globe of earth and water where of old he had planted the vine and formed the first tragic chorus. And he fixed his gaze on that Rome where the fallen God had founded his empire on fraud and lie. Nevertheless, at that moment a saint ruled over the Church. Satan saw him praying and weeping. And he said to him:
"To thee I entrust my Spouse. Watch over her faithfully. In thee I confirm the right and power to decide matters of doctrine, to regulate the use of the sacraments, to make laws and to uphold purity of morals. And the faithful shall be under obligation to conform thereto. My Church is eternal, and the gates of hell shall not prevail against it. Thou art infallible. Nothing is changed."
And the successor of the apostles felt flooded with rapture. He prostrated himself, and with his forehead touching the floor, replied:
"O Lord, my God, I recognise Thy voice! Thy breath has been wafted like balm to my heart. Blessed be Thy name. Thy will be done on Earth, as it is in Heaven. Lead us not into temptation, but deliver us from evil."

Source: Locksley Hall Sixty Years After (1886), Line 139

Philo to Cleanthes, Part V<!--pp. 106-107-->
Dialogues Concerning Natural Religion (1779)
Context: But were this world ever so perfect a production, it must still remain uncertain, whether all the excellencies of the work can justly be ascribed to the workman. If we survey a ship, what an exalted idea must we form of the ingenuity of the carpenter who framed so complicated, useful, and beautiful a machine? And what surprise must we feel, when we find him a stupid mechanic, who imitated others, and copied an art, which, through a long succession of ages, after multiplied trials, mistakes, corrections, deliberations, and controversies, had been gradually improving? Many worlds might have been botched and bungled, throughout an eternity, ere this system was struck out; much labour lost; many fruitless trials made; and a slow, but continued improvement carried on during infinite ages in the art of world-making. In such subjects, who can determine, where the truth; nay, who can conjecture where the probability, lies; amidst a great number of hypotheses which may be proposed, and a still greater number which may be imagined?

Wer Wissenschaft und Kunst besitzt, / Hat auch Religion / Wer jene beiden nicht besitzt / Der habe Religion
As quoted in Jost Lemmerich's "Science and Conscience: The Life of James Franck" (2011), p. 261.
Variant translation: "The man who science has and art, He also has religion. But he who is devoid of both, He surely needs religion." (as quoted in "Homilies of science" by Paul Carus (1892) and The Open Court, Weekly Journal, Vol. II (1887).
Wilhelm Meister's Lehrjahre (Apprenticeship) (1786–1830)

Public Talk, Budapest, Hungary (June 2009)
Context: All that is needed to make life harmonious, palatable, blissful – is called the Art of Living. In a guitar, all the six strings have to be tuned; a drum needs to be tuned. Similarly, the various aspects of life have to be tuned. Our relationship with our Self, the people in our family, in the work-place, in society – all these need to be tuned.
The nurturing of the physical, social and spiritual aspects is called the Art of Living.

1930s - 1950s

De Abaitua interview (1998)

"Would you like to see a little of it?" said the Mock Turtle. (3 April 2010)
Unfit for Mass Consumption (blog entries), 2010
Context: Could anything be more inimical to art than a fear of emotion, or a fear of "excessive" emotion, or a reluctance to express emotion around others? No, of course not. Art can even best the weights of utter fucking ignorance and totalitarian repression, but it cannot survive emotional constipation.
I want a T-shirt that says, "Art is Emo." We live in an age where people are more apt to believe a thing if they read it on a T-shirt.

