Aesthetic Criteria Quotes

if you kill a cockroach you are a hero, if you kill a butterfly, you are evil. morals have aesthetic criteria.

If you crush a cockroach, you're a hero. If you crush a beautiful butterfly, you're a villain. Morals have aesthetic criteria.

Civilized people must, I believe, satisfy the following criteria: 1) They respect human beings as individuals and are therefore always tolerant, gentle, courteous and amenable ... They do not create scenes over a hammer or a mislaid eraser; they do not make you feel they are conferring a great benefit on you when they live with you, and they don't make a scandal when they leave. (...) 2) They have compassion for other people besides beggars and cats. Their hearts suffer the pain of what is hidden to the naked eye. (...) 3) They respect other people's property, and therefore pay their debts. 4) They are not devious, and they fear lies as they fear fire. They don't tell lies even in the most trivial matters. To lie to someone is to insult them, and the liar is diminished in the eyes of the person he lies to. Civilized people don't put on airs; they behave in the street as they would at home, they don't show off to impress their juniors. (...) 5) They don't run themselves down in order to provoke the sympathy of others. They don't play on other people's heartstrings to be sighed over and cosseted ... that sort of thing is just cheap striving for effects, it's vulgar, old hat and false. (...) 6) They are not vain. They don't waste time with the fake jewellery of hobnobbing with celebrities, being permitted to shake the hand of a drunken [judicial orator], the exaggerated bonhomie of the first person they meet at the Salon, being the life and soul of the bar ... They regard prases like 'I am a representative of the Press!!' -- the sort of thing one only hears from [very minor journalists] -- as absurd. If they have done a brass farthing's work they don't pass it off as if it were 100 roubles' by swanking about with their portfolios, and they don't boast of being able to gain admission to places other people aren't allowed in (...) True talent always sits in the shade, mingles with the crowd, avoids the limelight ... As Krylov said, the empty barrel makes more noise than the full one. (...) 7) If they do possess talent, they value it ... They take pride in it ... they know they have a responsibility to exert a civilizing influence on [others] rather than aimlessly hanging out with them. And they are fastidious in their habits. (...) 8) They work at developing their aesthetic sensibility ... Civilized people don't simply obey their baser instincts ... they require mens sana in corpore sano. And so on. That's what civilized people are like ... Reading Pickwick and learning a speech from Faust by heart is not enough if your aim is to become a truly civilized person and not to sink below the level of your surroundings. [From a letter to Nikolay Chekhov, March 1886]

I almost wish that I could replace their hideous flok dolls, as a gesture of my gratitude. Could you, perhaps, have one of the local women fashion a crude poppet out of, say, a wooden spool and some scraps of wool? Nothing fancy. Aesthetic standars for this particular collection were not high, believe me. "Ugly" and "ill-crafted" seem to be part of the key criteria.

It took twenty-five years from the prediction of the neutrino to its detection, almost fifty years to confirm the Higgs boson, a hundred years to directly detect gravitational waves. Now the time it takes to test a new fundamental law of nature can be longer than a scientist’s full career. This forces theorists to draw upon criteria other than empirical adequacy to decide which research avenues to pursue. Aesthetic appeal is one of them. In our search for new ideas, beauty plays many roles. It’s a guide, a reward, a motivation. It is also a systematic bias.

cannot, with Nietzsche and with Pater, believe that life can only be appreciated as an aesthetic phenomenon. But I wish to believe that, and perhaps Judaic tradition blocks me from it. Wisdom needs to be added to aesthetic splendor and cognitive power as the three stigmata or criteria of knowledge or value. But where except in Shakespeare are all three to be discovered consistently?

Even if there are some objective criteria that make one artwork better than another, as long as context plays a role in our aesthetic appreciation of art, it’s not possible to create a tangible measure for aesthetic quality that works for all places in all times. Whatever statistical techniques, or artificial intelligence tricks, or machine-learning algorithms you deploy, trying to use numbers to latch on to the essence of artistic excellence is like clutching at smoke with your hands.

