aesthetics

If I beat my grandmother to death to-morrow in the middle of Battersea Park, you may be perfectly certain that people will say everything about it except the simple and fairly obvious fact that it is wrong. Some will call it insane; that is, will accuse it of a deficiency of intelligence. This is not necessarily true at all. You could not tell whether the act was unintelligent or not unless you knew my grandmother. Some will call it vulgar, disgusting, and the rest of it; that is, they will accuse it of a lack of manners. Perhaps it does show a lack of manners; but this is scarcely its most serious disadvantage. Others will talk about the loathsome spectacle and the revolting scene; that is, they will accuse it of a deficiency of art, or æsthetic beauty. This again depends on the circumstances: in order to be quite certain that the appearance of the old lady has definitely deteriorated under the process of being beaten to death, it is necessary for the philosophical critic to be quite certain how ugly she was before. Another school of thinkers will say that the action is lacking in efficiency: that it is an uneconomic waste of a good grandmother. But that could only depend on the value, which is again an individual matter. The only real point that is worth mentioning is that the action is wicked, because your grandmother has a right not to be beaten to death. But of this simple moral explanation modern journalism has, as I say, a standing fear. It will call the action anything else__ad, bestial, vulgar, idiotic, rather than call it sinful.

More than once have I thought, Why does crime, even when as powerful as Cæsar, and assured of being beyond punishment, strive always for the appearances of truth, justice, and virtue? Why does it take the trouble? I consider that to murder a brother, a mother, a wife, is a thing worthy of some petty Asiatic king, not a Roman Cæsar; but if that position were mine, I should not write justifying letters to the Senate. But Nero writes. Nero is looking for appearances, for Nero is a coward. But Tiberius was not a coward; still he justified every step he took. Why is this? What a marvellous, involuntary homage paid to virtue by evil! And knowest thou what strikes me? This, that it is done because transgression is ugly and virtue is beautiful. Therefore a man of genuine æsthetic feeling is also a virtuous man. Hence I am virtuous.

The answer to these questions is tied to the public's attitude about suicide. For many people, suicide is morally reprehensible. It's against their religion, or against their culture, or contrary to their personal values. Like other unpleasant subjects - incest, disease, discrimination - it's avoided.

When you watch Olympic athletes in competition, does your self-esteem plummet? Of course not. On the contrary, you feel wonder and admiration; you're inspired that such exceptional individuals exist. So why can't we feels the same way about beauty?

In a single wave of meaning the triumphant purity of being.

A taste for ostentation is rarely associated in the same souls with a taste for honesty

Poverty and loneliness could be seen as a liberation from strivings to become rich and popular.

We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.

Aesthetic criticism returns us to the autonomy of imaginative literature and the sovereignty of the solitary soul, the reader not as a person in society but as the deep self, our ultimate inwardness.

Aesthetic value emanates from the struggle between texts: in the reader, in language, in the classroom, in arguments within a society. Aesthetic value rises out of memory, and so (as Nietzsche saw) out of pain, the pain of surrendering easier pleasures in favour of much more difficult ones ... successful literary works are achieved anxieties, not releases from anxieties.

Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his conscious reflection, his progressive steps, mysterious even to himself, should enter so swiftly into the work that he is unable to recognize them in the moment of transition.

Appreciate the aesthetic and creativity of the nature and be grateful for being part of it.

Things wabi-sabi have no need for the reassurance of status or the validation of market culture. They have no need for documentation of provenance. Wabi-sabi-ness in no way depends on knowledge of the creator's background or personality. In fact, it is best if the creator is no distinction, invisible, or anonymous.

Writing is a series of verbal suggestions designed to provoke a psychological reaction and an aesthetic experience.

Rules of taste enforce structures of power.

...fiction is as useful as truth, for giving us matter, upon which to exercise the judgment of value.

They walked on rather aimlessly. He hoped she wouldn't notice he was touched, because he wouldn't have known how to explain why. Here lay the great discrepancy between aesthetic truth and sleazy reality.

In the world there exists no aesthetic plane, not even the aesthetic plane of goodness.