Source: 1920s, Prejudices, Third Series (1922), Ch. 3 "Footnote on Criticism", pp. 85-104
Context: Truth, indeed, is something that is believed in completely only by persons who have never tried personally to pursue it to its fastness and grab it by the tail. It is the adoration of second-rate men — men who always receive it as second-hand. Pedagogues believe in immutable truths and spend their lives trying to determine them and propagate them; the intellectual progress of man consists largely of a concerted effort to block and destroy their enterprise. Nine times out of ten, in the arts as in life, there is actually no truth to be discovered; there is only error to be exposed. In whole departments of human inquiry it seems to me quite unlikely that the truth ever will be discovered. Nevertheless, the rubber-stamp thinking of the world always makes the assumption that the exposure of an error is identical with the discovery of truth — that error and truth are simply opposites. They are nothing of the sort. What the world turns to, when it has been cured of one error, is usually simply another error, and maybe one worse than the first one. This is the whole history of the intellect in brief. The average man of today does not believe in precisely the same imbecilities that the Greek of the Fourth Century before Christ believed in, but the things that he does believe in are often quite as idiotic.
Perhaps this statement is a bit too sweeping. There is, year by year, a gradual accumulation of what may be called, provisionally, truths — there is a slow accretion of ideas that somehow manage to meet all practicable human tests, and so survive. But even so, it is risky to call them absolute truths. All that one may safely say of them is that no one, as yet, has demonstrated that they are errors. Soon or late, if experience teaches us anything, they are likely to succumb too. The profoundest truths of the Middle Ages are now laughed at by schoolboys. The profoundest truths of democracy will be laughed at, a few centuries hence, even by school-teachers.

(15 June 2007)
Unfit for Mass Consumption (blog entries), 2007
Context: Art is not science. Even when art is about science, it is still art. There cannot be consensus, in the sense that science strives for meaningful consensus. And unlike science, art is not progressive. Personally, I have my doubts that science can be said to be genuinely progressive, but I'm pretty dammed certain that art is not. Which is not to say that it is not accumulative or accretionary. But the belief that sf writers are out there forecasting the future, that they have some social responsibility to do so, that's malarky, if you ask me. Writers of sf can only, at best, make educated guesses, and usually those guesses are wrong, and clumping together to form a consensus does not in any way insure against history unfolding in one of those other, unpredicted directions. People love to pick out the occasional instances where Jules Verne and William Gibson got it right; they rarely ever point fingers at their miscalls.

On Poesy or Art (1818)
Context: Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man. It is, therefore, the power of humanizing nature, of infusing the thoughts and passions of man into everything which is the object of his contemplation.

"Labrador" · Video (a shot for shot recreation of scenarios from her first hit video with 'Til Tuesday, "Voices Carry") https://www.youtube.com/watch?v=XA1cX-wgMdM
Song lyrics, Charmer (2012)
Context: You lie so well
I could never even tell
what were facts in your artful rearranging But I came back for more
and you laughed in my face and you rubbed it in
cause I’m a Labrador
and I run
when the gun
drops the dove again

Statement at the .
Context: Despite the fact that as an art, music cannot compromise its principles, and politics, on the other hand, is the art of compromise, when politics transcends the limits of the present existence and ascents to the higher sphere of the possible, it can be joined there by music. Music is the art of the imaginary par excellence, an art free of all limits imposed by words, an art that touches the depth of human existence, and art of sounds that crosses all borders. As such, music can take the feelings and imagination of Israelis and Palestinians to new unimaginable spheres.

Emotional Architecture as Compared to Intellectual (1894)
Context: No complete architecture has yet appeared in the history of the world because men, in this form of art alone, have obstinately sought to express themselves solely in terms either of the head or of the heart.
I hold that architectural art, thus far, has failed to reach its highest development, its fullest capability of imagination, of thought and expression, because it has not yet found a way to become truly plastic: it does not yet respond to the poet's touch. That it is today the only art for which the multitudinous rhythms of outward nature, the manifold fluctuations of man's inner being have no significance, no place.

The Life and Writings of Joseph Mazzini (1864), p. vii
Context: Art does not imitate, but interpret. It searches out the idea lying dormant in the symbol, in order to present the symbol to men in such form as to enable them to penetrate through it to the idea. Were it otherwise, what would be the use or value of art?

1830s, Literary Ethics (1838)
Context: You will hear every day the maxims of a low prudence. You will hear, that the first duty is to get land and money, place and name. "What is this Truth you seek? What is this Beauty?" men will ask, with derision. If, nevertheless, God have called any of you to explore truth and beauty, be bold, be firm, be true. When you shall say, "As others do, so will I. I renounce, I am sorry for it, my early visions; I must eat the good of the land, and let learning and romantic expectations go, until a more convenient season." — then dies the man in you; then once more perish the buds of art, and poetry, and science, as they have died already in a thousand thousand men. The hour of that choice is the crisis of your history; and see that you hold yourself fast by the intellect. … Bend to the persuasion which is flowing to you from every object in Nature, to be its tongue to the heart of man, and to show the besotted world how passing fair is wisdom.