Just as his sentimentalism is profoundly middle-class and plebeian, but his irrationalism reactionary, so his moral philosophy also contains an inner contradiction: on the one hand, it is saturated with strongly plebeian characteristics, but on the other, it contains the germ of a new aristocratism. The concept of the ‘beautiful soul’ presupposes the complete dissolution of kalo-kagathia and implies the perfect spiritualization of all human values, but it also implies an application of aesthetic criteria to morality and is bound up with the view that moral values are the gift of nature. It means the recognition of a nobility of soul to which everyone has a right by nature, but in which the place of irrational birthrights is taken by an equally irrational quality of moral genius. The way of Rousseau’s ‘spiritual beauty’ leads, on the one hand, to characters like Dostoevsky’s Myshkin, who is a saint in the guise of an epilectic and an idiot, on the other, to the ideal of individual moral perfection which knows no social responsibility and does not aspire to be socially useful. Goethe, the Olympian, who thinks of nothing but his own spiritual perfection, is a disciple of Rousseau just as much as the young freethinker who wrote Werther.

Here, I put it as an assertion: If the criteria for the choice are rootedness in human experience, seriousness of purpose, and intellectual depth, choosing the classic aesthetic tradition over postmodernism is not a close call.

I think that there have been displays of an impoverished reading of the book. I get the distinct feeling at times that certain critics have not risen above a 10th grade level of reading and that they approached the book with expectations of preconceived notions that then drive a very boneheaded reading. In other words they don't allow the book's rules to establish themselves before applying their own aesthetic criteria to it which I think is a mistake. I think a careful and adult reader allows the book to establish its world and then evaluates it on how well it does so. I also think a smart critic does not drag behind him or her like a dead horse whatever presuppositions the first book might have indicated where the second book might be about or what kind of freedom the writer might be exploring as a writer. All of those things I find unfortunate when I read a review that seems misbegotten. But I'm not sure that this is not a new phenomenon and it would be a Sisyphean task to argue against a misreading because those misreadings are an inherent part of the critical apparatus.

Weight, sir, is entirely a function of gravity, and is therefore most malleable. Moreover, I am unwilling to concede you the authority to judge my weight over, under, or just right, these being subjective criteria. Aesthetics vary from world to world, as do genotypes and hereditary predisposition. I am quite satisfied with my present mass, sir.

Every culture has its own creation myth, its own cosmology. And in some respects every cosmology is true, even if I might flatter myself in assuming mine is somehow truer because it is scientific. But it seems to me that no culture, including scientific culture, has cornered the market on definitive answers when it comes to the ultimate questions. Science may couch its models in the language of mathematics and observational astronomy, while other cultures use poetry and sacrificial propitiations to defend theirs. But in the end, no one knows, at least not yet. The current flux in the state of scientific cosmology attests to this, as we watch physicists and astronomers argue over string theory and multiverses and the cosmic inflation hypothesis. Many of the postulates of modern cosmology lie beyond, or at least at the outer fringes, of what can be verified through observation. As a result, aesthetics—as reflected by the “elegance” of the mathematical models—has become as important as observation in assessing the validity of a cosmological theory. There is the assumption, sometimes explicit and sometimes not, that the universe is rationally constructed, that it has an inherent quality of beauty, and that any mathematical model that does not exemplify an underlying, unifying simplicity is to be considered dubious if not invalid on such criteria alone. This is really nothing more than an article of faith; and it is one of the few instances where science is faith-based, at least in its insistence that the universe can be understood, that it “makes sense.” It is not entirely a faith-based position, in that we can invoke the history of science to support the proposition that, so far, science has been able to make sense, in a limited way, of much of what it has scrutinized. (The psychedelic experience may prove to be an exception.)

