Aesthetic Edits Quotes

Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.

The political enemy need not be morally evil or aesthetically ugly; he need not appear as an economic competitor, and it may even be advantageous to engage with him in business transactions. But he is, nevertheless, the other, the stranger; and it is sufficient for his nature that he is, in a specially intense way, existentially something different and alien, so that in the extreme case conflicts with him are possible. These can neither be decided by a previously determined general norm nor by the judgment of a disinterested and therefore neutral third party.

What once was moral is now, for us, aesthetic … What was social is now individual

Anyone who does creative work is familiar with this problem, and in many ways active imagination is similar to writing, painting, and so on; all creative work entails a give-and-take between inspiration (unconscious) and execution (conscious). (As I am writing this, for example, I have to allow my intuitions expression before I can start editing them.) The difference for Jung is that the aesthetic quality of the end product isn’t important; understanding it is. Nevertheless, one of the best introductions to active imagination are the letters On the Aesthetic Education of Man by the poet Friedrich Schiller, a contemporary of Goethe, which discuss in detail the dialogue between the creative (unconscious) and critical (conscious) drives and their union in art, both creating and experiencing it.

On hearing about powerful love, respond, be moved like an aesthete. Only, fortunate as you’ve been, remember how much your imagination created for you. This first, and then the rest—the lesser loves— that you experienced and enjoyed in your life: the more real and tangible. Of loves like these you were not deprived — C.P. Cavafy, “Hearing of Love,” Collected Poems. Translated by Edmund Keeley & Philip Sherrard. Edited by George Savidis. Revised Edition. (Princeton University Press 1992)

The 1990s to the present: feminism, historicism, postcolonialism, ethics There has never been a better time to study Virginia Woolf. Woolf studies, in the 1990s and in the new millennium, has continued to flourish and diversify in all its numerous and proliferating aspects. In this recent period the topics that occupied earlier critics continue in new debates, on her modernism, her philosophy and ethics, her feminism and her aesthetics; and there have also been marked turns in new directions. Woolf and her work have been increasingly examined in the context of empire, drawing on the influential field of postcolonial studies; and, stimulated by the impetus of new historicism and cultural materialism, there have been new attempts to understand Woolf ’s writing and persona in the context of the public and private spheres, in the present as well as in her own time. Woolf in the context of war and fascism, and in the contexts of modernity, science and technology, continue to exercise critics. Serious, sustained readings of lesbianism in Woolf ’s writing and in her life have marked recent feminist interpretations in Woolf studies. Enormous advances have also been made in the study of Woolf ’s literary and cultural influences and allusions. Numerous annotated and scholarly editions of Woolf ’s works have been appearing since she briefly came out of copyright in 1991, accompanied by several more scholarly editions of her works in draft and holograph, encouraging further critical scrutiny of her compositional methods. There have been several important reference works on Woolf. Many biographies of Woolf and her circle have also appeared, renewing biographical criticism, along with a number of works concerned with Woolf in geographical context, from landscape and London sites to Woolf ’s and her circle’s many houses and holiday retreats.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods--though the work was suppressed--'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses ,alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

Liturgy puts us to work along with all the others who have been and are being put to work in the world by and with Jesus following our spiritually-forming text. Liturgy keeps us in touch with all the action that has been and is being generated by the Spirit as given witness in the biblical text. Liturgy prevents the narrative form of Scripture from being reduced to private individualized consumption. Understood this way, 'liturgical' has little to do with choreography in the chancel or an aesthetics of the sublime. It is obedient, participatory, listening to Holy Scripture in the company of the holy community through time (our two-thousand years of responding to this text) and in space (our friends in christ all over the world). High-church Anglicans, revivalistic Baptists, hands-in-the-air praising charismatics, and Quakers sitting in a bare room in silence are all required to read and live this text liturgically, participating in the holy community's reading of Holy Scripture. there is nothing 'churchy' or elitist about it; it is a vast and dramatic 'story-ing,' making sure that we are taking our place in the story and letting everyone else have their parts in the story also, making sure that we don't leave anything or anyone out of the story. Without sufficient liturgical support and structure we are very apt to edit the story down to fit our individual tastes and predispositions.

How long you guys been renovating?” Craig asked Arianna. “About a month.” “How much longer?” Arianna sighed. “The contractor messed up the counters, so who knows.” “Preaching to the choir.” “Yeah?” “Oh, yeah. But in the end everything turned out for the best.” “How so?” “Well, for one, I switched from laminate to granite.” “Granite . . .” She exhaled, confounded, as if the granite countertop quandary was the most perplexing philosophical question of all time. “Yeah . . .We’re torn.” “More expensive, but aesthetically superior,” Craig lobbied. “Also retains value longer.” Knowing the sexual perversity about to transpire, I couldn’t reconcile that I was suddenly in an episode of Extreme Makeover: Home Edition. Granted, I didn’t know from normal pre–group sex discussion topics, but I was pretty sure home improvement wasn’t on the list.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

Taking nothing seriously and recognizing our sensations as the only reality we have for certain, we take refuge there, exploring them like large unknown countries. And if we apply ourselves diligently not only to aesthetic contemplation but also to the expression of its methods and results, it’s because the poetry or prose we write – devoid of any desire to move anyone else’s will or to mould anyone’s understanding – is merely like when a reader reads out loud to fully objectify the subjective pleasure of reading.

Reading the newspaper is always unpleasant from an aesthetic point of view, and often from a moral point of view as well, even for those who don’t worry much about morality. Reading about the effects of wars and revolutions – there’s always one or the other in the news – doesn’t make us feel horror but tedium.

