“Music, of all the arts, stands in a special region, unlit by any star but its own, and utterly without meaning… except its own.”

Source: Anthem

An Old Man's Thoughts on Many Things, Of Education I

"A Bad Big Idea".
Sex, Economy, Freedom & Community (1993)
Context: The issue here really is not whether international trade shall be free but whether or not it makes any sense for a country — or, for that matter, a region — to destroy its own capacity to produce its own food. How can a government, entrusted with the safety and health of its people, conscientiously barter away in the name of an economic idea that people’s ability to feed itself? And if people lose their ability to feed themselves, how can they be said to be free?

Variant: Nothing travels faster than the speed of light with the possible exception of bad news, which obeys its own special laws.
Source: Mostly Harmless

L'art pour l'art signifie, pour les adeptes, un travail dégagé de toute préoccupation autre que celle du beau en lui-même.
L'art moderne (Paris: Michel Lévy Frères, 1856) p. 151; F. W. Ruckstull Great Works of Art and What Makes Them Great (New York: Putnam, 1925) p. 299

TV Guide interview http://tvguide.com/News/Insider/default.htm?cmsGuid={B2730BE5-2FEA-41E5-9D93-7915905AAAA4}

The R. Crumb Handbook by Robert Crumb and Peter Poplaski (2005), p. 180
Context: Before industrial civilization, local and regional communities made their own music, their own entertainment. The esthetics were based on traditions that went far back in time—i. e. folklore. But part of the con of mass culture is to make you forget history, disconnect you from tradition and the past. Sometimes that can be a good thing. Sometimes it can even be revolutionary. But tradition can also keep culture on an authentic human level, the homespun as opposed to the mass produced. Industrial civilization figured out how to manufacture popular culture and sell it back to the people. You have to marvel at the ingenuity of it! The problem is that the longer this buying and selling goes on, the more hollow and bankrupt the culture becomes. It loses its fertility, like worn out, ravaged farmland. Eventually, the yokels who bought the hype, the pitch, they want in on the game. When there are no more naive hicks left, you have a culture where everybody is conning each other all the time. There are no more earnest "squares" left—everybody's "hip", everybody is cynical.

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.

'Painting and Culture' p. 57
Search for the Real and Other Essays (1948)