Aesthetic Text Quotes

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.

The acquisition of knowledge from books provides an experience different from the Internet. Reading is relatively time-consuming; to ease the process, style is important. Because it is not possible to read all books on a given subject, much less the totality of all books, or to organize easily everything one has read, learning from books places a premium on conceptual thinking—the ability to recognize comparable data and events and project patterns into the future. And style propels the reader into a relationship with the author, or with the subject matter, by fusing substance and aesthetics. Traditionally, another way of acquiring knowledge has been through personal conversations. The discussion and exchange of ideas has for millennia provided an emotional and psychological dimension in addition to the factual content of the information exchanged. It supplies intangibles of conviction and personality. Now the culture of texting produces a curious reluctance to engage in face-to-face interaction, especially on a one-to-one basis.

Emerson said that a library is a magic chamber in which there are many enchanted spirits. They wake when we call them. When the book lies unopened, it is literally, geometrically, a volume, a thing among things. When we open it, when the book surrenders itself to its reader, the aesthetic event occurs. And even for the same reader the same book changes, for the change; we are the river of Heraclitus, who said that the man of yesterday is not the man of today, who will not be the man of tomorrow. We change incessantly, and each reading of a book, each rereading, each memory of that rereading, reinvents the text. The text too is the changing river of Heraclitus.

Therefore, Orientalism is not a mere political subject matter or field that is reflected passively by culture, scholarship, or institutions; nor is it a large and diffuse collection of texts about the Orient; nor is it representative and expressive of some nefarious “Western” imperialist plot to hold down the “Oriental” world. It is rather a distribution of geopolitical awareness into aesthetic, scholarly, economic, sociological, historical, and philological texts; it is an elaboration not only of a basic geographical distinction (the world is made up of two unequal halves, Orient and Occident) but also of a whole series of “interests” which, by such means as scholarly discovery, philological reconstruction, psychological analysis, landscape and sociological description, it not only creates but also maintains; it is, rather than expresses, a certain will or intention to understand, in some cases to control, manipulate, even to incorporate, what is a manifestly different (or alternative and novel) world; it is, above all, a discourse that is by no means in direct, corresponding relationship with political power in the raw, but rather is produced and exists in an uneven exchange with various kinds of power, shaped to a degree by the exchange with power political (as with a colonial or imperial establishment), power intellectual (as with reigning sciences like comparative linguistics or anatomy, or any of the modern policy sciences), power cultural (as with orthodoxies and canons of taste, texts, values), power moral (as with ideas about what “we” do and what “they” cannot do or understand as “we” do). Indeed, my real argument is that Orientalism is—and does not simply represent—a considerable dimension of modern political-intellectual culture, and as such has less to do with the Orient than it does with “our” world.

I picked up a secondhand copy—$7.99—and read the text on the back: “Either, then, one is to live aesthetically or one is to live ethically.” My heart was pounding. There was a book about this?

Minion is perhaps the most vanilla of serif typefaces. This isn’t necessarily a negative — often the goal of a text face is to make as little aesthetic impact as possible. Minion does just that.

Civic participation depends on creativity, an (aesthetic) knack for reframing experience, and on a corollary freedom to adjust laws and practices in light of ever-new challenges. Without art, citizenship would shrink to compliance, as if society were a closed text. Reading lessons would stop at the factual “what is,” rather than continue to the speculative “what if.

Even in the act of fleeing modern ideologies, however, literary theory reveals its often unconscious complicity with them, betraying its elitism, sexism or individualism in the very ‘aesthetic’ or ‘unpolitical’ language it finds natural to use of the literary text. It assumes, in the main, that at the centre of the world is the contemplative individual self, bowed over its book, striving to gain touch with experience, truth, reality, history or tradition. Other things matter too, of course — this individual is in personal relationship with others, and we are always much more than readers — but it is notable how often such individual consciousness, set in its small circle of relationships, ends up as the touchstone of all else. The further we move from the rich inwardness of the personal life, of which literature is the supreme exemplar, the more drab, mechanical and impersonal existence becomes. It is a view equivalent in the literary sphere to what has been called possessive individualism in the social realm, much as the former attitude may shudder at the latter: it reflects the values of a political system which subordinates the sociality of human life to solitary individual enterprise.