Source: The Strength To Dream (1961), p. 214
Context: Art is naturally concerned with man in his existential aspect, not in his scientific aspect. For the scientist, questions about man's stature and significance, suffering and power, are not really scientific questions; consequently he is inclined to regard art as an inferior recreation. Unfortunately, the artist has come to accept the scientist's view of himself. The result, I contend, is that art in the twentieth century — literary art in particular — has ceased to take itself seriously as the primary instrument of existential philosophy. It has ceased to regard itself as an instrument for probing questions of human significance. Art is the science of human destiny. Science is the attempt to discern the order that underlies the chaos of nature; art is the attempt to discern the order that underlies the chaos of man. At its best, it evokes unifying emotions; it makes the reader see the world momentarily as a unity.

Context: As far as Saddam Hussein being a great military strategist: He is neither a strategist, nor is he schooled in the operational art, nor is he a tactician, nor is he a general, nor is he a soldier. Other than that, he's a great military man.

Gulf War briefing (28 February 1991), as quoted in "WAR IN THE GULF: Commander's Briefing; Excerpts From Schwarzkopf News Conference on Gulf War" in The New York Times

The Creators: A History of Heroes of the Imagination (1992) (Vintage edition, 1993, ), Preface, p. XV.
Context: These creators, makers of the new, can never become obsolete, for in the arts there is no correct answer. The story of discoverers could be told in simple chronological order, since the latest science replaces what went before. But the arts are another story — a story of infinite addition. We must find order in the random flexings of the imagination.

Letter to Virginia Woolf (21 January 1926), quoted in Love Letters : A Romantic Treasury (1996) by Rick Smith, p. 78
Context: It is incredible how essential to me you have become. I suppose you are accustomed to people saying these things. Damn you, spoilt creature; I shan't make you love me any the more by giving myself away like this — But oh my dear, I can't be clever and stand-offish with you: I love you too much for that. Too truly. You have no idea how stand-offish I can be with people I don't love. I have brought it to a fine art. But you have broken down my defences. And I don't really resent it.

Race: A Study in Modern Superstition (1937)
Context: In seventeenth- and eighteenth-century France, race was already a weapon in the struggle between absolutism, aristocracy, and the middle class. The warfare spread to the arts and philosophy in the nineteenth century, by which time independent shoots in other cultures had also borne fruit, leaving the grand harvesting on a world-wide scale to our generation.
Viewed in the light of such facts, the race question appears a much bigger affair than a trumped-up excuse for local persecution. It becomes rather a mode of thought endemic in Western civilization. It defaces every type of mental activity — history, art, politics, science and social reform.

Source: The Cream of the Jest (1917), Ch. 26 : "Epper Si Muove"
Context: To-day alone was real. Never was man brought into contact with reality save through the evanescent emotions and sensations of that single moment, that infinitesimal fraction of a second, which was passing now — and it was in the insignificance of this moment, precisely, that religious persons must believe. So ran the teachings of all dead and lingering faiths alike. Here was, perhaps, only another instance of mankind's abhorrence of actualities; and man's quaint dislike of facing reality was here disguised as a high moral principle. That was why all art, which strove to make the sensations of a moment soul-satisfying, was dimly felt to be irreligious. For art performed what religion only promised.

"The Prodigal Son" (1958)
Context: Possibly all art flowers more readily in silence. Certainly the state of simplicity and humility is the only desirable one for artist or for man. While to reach it may be impossible, to attempt to do so is imperative. Stripped of almost everything that I had considered desirable and necessary, I began to try. Writing, which had meant the practice of an art by a polished mind in civilised surroundings, became a struggle to create completely fresh forms out of the rocks and sticks of words. I began to see things for the first time. Even the boredom and frustration presented avenues for endless exploration; even the ugliness, the bags and iron of Australian life, acquired a meaning. As for the cat's cradle of human intercourse, this was necessarily simplified, often bungled, sometimes touching. Its very tentativeness can be reward. There is always the possibility that the book lent, the record played, may lead to communication between human beings. There is the possibility that one may be helping to people a barely inhabited country with a race possessed of understanding.
These, then, are some of the reasons why an expatriate has stayed, in the face of those disappointments which follow inevitably upon his return.