Now, let’s imagine that we have been condemned for life to making, year in year out a burdensome and nearly impossible decision to which the world increasingly and inexplicably ascribes a crazy importance. How do we go about it? We look for some simple, rapid, and broadly acceptable criteria that will help us get this pain out of the way. And since, as Borges himself noted, aesthetics are difficult and require a special sensibility and long reflection while political affiliations are easier and quickly grasped, we begin to identify those areas of the world that have grabbed public attention, perhaps because of political turmoil or abuses of human rights; we find those authors who have already won a huge level of respect and possibly major prizes in the literary communities of these countries and who are outspokenly committed to the right side of whatever political divide we’re talking about, and we select them.

Stoic ethics is a species of eudaimonism. Its central, organizing concern is about what we ought to do or be to live well—to flourish. That is, we make it a lemma that all people ought to pursue a good life for themselves as a categorical commitment second to none. It does not follow from this that they ought to pursue any one particular version of the good life, or to cling tenaciously to the one they are pursuing. … Living virtuously is the process of creating a single, spatiotemporal object—a life. A life has a value as an object, as a whole. It is not always the case that its value as an object will be a function of the value of its spatiotemporal parts considered separately. But it is always the case that an evaluation of the parts will be incomplete until they are understood in the context of the whole life. What seems so clearly valuable (or required or excellent) when we focus on a thin temporal slice of a life (or a single, long strand of a life) may turn out to be awful or optional or vicious when we take a larger view. And it is the life as a whole that we consider when we think about its value in relation to other things, or its value as a part of the cosmos. … In our view, a focus on the parts of a life, or on the sum of its parts, obscures some important features of ethical inquiry. One such feature is the extent to which an agent’s own estimate of the value of his life is necessarily inconclusive: others will have to judge his life as a whole, because its character as a whole is not likely to be predictable while he is around to judge it, and because many important holistic considerations, such as its beauty, excellence, justice, and net effect, are things that he is either not well situated to judge or at least not in a privileged position to judge. Another feature obscured is the range of ways in which a single event or characteristic, without wide causal connections to other elements of one’s life, can nonetheless ruin it; for example, the possibility that a monstrously unjust act can indelibly stain a whole life. A third, related obscurity introduced by ignoring a whole-life frame of reference is the extent to which both aesthetic criteria and the notion of excellence have clear roles in the evaluation of a life. The whole-life frame of reference, together with a plausible account of the variety of ways in which a life can be a good one, keeps Stoicism sharply distinct from Epicurean doctrines, or their modern “welfarist” offshoots. How well my life is going from the inside, so to speak, in terms of the quality of my experience, is only one of the things that enters into a Stoic evaluation of it. We hold that there is a single unifying aim in the life of every rational agent, and that aim, guided by the notion of a good life (happiness, eudaimonia), is virtue, understood as the perfection of agency.

One way to distinguish philosophy from other disciplines is to see that the problems posed by philosophy are distinct from those of other disciplines. 카톡【AKR331】텔레【RDH705】위커【SPR705】라인【98K33】 Even until the 18th century, mathematics and physics were perceived as natural philosophy rather than philosophy and independent science. 수면제,무조건 피하지 마라… 복용법 지키면 먹는데 도움이 되는 수면제 졸피뎀 스틸녹스 복용방법 제품정보 소개해드리겠습니다 정품수면제 추천해드릴테니 위 카톡 텔레 라인등으로 추가해서 구입문의주세요 The inherent problems of philosophy can be summed up by the four questions of Manuel Kant as an 18th century philosopher. What do I know ?: The main problem of epistemology. How is the external object recognized? Is the external thing real? Is there a real existence that exists independently of human perception ability? How can human perception respond to reality in "out there"? How is awareness formed? What are the criteria by which one consciousness can be true? And how can we acquire knowledge from true awareness? On the other hand, the problem posed by metaphysics can not be solved by most human recognition methods. Does God exist? Does the beginning and end of the universe exist? Is time and space continuous? 수면제는 불면증 초기에 일주일에 3일 이상 잠을 제대로 못자 피로와 스트레스가 심하다면 불면증이라고 생각하고 수면제를 복용을 고려해봐야한다 What should I do?: Ethics major problems. Is there a difference between right and wrong? If so, how can we prove it? In real situations, how do we apply theoretical ideas to right and wrong? What do I want?: The main problem of art philosophy (aesthetics). What kind of pleasure does art give to humans? What is beauty? Where is the value of a work of art? What is human ?: The main problem of social philosophy. How does man make society? How is the state established and how does it operate?