Finally, some people tell me that they avoid science fiction because it’s depressing. This is quite understandable if they happened to hit a streak of post-holocaust cautionary tales or a bunch of trendies trying to outwhine each other, or overdosed on sleaze-metal-punk-virtual-noir Capitalist Realism. But the accusation often, I think, reflects some timidity or gloom in the reader’s own mind: a distrust of change, a distrust of the imagination. A lot of people really do get scared and depressed if they have to think about anything they’re not perfectly familiar with; they’re afraid of losing control. If it isn’t about things they know all about already they won’t read it, if it’s a different color they hate it, if it isn’t McDonald’s they won’t eat at it. They don’t want to know that the world existed before they were, is bigger than they are, and will go on without them. They do not like history. They do not like science fiction. May they eat at McDonald’s and be happy in Heaven." Pro: "But what I like in and about science fiction includes these particular virtues: vitality, largeness, and exactness of imagination; playfulness, variety, and strength of metaphor; freedom from conventional literary expectations and mannerism; moral seriousness; wit; pizzazz; and beauty. Let me ride a moment on that last word. The beauty of a story may be intellectual, like the beauty of a mathematical proof or a crystalline structure; it may be aesthetic, the beauty of a well-made work; it may be human, emotional, moral; it is likely to be all three. Yet science fiction critics and reviewers still often treat the story as if it were a mere exposition of ideas, as if the intellectual “message” were all. This reductionism does a serious disservice to the sophisticated and powerful techniques and experiments of much contemporary science fiction. The writers are using language as postmodernists; the critics are decades behind, not even discussing the language, deaf to the implications of sounds, rhythms, recurrences, patterns—as if text were a mere vehicle for ideas, a kind of gelatin coating for the medicine. This is naive. And it totally misses what I love best in the best science fiction, its beauty." "I am certainly not going to talk about the beauty of my own stories. How about if I leave that to the critics and reviewers, and I talk about the ideas? Not the messages, though. There are no messages in these stories. They are not fortune cookies. They are stories.

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.

And indeed at the hotel where I was to meet Saint-Loup and his friends the beginning of the festive season was attracting a great many people from near and far; as I hastened across the courtyard with its glimpses of glowing kitchens in which chickens were turning on spits, pigs were roasting, and lobsters were being flung alive into what the landlord called the ‘everlasting fire’, I discovered an influx of new arrivals (worthy of some Census of the People at Bethlehem such as the Old Flemish Masters painted), gathering there in groups, asking the landlord or one of his staff (who, if they did not like the look of them; would recommend accommodation elsewhere in the town) for board and lodging, while a kitchen-boy passed by holding a struggling fowl by its neck. Similarly, in the big dining-room, which I had passed through on my first day here on my way to the small room where my friend awaited me, one was again reminded of some Biblical feast, portrayed with the naïvety of former times and with Flemish exaggeration, because of the quantity of fish, chickens, grouse, woodcock, pigeons, brought in garnished and piping hot by breathless waiters who slid along the floor in their haste to set them down on the huge sideboard where they were carved immediately, but where – for many of the diners were finishing their meal as I arrived – they piled up untouched; it was as if their profusion and the haste of those who carried them in were prompted far less by the demands of those eating than by respect for the sacred text, scrupulously followed to the letter but naïvely illustrated by real details taken from local custom, and by a concern, both aesthetic and devotional, to make visible the splendour of the feast through the profusion of its victuals and the bustling attentiveness of those who served it. One of them stood lost in thought by a sideboard at the end of the room; and in order to find out from him, who alone appeared calm enough to give me an answer, where our table had been laid, I made my way forward through the various chafing-dishes that had been lit to keep warm the plates of latecomers (which did not prevent the desserts, in the centre of the room, from being displayed in the hands of a huge mannikin, sometimes supported on the wings of a duck, apparently made of crystal but actually of ice, carved each day with a hot iron by a sculptor-cook, in a truly Flemish manner), and, at the risk of being knocked down by the other waiters, went straight towards the calm one in whom I seemed to recognize a character traditionally present in these sacred subjects, since he reproduced with scrupulous accuracy the snub-nosed features, simple and badly drawn, and the dreamy expression of such a figure, already dimly aware of the miracle of a divine presence which the others have not yet begun to suspect. In addition, and doubtless in view of the approaching festive season, the tableau was reinforced by a celestial element recruited entirely from a personnel of cherubim and seraphim. A young angel musician, his fair hair framing a fourteen-year-old face, was not playing any instrument, it is true, but stood dreaming in front of a gong or a stack of plates, while less infantile angels were dancing attendance through the boundless expanse of the room, beating the air with the ceaseless flutter of the napkins, which hung from their bodies like the wings in primitive paintings, with pointed ends. Taking flight from these ill-defined regions, screened by a curtain of palms, from which the angelic waiters looked, from a distance, as if they had descended from the empyrean, I squeezed my way through to the small dining-room and to Saint-Loup’s table.