Perelandra (1943)
Context: And now, by a transition which he did not notice, it seemed that what had begun as speech was turned into sight, or into something that can be remembered only as if it were seeing. He thought he saw the Great Dance. It seemed to be woven out of the intertwining undulation of many cords or bands of light, leaping over and under one another and mutually embraced in arabesques and flower-like subtleties. Each figure as he looked at it became the master-figure or focus of the whole spectacle, by means of which his eye disentangled all else and brought it into unity — only to be itself entangled when he looked to what he had taken for mere marginal decorations and found that there also the same hegemony was claimed, and the claim made good, yet the former pattern thereby disposed but finding in its new subordination a significance greater than that which it had abdicated. He could see also (but the word "seeing" is now plainly inadequate) wherever the ribbons or serpents of light intersected minute corpuscles of momentary brightness: and he knew somehow that these particles were the secular generalities of which history tells — people, institutions, climates of opinion, civilizations, arts, sciences and the like — ephemeral coruscations that piped their short song and vanished. The ribbons or cords themselves, in which millions of corpuscles lived and died, were the things of some different kind. At first he could not say what. But he knew in the end that most of them were individual entities. If so, the time in which the Great Dance proceeds is very unlike time as we know it. Some of the thinner more delicate cords were the beings that we call short lived: flowers and insects, a fruit or a storm of rain, and once (he thought) a wave of the sea. Others were such things we think lasting: crystals, rivers, mountains, or even stars. Far above these in girth and luminosity and flashing with colours form beyond our spectrum were the lines of personal beings, yet as different from one another in splendour as all of them from the previous class. But not all the cords were individuals: some of them were universal truths or universal qualities. It did not surprise him then to find that these and the persons were both cords and both stood together as against the mere atoms of generality which lived and died in the clashing of their streams: But afterwards, when he came back to earth, he wondered. And by now the thing must have passed together out of the region of sight as we understand it. For he says that the whole figure of these enamored and inter-inanimate circlings was suddenly revealed as the mere superficies of a far vaster pattern in four dimensions, and that figure as the boundary of yet others in other worlds: till suddenly as the movement grew yet swifter, the interweaving yet more ecstatic, the relevance of all to all yet more intense, as dimension was added to dimension and that part of him which could reason and remember was dropped further and further behind that part of him which saw, even then, at the very zenith of complexity, complexity was eaten up and faded, as a thin white cloud fades into the hard blue burning of sky, and all simplicity beyond all comprehension, ancient and young as spring, illimitable, pellucid, drew him with cords of infinite desire into its own stillness. He went up into such a quietness, a privacy, and a freshness that at the very moment when he stood farthest from our ordinary mode of being he had the sense of stripping off encumbrances and awaking from a trance, and coming to himself. With a gesture of relaxation he looked about him…

Source: The Obstacle Race (1979), Chapter V: Dimension (p. 105)
Context: Great art, for those who insist upon this rather philistine concept (as if un-great art were unworthy of even their most casual and ill-informed attention), makes us stand back and admire. It rushes upon us pell-mell like the work of Rubens or Tintoretto or Delacroix, or towers above us. There is of course another aesthetic: the art of a Vermeer or a Braque seeks not to amaze and appal but to invite the observer to come closer, to close with the painting, peer into it, become intimate with it. Such art reinforces human dignity.

Reflections on his earlier life, written when he was 27 (December 1862), published in Letters and Journal of W. Stanley Jevons (1886), edited by Harriet A. Jevons, his wife, p. 11.
Context: When quite young I can remember I had no thought or wish of surpassing others. I was rather taken with a liking of little arts and bits of learning. My mother carefully fostered a liking for botany, giving me a small microscope and many books, which I yet have. Strange as it may seem, I now believe that botany and the natural system, by exercising discrimination of kinds, is the best of logical exercises. What I may do in logic is perhaps derived from that early attention to botany.

Small Houses: Their Economic Design and Construction (1922)
Context: Clarity or Decision.... without it there is uncertainty, hesitation, obscurity, instability... incomparable with good art. The meaning and object of the design should be clear... it should be frank, as the French say.

