The radiance of which he speaks is the scholastic quidditas, the whatness of a thing. This supreme quality is felt by the artist w...hen the aesthetic image is first conceived in his imagination. The mind in that mysterious instant Shelley likened beautifully to a fading coal. The instant wherein that supreme quality of beauty, the clear radiance of the aesthetic image, is apprehended luminously by the mind which has been arrested by its wholeness and fascinated by its harmony is the luminous silent stasis of aesthetic pleasure, a spiritual state very like to that cardiac condition which the Italian physiologist Luigi Galvani, using a phrase almost as beautiful as Shelley's, called the enchantment of the heart.LESSATTRIBUTION DETAIL »
The personality of the artist, at first a cry or a cadence or a mood and then a fluid, and lambent narrative, finally refines itse...lf out of existence, impersonalises itself, so to speak. The aesthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of aesthetic like that of material creation is accomplished. The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.LESSATTRIBUTION DETAIL »
An honest appraisal of the respective pleasures derived from theater and cinema, at least as to what is less intellectual and more... direct about them, forces us to admit that the delight we experience at the end of a play has a more uplifting, a nobler, one might perhaps say a more moral, effect than the satisfaction which follows a good film. We seem to come away with a better conscience. In a certain sense it is as if for the man in the audience all theater is "Corneillian." From this point of view one could say that in the best films something is missing. It is as if a certain inevitable lowering of the voltage, some mysterious aesthetic short circuit, deprived us in the cinema of a certain tension which is a definite part of theater. No matter how slight this difference it undoubtedly exists, even between the worst charity production in the theater and the most brilliant of Olivier's film adaptations.LESSATTRIBUTION DETAIL »
Technology, like art, is a soaring exercise of the human imagination. Art is the aesthetic ordering of experience to express meani...ngs in symbolic terms, and the reordering of nature--the qualities of space and time--in new perceptual and material form. Art is an end in itself; its values are intrinsic. Technology is the instrumental ordering of human experience within a logic of efficient means, and the direction of nature to use its powers for material gain. But art and technology are not separate realms walled off from each other. Art employs techne, but for its own ends. Techne, too, is a form of art that bridges culture and social structure, and in the process reshapes both.LESSATTRIBUTION DETAIL »
The Japanese are, to the highest degree, both aggressive and unaggressive, both militaristic and aesthetic, both insolent and poli...te, rigid and adaptable, submissive and resentful of being pushed around, loyal and treacherous, brave and timid, conservative and hospitable to new ways.LESSATTRIBUTION DETAIL »
Blake and Goethe were individualists par excellence, uncompromisingly protective of their single vision. In both Faust Part II and... The Four Zoas, emphasis on the universality of the poet's message contrasts with the resistant texture of a compressed style and the striking complexity of the mythological machinery. Blake likes to emphasize that he is not writing for the simple-minded; Goethe takes a teasing pleasure in keeping philologists busy. Faust and The Four Zoas are dramatic epics of Humanity, but embodied in a mythic language whose uniqueness and quirkiness are jealously guarded. Blake never published The Four Zoas, though it culminates his early prophecies and provides the indispensable key to the later ones. And Goethe refused to allow Faust Part II to be printed in its entirety until after his death. Both poets postponed the public's discovery of their central works; secrecy was enforced as long as it could be.LESSATTRIBUTION DETAIL »
Surrealism, n. Pure psychic automatism, by which it is intended to express, whether verbally or in writing, or in any other way, t...he real process of thought. Thought's dictation, free from any control by the reason, independent of any aesthetic or moral preoccupation.LESSATTRIBUTION DETAIL »
What side of American life is not touched by this antithesis? What explanation of American life is more central or more illuminati...ng? In everything one finds this frank acceptance of twin values which are not expected to have anything in common: on the one hand, a quite unclouded, quite unhypothetical assumption of aesthetic theory ("high ideals"), on the other a simultaneous acceptance of catchpenny realities. Between university ethics and business ethics, between American culture and American humour, between Good Government and Tammany, between academic pedantry and pavement slang, there is no community, no genial middle ground. The very accent of the words "Highbrow" and "Lowbrow" implies an instinctive perception that this is a very unsatisfactory state of affairs. For both are used in a derogatory sense. The "Highbrow" is the superior person whose virtue is admitted but felt to be an inept unpalatable virtue; while the "Lowbrow" is a good fellow one readily takes to, but with a certain scorn for him and all his works.LESSATTRIBUTION DETAIL »