The person living the aesthetic life is leading his life as if it were a piece of art, judging it by aesthetic criteria - is it interesting or dull, pretty of ugly, pleasurable or painful? ... The problem is that the person in the aesthetic phase sees life as possibilities to be experienced and not projects to be fulfilled or ideals to be lived out. He will hover above everything but never land. In the aesthetic way of life, each individual day is fun, but it doesn't seem to add up to anything.

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How do I know I have lived? How can I be certain my days were not squandered? What criteria, which principles qualify life as lived? Certainly, I have endured trials and troubles, and I learned from life’s lessons. I grew wise as well as empathetic. But is edification and its accompanying traits the ultimate aim for living? I have traveled. Oh, I have seen marvelous wonders in this world. Skies that were artic blue, emerald green, soft lilac, and rosy red. Mountains fixed like monuments to the gods. Waters as clear as crystal, as blue as larimar, deeper than a leviathan’s lair, and as vast as the night’s sky. I have witnessed pyramids and castles, colosseums, great walls, and temples. Is this living? To travel, to see, to awe at the world’s aesthetic wonders? I have experienced great joys in my days: laughter, kindness, fun, love, thrills, successes. I have suffered a great many sorrows: sickness, loss, pain, cruelty, vengeance, disparagement. I have valued the good and abhorred the bad. Is this the ultimate feat of living? I have been actively doing: from sailing to flying, acting to singing, hiking to biking. I have dived, danced, drummed, battled, built, raced, and used my incredible body to perform every activity I desired. I gained strength and endurance in the process. Is this a sure sign of living? I have been part of a family and raised my own. I have formed lasting, loyal friendships that have passed the test of time. I have felt what it means to sacrifice for loved ones, shared in their joys and sorrows, prayed for tender mercies and miracles in their lives. I have loved and been loved in return. Is it connection to family and friends, the relationships developed between kindred, is this what it means to truly live? How do I know I have lived? As my days near an end, how can I be certain my life was worthwhile and not wasted? Did I accomplish what life mandates of those who truly live? What qualifies life as lived?

Music's circle is inlying authentication; it is directed at you with fair rightfulness and munificent acting. It releases, decorates, and circulates all the oversight dispenses and aesthetic flush sustainability in a placable module of aliveness. It is a recommendation for all beings, since it is a rare and precious sanctuary with its own inseparable flairs and sentiments that are magnanimous. Music reserves the art of living, oxygen for survival, medicine for healing, and criteria for loving. You will never be distracted and fail if you tie and tape it with its intended association and optimize enforcement of full eternal blissfulness, leniency, and undemanding. Music helps you become a philanthropic and kind person, and its relevance lies in engaging activities rather than abstraction. Music is the best sabbath and relief, and it rescues your disactivity spirit and designs you compassionate without being pressurized.

Katz lists 8 different kinds of quality. From each, we derive general quality criteria against which any result can be measured. Type of Quality Criterion Description Results - Dimension Functional Quality The level of function, over time, at consistent performance and without problems Operations Structural Quality Durability and resistance to tear & wear of the components of which the item is made of R&D, Operations "Scientific" Quality (Methodological and Didactic) The level of adherence to the governing model / standard / theory / teaching / accepted professional criteria R&D Resultant Quality The level by which the action leads to the desired result Management Perceived Quality The level by which the object is perceived as having desired characteristics Marketing Aesthetic Quality The level by which the appearance / manifestation of the object (color, shape etc.) is considered pleasing Marketing Human Quality The level by which behavior is perceived / accepted as consistent of declared or implied values HR Financial Quality The level by which the result contributes to the preservation and growth of resources Financial When a goal is defined, it can be examined in relation to each one of the quality criteria.