Volume II, chapter VI, section 42.
The Stones of Venice (1853)
Context: We are to remember, in the first place, that the arrangement of colours and lines is an art analogous to the composition of music, and entirely independent of the representation of facts. Good colouring does not necessarily convey the image of anything but itself. It consists of certain proportions and arrangements of rays of light, but not in likeness to anything. A few touches of certain greys and purples laid by a master's hand on white paper will be good colouring; as more touches are added beside them, we may find out that they were intended to represent a dove's neck, and we may praise, as the drawing advances, the perfect imitation of the dove's neck. But the good colouring does not consist in that imitation, but in the abstract qualities and relations of the grey and purple.

"Six Asides About Culture"
Living in Truth (1986)
Context: There is only one Art, whose sole criterion is the power, the authenticity, the revelatory insight, the courage and suggestiveness with which it seeks its truth. … Thus, from the standpoint of the work and its worth it is irrelevant to which political ideas the artist as a citizen claims allegiance, which ideas he would like to serve with his work or whether he holds any such ideas at all.

Sylphs
Poems (1851), Prometheus
Context: Jove is not one half so merciless
As thou art to thyself. But fare thee well;
Our love is all as stubborn as thy pride,
And swift as firm.

Book II, Ch. I, pp. 93-94.
Physics

"Society, Morality and the Novel" (1957), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), pp. 699-700.
Context: Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos. Man knows, despite the certainties which it is the psychological function of his social institutions to give him, that he did not create the universe, and that the universe is not at all concerned with human values. Man knows that even in this day of marvelous technology and the tenuous subjugation of the atom, that nature can crush him, and that at the boundaries of human order the arts and the instruments of technology are hardly more than magic objects which serve to aid us in our ceaseless quest for certainty. We cannot live, as someone has said, in the contemplation of chaos, but neither can we live without an awareness of chaos, and the means through which we achieve that awareness, and through which we assert our humanity most significantly against it, is in great art. In our time the most articulate art form for defining ourselves and for asserting our humanity is the novel. Certainly it is our most rational art form for dealing with the irrational.

Amusing Ourselves to Death: Public Discourse in the Age of Show Business (1985)
Context: In a world populated by people who believe that through more and more information, paradise is attainable, the computer scientist is king. But I maintain that all of this is a monumental and dangerous waste of human talent and energy. Imagine what might be accomplished if this talent and energy were turned to philosophy, to theology, to the arts, to imaginative literature or to education? Who knows what we could learn from such people — perhaps why there are wars, and hunger, and homelessness and mental illness and anger.

"Auctorial Induction"
The Certain Hour (1916)
Context: The Dream, as I now know, is not best served by making parodies of it, and it does not greatly matter after all whether a book be an epic or a directory. What really matters is that there is so much faith and love and kindliness which we can share with and provoke in others, and that by cleanly, simple, generous living we approach perfection in the highest and most lovely of all arts.... But you, I think, have always comprehended this.

Nano Reid (1950)
Context: Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.

"On Dubbing" ["Sobre el doblaje"]
Discussion (1932)
Context: The possibilities of the art of combination are not infinite, but they tend to be frightful. The Greeks engendered the chimera, a monster with heads of the lion, the dragon and the goat; the theologians of the second century, the Trinity, in which the Father, the Son and the Holy Ghost are inextricably tied; the Chinese zoologists, the ti-yiang, a vermilion supernatural bird, endowed with six feet and four wings, but without a face or eyes; the geometers of the nineteenth century, the hypercube, a figure with four dimensions, which encloses an infinite number of cubes and has as its faces eight cubes and twenty-four squares. Hollywood has just enriched this vain museum of horrors: by means of an artistic malignity called dubbing, it proposes monsters that combine the illustrious features of Greta Garbo with the voice of Aldonza Lorenzo.

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 359
Context: I like nature but not its substitutes. Naturalist art, illusionism, is a substitute for nature. I remember that in arguing with Piet Mondrian [in Paris, 1920's], he opposed art to nature saying that art is artificial and nature is natural. I do not share this opinion. I do not think that nature is in natural opposition to art. Art's origins are natural.