Sometimes I muse about how wonderful it would be if I could string all my dreams together into one continuous life, a life consisting of entire days full of imaginary companions and created people, a false life which I could live and suffer and enjoy. Misfortune would sometimes strike me there, and there I would also experience great joys. And nothing about me would be real. But everything would have a sublime logic; it would all pulse to a rhythm of sensual falseness, taking place in a city built out of my soul and extending all the way to the platform next to an idle train, far away in the distance within me… And it would all be vivid and inevitable, as in the outer life, but with an aesthetics of the Dying Sun.

What used to be moral is aesthetic for us. What was social is now individual.

I read a heap of books to prepare to write my own. Valuable works about art crime include The Rescue Artist by Edward Dolnick, Master Thieves by Stephen Kurkjian, The Gardner Heist by Ulrich Boser, Possession by Erin Thompson, Crimes of the Art World by Thomas D. Bazley, Stealing Rembrandts by Anthony M. Amore and Tom Mashberg, Crime and the Art Market by Riah Pryor, The Art Stealers by Milton Esterow, Rogues in the Gallery by Hugh McLeave, Art Crime by John E. Conklin, The Art Crisis by Bonnie Burnham, Museum of the Missing by Simon Houpt, The History of Loot and Stolen Art from Antiquity Until the Present Day by Ivan Lindsay, Vanished Smile by R. A. Scotti, Priceless by Robert K. Wittman with John Shiffman, and Hot Art by Joshua Knelman. Books on aesthetic theory that were most helpful to me include The Power of Images by David Freedberg, Art as Experience by John Dewey, The Aesthetic Brain by Anjan Chatterjee, Pictures & Tears by James Elkins, Experiencing Art by Arthur P. Shimamura, How Art Works by Ellen Winner, The Art Instinct by Denis Dutton, and Collecting: An Unruly Passion by Werner Muensterberger. Other fascinating art-related reads include So Much Longing in So Little Space by Karl Ove Knausgaard, What Is Art? by Leo Tolstoy, History of Beauty edited by Umberto Eco, On Ugliness also edited by Umberto Eco, A Month in Siena by Hisham Matar, Art as Therapy by Alain de Botton and John Armstrong, Art by Clive Bell, A Philosophical Enquiry into the Sublime and Beautiful by Edmund Burke, Seven Days in the Art World by Sarah Thornton, The Painted Word by Tom Wolfe, and Intentions by Oscar Wilde—which includes the essay “The Critic as Artist,” written in 1891, from which this book’s epigraph was lifted.

A scouting craft soon entered our solar system. It detected several broadcast signals, and routed the strongest one (WABC-TV in New York) to a distant team of anthropologists—who then found themselves watching a first-run episode of the hit sitcom Welcome Back, Kotter (the one in which Arnold Horshack joins a zany youth cult). Before I get into what happened next, I should mention that music is the most cherished of the forty so-called Noble Arts that Refined beings revere and dedicate their lives to. It is indeed viewed as being many times Nobler than the other thirty-nine Arts combined. And remember—their music sucks. The first alien Kotter watchers initially doubted that we had music at all, because everything about the show screamed that we were cultural and aesthetic dunderheads. Primitive sight gags made them groan. Sloppy editing made them chuckle. Wardrobe choices practically made them wretch. And then, it happened. The show ended. The credits rolled, and the theme music began. And suddenly, the brainless brutes that they’d been pitying were beaming out the greatest creative achievement that the wider universe had ever witnessed. Welcome back, Welcome back, Welcome back.

The most direct critique [in the TV series The Prisoner] of what might be called the politics-industry of late capitalism, however, is undoubtedly [the episode] “Free for All”, both the funeral dirge for the national mass party and the unofficial founding charter of the New Left. In many ways, “Free for All” is the logical complement to the visual innovations and luminous mediatic strategies of “A., B. & C.”; whereas the latter identifies the space of the editing room as a new kind of cultural zone, and thus transforms a certain visual recursion into a protomorphic video library of images, the former concentrates not on the image per se but on the messages and texts transmitted by such—or what Derrida would identify as the thematic of a dissemination which is never quite identical with what is being disseminated. But where deconstruction and post-structuralism promptly sealed off this potentially explosive insight behind the specialized ghettos of linguistics or ontological philosophy, and thus unwittingly perpetuated precisely the authoritarian monopoly over theory authorized by the ontologies in the first place, the most insightful intellectuals of the New Left (most notably, Adorno and Sartre) would insist on the necessarily mediated nature of this dissemination, i.e. the fact that the narrative-industries of late capitalism are hardly innocent bystanders in the business of accumulation, but play an indispensable role in creating new markets, restructuring old ones, and ceaselessly legitimating, transacting and regulating the sway of the commodity form over society as a whole.

To create is not to simply capture or record; it is to invent and to infuse—knowingly, deliberately, and expertly—something of the artist’s own mind into the work so that the result is elevated not by its literal appearance alone, but by the significance inscribed, stamped, and sealed into it by its creator—a significance that would never exist without the artist’s subjective imagination and skill. This requires hard work and expert knowledge of one’s chosen medium, not only in the operation of tools or in producing objects of aesthetic appeal, but also in understanding the minds of viewers.

That production and consumption, price formation and market have their own sphere and can be directed neither by ethics nor aesthetics, nor by religion, nor, least of all, by politics was considered one of the few truly unquestionable dogmas of this liberal age.

The phenomenon of the political can be understood only in the context of the ever present possibility of the friend-and-enemy grouping, regardless of the aspects which this possibility implies for morality, aesthetics, and economics.