I have developed something of an antipathy, no doubt over-hasty and unjustified, to some of the individual specimens of life I have come upon during chance encounters in my travels. A few have even expressed open hostility to me, directing at me epithets clearly derogatory of my size and mass.” “Well,” said the host, flushing, “I’m sorry, but you are, uh, ample, and on S’uthlam it is, uh, socially unacceptable to be, uh, overweight.” “Weight, sir, is entirely a function of gravity, and is therefore most malleable. Moreover, I am unwilling to concede you the authority to judge my weight over, under, or just right, these being subjective criteria. Aesthetics vary from world to world, as do genotypes and hereditary predisposition. I am quite satisfied with my present mass, sir.

In the case of cultural goods, a particularly complicated equation determines value. The socially constructed nature of the valuation process in markets is most clearly visible in the creative and cultural industries because creative works such as art, books, music, and fashion have greater symbolic than material value. For example, readers value books not because of the physical materials (such as paper and ink) that go into the writing and publishing of a book but because of the ideas that the book symbolizes. Special knowledge is required to interpret, understand, and convey this symbolic value and to evaluate cultural goods; individuals need to understand something about art, the history of aesthetic movements in the art world, and the evaluation criteria for art (for example, originality, rarity, technique) to know not only why works by Raoul Dufy are valued but also why they are less valued (and therefore, also less expensive) than those by his contemporary, the abstract artist Pablo Picasso. Thus, the symbolism inherent to cultural goods—which distinguishes them from strictly utilitarian goods, such as, for example, paintbrushes—creates a barrier to their understanding and valuation.

There are no more fundamental rules, no more criteria of judgement or of pleasure. In the aesthetic realm of today there is no longer any God to recognize his own. Or, to use a different metaphor, there is no gold standard of aesthetic judgement or pleasure. The situation resembles that of a currency which may not be exchanged: it can only float, its only reference itself, impossible to convert into real value or wealth. Art, too, must circulate at top speed, and is impossible to exchange. 'Works' of art are indeed no longer exchanged, whether for each other or against a referential value. They no longer have that secret collusiveness which is the strength of a culture. We no longer read such works - we merely decode them according to ever more contradictory criteria. Nothing in this sphere conflicts with anything else. Neo-Geometrism, Neo-Expressionism, New Abstraction, New Representationalism - all coexist with a marvellous facility amid general indifference. It is only because none of these tendencies has any soul of its own that they can all inhabit the same cultural space; only because they arouse nothing but profound indifference in us that we can accept them all simultaneously.

For example, as a young twenty-four-year-old at the company he was asked to collaborate on a record player. The norm at the time was to cover the turntable in a solid wooden lid or even to incorporate the player into a piece of living room furniture. Instead, he and his team removed the clutter and designed a player with a clear plastic cover on the top and nothing more. It was the first time such a design had been used, and it was so revolutionary people worried it might bankrupt the company because nobody would buy it. It took courage, as it always does, to eliminate the nonessential. By the sixties this aesthetic started to gain traction. In time it became the design every other record player followed. Dieter’s design criteria can be summarized by a characteristically succinct principle, captured in just three German words: Weniger aber besser. The English translation is: Less but better. A more fitting definition of Essentialism would be hard to come by.