Zamyatin here references a statement in Latin created by the poet Vyacheslav Ivanov: a realibus ad realiora ["from the real to the more real" or “from reality toward a higher reality"]
On Literature, Revolution, Entropy and Other Matters (1923)
Context: Science and art both project the world along certain coordinates. Differences in form are due only to differences in the coordinates. All realistic forms are projections along the fixed, plane coordinates of Euclid's world. These coordinates do not exist in nature. Nor does the finite, fixed world; this world is a convention, an abstraction, an unreality. And therefore Realism — be it "socialist" or "bourgeois" — is unreal. Far closer to reality is projection along speeding, curved surfaces — as in the new mathematics and the new art. Realism that is not primitive, not realia but realiora, consists in displacement, distortion, curvature, non-objectivity. Only the camera lens is objective.

कला र जीवन (Art and Life)
Art and Life
Context: I think human arts depend on the imaginative truths. The straight forward illustration of practicality cannot take the form of Art, not is photography any Art in my opinion.

Reading Lolita in Tehran (2003)
Context: Every great work of art... is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life.

Book I, lines 133–134
Georgics (29 BC)

Vague Thoughts On Art (1911)
Context: Art is the great and universal refreshment. For Art is never dogmatic; holds no brief for itself; you may take it, or you may leave it. It does not force itself rudely where it is not wanted. It is reverent to all tempers, to all points of view. But it is wilful — the very wind in the comings and goings of its influence, an uncapturable fugitive, visiting our hearts at vagrant, sweet moments; since we often stand even before the greatest works of Art without being able quite to lose ourselves! That restful oblivion comes, we never quite know when — and it is gone! But when it comes, it is a spirit hovering with cool wings, blessing us from least to greatest, according to our powers; a spirit deathless and varied as human life itself.

Review of The Necessity of Art (1959) by Ernest Fischer
Tynan Right and Left (1967)
Context: People have always needed art: but why have they needed it? And what shaped the forms by which they satisfied their need? … In the arts form tends to be conservative, and content to be revolutionary; it is novelty of content that precedes, demands and imposes novelty of form.

Source: The Prince (1513), Ch. 14; Variant: A prince should therefore have no other aim or thought, nor take up any other thing for his study but war and it organization and discipline, for that is the only art that is necessary to one who commands.
Context: A prince ought to have no other aim or thought, nor select anything else for his study, than war and its rules and discipline; for this is the sole art that belongs to him who rules, and it is of such force that it not only upholds those who are born princes, but it often enables men to rise from a private station to that rank. And, on the contrary, it is seen that when princes have thought more of ease than of arms they have lost their states. And the first cause of your losing it is to neglect this art; and what enables you to acquire a state is to be master of the art.

Language Education in a Knowledge Context (1980)
Context: Definitions, like questions and metaphors, are instruments for thinking. Their authority rests entirely on their usefulness, not their correctness. We use definitions in order to delineate problems we wish to investigate, or to further interests we wish to promote. In other words, we invent definitions and discard them as suits our purposes. And yet, one gets the impression that... God has provided us with definitions from which we depart at the risk of losing our immortal souls. This is the belief that I have elsewhere called "definition tyranny," which may be defined... as the process of accepting without criticism someone else's definition of a word or a problem or a situation. I can think of no better method of freeing students from this obstruction of the mind than to provide them with alternative definitions of every concept and term with which they must deal in a subject. Whether it be "molecule," "fact," "law," "art," "wealth," "gene," or whatever, it is essential that students understand that definitions are hypotheses, and that embedded in them is a particular philosophical, sociological, or epistemological point of view.

Go Rin No Sho (1645), The Book No-Thing-ness
Context: To attain the Way of strategy as a warrior you must study fully other martial arts and not deviate even a little from the Way of the warrior. With your spirit settled, accumulate practice day by day, and hour by hour. Polish the twofold spirit heart and mind, and sharpen the twofold gaze perception and sight. When your spirit is not in the least clouded, when the clouds of bewilderment clear away, there is the true void.

"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: The Art of painting is itself an intensely personal activity… a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object... And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.

1963, Speech at Amherst College
Context: If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, there is nothing worse for our trade than to be in style. In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society — in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost's hired man, the fate of having "nothing to look backward to with pride, and nothing to look forward to with hope."

Twenty-four Conversations with Borges, Including a Selection of Poems: Interviews by Roberto Alifano, 1981–1983 (1984)

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.

The Fantastic Imagination (1893)
Context: "But a man may then imagine in your work what he pleases, what you never meant!"
 Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things: what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time with things that came from thoughts beyond his own.

Dedication (1960)
Context: Everyone knows the glory of the twain
Who gave America the aeroplane
To ride the whirlwind and the hurricane.
Some poor fool has been saying in his heart
Glory is out of date in life and art.
Our venture in revolution and outlawry
Has justified itself in freedom's story
Right down to now in glory upon glory.

Introduction
The Wedge (1944)
Context: When a man makes a poem, makes it, mind you, he takes words as he finds them interrelated about him and composes them — without distortion which would mar their exact significances — into an intense expression of his perceptions and ardors that they may constitute a revelation in the speech that he uses. It isn’t what he says that counts as a work of art, it’s what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity.

1870 - 1903, his lecture 'Ten O'Clock' (1885)

1950's, On Being a Graphic Artist', 1953
Context: I do indeed believe that there is a certain contrast between, say, people in scientific professions and people working in the arts. Often there is even mutual suspicion and irritation, and in some cases one group greatly undervalues the other. Fortunately there is no one who actually has only feeling or only thinking properties. They intermingle like the colors of the rainbow and cannot be sharply divided. Perhaps there is even a transitional group, like the green between the yellow and the blue of the rainbow. This transitional group does not have a particular preference for thinking or feeling, but believes that one cannot do without either the one or the other. At any rate, it is unprejudiced enough to wish for a better understanding between the two parties... It is clear that feeling and understanding are not necessarily opposites but that they complement each other.

Source: A New Model of the Universe (1932), p. 33
Context: Philosophy is based on speculation, on logic, on thought, on the synthesis of what we know and on the analysis of what we do not know. Philosophy must include within its confines the whole content of science, religion and art. But where can such a philosophy be found? All that we know in our times by the name of philosophy is not philosophy, but merely "critical literature" or the expression of personal opinions, mainly with the aim of overthrowing and destroying other personal opinions. Or, which is still worse, philosophy is nothing but self-satisfied dialectic surrounding itself with an impenetrable barrier of terminology unintelligible to the uninitiated and solving for itself all the problems of the universe without any possibility of proving these explanations or making them intelligible to ordinary mortals.

The Age of Insight (2012)
Context: I outline in simple terms... our current understanding of the cognitive psychological and neurobiological basis of perception, memory, emotion, empathy, and creativity.... the principles of the viewer's response to art are applicable to all periods of painting.

Interview by Yuichi Konno, Yaso magazine, Japan, 2003

Gottfried Wilhelm Leibniz, letter to Count Ernst von Hessen-Rheinfels (Aug. 14, 1683) in Gottfried Wilhelm Leibniz: Sämtliche Schriften und Briefe (1923-) II.ii. p. 535, as translated by Matthew Stewart, The Courtier and the Heretic (2006) pp. 228-229.
Context: Regarding Spinoza, whom M. Arnauld has called the most impious and most dangerous man of this century, he was truly an Atheist, [i. e., ] he allowed absolutely no Providence dispensing rewards and punishments according to justice.... The God he puts on parade is not like ours; he has no intellect or will.... He fell well short of mastering the art of demonstration; he had only a mediocre knowledge of analysis and geometry; what he knew best was to make lenses for microscopes.

Orthodoxy (1884).
Context: Love is the only bow on Life's dark cloud. It is the morning and the evening star. It shines upon the babe, and sheds its radiance on the quiet tomb. It is the mother of art, inspirer of poet, patriot and philosopher. It is the air and light of every heart — builder of every home, kindler of every fire on every hearth. It was the first to dream of immortality. It fills the world with melody — for music is the voice of love. Love is the magician, the enchanter, that changes worthless things to Joy, and makes royal kings and queens of common clay. It is the perfume of that wondrous flower, the heart, and without that sacred passion, that divine swoon, we are less than beasts; but with it, earth is heaven, and we are gods.

Context: In this science the illustrations and examples are not confined in their effect merely to the practice they afford in the analytical art, but [... ] they also store the mind with independent geometrical and physical knowledge. Besides, it should be considered, that the only effectual method of impressing abstract formulae and rules upon the memory, and, indeed, of making them fully and clearly apprehended by the understanding, is by examples of their practical application.