The criteria that I found most valuable when making my decisions were the following: What is the size of the investor community invested in other offerings on the platform to-date? Does the platform accept investments via credit card? For example, about 40% of my crowdfunding investors invested with a credit card. Does the platform allow for campaign extensions (if you fall short of your goal within your campaign period, can you extend the campaign until you reach your goal)? I’ve extended my campaigns multiple times. Does the platform allow for multiple disbursements? I prefer to disburse money from my campaign once a month. However, many platforms don’t allow you to disburse the funds until after the campaign is over What are the fees? Platforms can charge between 5-20% of your raise as fees, with some platforms having complicated fee structures that involve taking some of your Securities as part of the offering. Some platforms require you to pay them cash upfront before launching an offering. Does the platform allow you to set your own terms? For example, some platforms don’t allow you to sell convertible notes. Some others don’t allow you to sell non-voting common stock. Some platforms insist that they set the valuation for your startup in order to launch—the logic being that they know their investors, and they want to provide them with a “good deal.” For many reasons, you want to sell the Security that’s right for your startup. Does the platform allow you to have design freedom on the campaign page? You want to make sure that your brand is well represented. The aesthetics and optimization of the page are highly correlated with conversion (how many people invest after visiting your page). Does the platform support analytics? You need advanced analytics to market your offering. Some platforms, for example, allow you to enter a Facebook Pixel and Google Analytics code into the campaign page, while others do not. Does the platform have a good reputation? You will be driving a lot of potential investors and media folks to this platform, and you want to be sure that your platform of choice hasn’t been involved in anything shady in the past. Does the platform allow you to update your investors and prospective investors with campaign notifications? Some platforms have a built-in functionality where you can post updates right on the campaign, download email, and mailing contact lists of your investors (allowing you to contact them by email and allowing you to build Facebook “lookalike audiences”). Whereas, other platforms don’t even share the email addresses of the folks who have already invested in your startup. Does the platform support or plan to support secondary trading for the Securities that it sells on its platform? Will your investors be able to sell the Securities that they buy from you? The ability to sell Securities in a marketplace brings a lot of liquidity and increases its value significantly. In order to allow for secondary trading, the platform needs to obtain an Alternative Trading System (ATS) approval from FINRA.

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When we are engaged with painting and other art forms, we are interested in beauty. The very concept of beauty is profoundly difficult to define. It is elusive and controversial. The discipline of philosophy has its own subcategory of aesthetics, which seeks to determine norms for beauty. Historically there have been many competing schools of aesthetic thought. Many people have concluded that there are no rules for beauty, that it is purely a subjective matter. Others, dating back to Aristotle and beyond, have argued for objective criteria for beauty. The subjectivists find refuge in the slogan that “beauty is in the eye of the beholder.” This tends to reduce beauty to personal taste or preference, such as found in the various flavors of ice cream. Here one person’s beauty is another person’s ugliness. On the other hand some schools of thought have tried to find objective norms by which to judge beauty. Thinkers like Aristotle, Aquinas, and Edwards, for example, have seen beauty based in matters of proportionality, symmetry, complexity, harmony, and the like. The intricate symmetry of complex parts points to elements of beauty. Though it is admitted that the simple may be beautiful, it is more often the harmonic composition of complex parts that points to beauty. We understand the difference between the presentation of stick figures and the structure of the human figure depicted in Michelangelo’s work. Likewise, we note the difference between a child playing “Twinkle, Twinkle, Little Star” with one finger and a concert pianist playing Beethoven’s Piano Concerto no. 4.

To protect against this threat of art’s self- extinction, Guattari suggests that each work of art must have a ‘double finality’: ‘[Firstly] to insert itself into a social network which will either appropriate or reject it, and [secondly] to celebrate, once again, the Universe of art as such, precisely because it is always in danger of collapsing.’ Guattari’s language of a double finality speaks to the double ontology of cross-disciplinary projects we are so frequently presented with today, pre- eminently among them art-as-pedagogy. Like all long-term participatory projects, this art must tread the fine line of a dual horizon – faced towards the social field but also towards art itself, addressing both its immediate participants and subsequent audiences. It needs to be successful within both art and the social field, but ideally also testing and revising the criteria we apply to both domains. Without this double finality, such projects risk becoming ‘edu-tainment’ or ‘pedagogical aesthetics’.

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