In 2017, Fiverr ran a similar ad to NEC’s “Power Lunch,” but missing the lunch. In this one, a gaunt twenty-something stares dead-eyed into the camera, accompanied by the following text: “You eat a coffee for lunch. You follow through on your follow-through. Sleep deprivation is your drug of choice. You might be a doer.” Here, the idea that you would even withhold some of that time to sustain yourself with food is essentially ridiculed. In a New Yorker article aptly titled “The Gig Economy Celebrates Working Yourself to Death,” Jia Tolentino concludes after reading a Fiverr press release: “This is the jargon through which the essentially cannibalistic nature of the gig economy is dressed up as an aesthetic. No one wants to eat coffee for lunch or go on a bender of sleep deprivation—or answer a call from a client while having sex, as recommended in [Fiverr’s promotional] video.”17 When every moment is a moment you could be working, power lunch becomes power lifestyle.

It is the same with text, with any 'virtual' text (the Internet, word-processing): you work on it like a computer-generated image, which no longer bears any relation to the transcendence of the gaze or of writing. At any rate, as soon as you are in front of the screen, you no longer see the text as a text, but as an image. Now, it is in the strict separation of text and screen, of text and image, that writing is an activity in its own right, never an interaction. Similarly, it is only with the strict separation of stage and auditorium that the spectator is an actor in his/her own right. Everything today conspires to abolish that separation: the immersion of the spectator in the spectacle, 'living theatre', 'happenings' The spectacle becomes user-friendly, interactive. The apogee of spectacle or its end? When everyone is an actor, there is no action any longer, no scene. It's the death of the spectator as such. The end of the aesthetic illusion.

The title and spare commentary are drawn directly from Baker’s text, which also begins with an editor’s note: ‘The Essex coastline is threatened by development. J.A. Baker, author of The Peregrine and The Hill of Summer, shows that it has aesthetic as well as scientific value.

What if, upon completion of this course, participants: »​Engage in a supportive arts community »​Study one another’s writing to enhance their appreciation of the genre(s) »​Select readings from a living archive of multicultural texts that best inform their individual projects »​Curate their own literary anthologies with texts that appeal to their aesthetic preferences

Although adaptations are also aesthetic objects in their own right, it is only as inherently double or multilaminated works that they can be theorized as adaptations. An adaptation’s double nature does not mean, however, that proximity or fidelity to the adapted text should be the criterion of judgment or the focus of analysis.

The fact that we fail at seeing these things, that our interpretations may perpetrate violence against a text, and so on, is only more evidence of the Lord’s grace is granting us participation in the love of the Trinity, through existence and in the body of Christ. That same grace is offered to us who are granted the privilege of literacy. Meaning-making through reading, after all, is another testimony of the attributes of the invisible God being clearly seen in what has been made (Rom. 1:20). That we fall into idolatry is undeniable—in reading and the rest of life: the image in Romans of exchanging “the glory of the immortal God for images resembling a mortal human being or birds or four-footed animals or reptiles” is as aesthetic and poetic as it is magic and earthen (Rom. 1:23). It harkens back to the idolatries of both noninstrumental and instrumental reading discussed in the introduction. God will bring the entire cosmos into the beloved community of the new creation through the purification and repurposing work of judgment—as idolatry and violence and sin and death become the nothing to which they have always pointed. God’s judgment will differentiate those who seek the glory of God from those who seek the nothingness of their own glory. But text may be cultivated by anyone; its becoming gives glory to the God of all meaning-making regardless. The special office of the reader in the body of Christ is the express veneration of the word—is, in short, praise.

Longinus’s text had recently been the subject of a detailed commentary by William Smith, and it was soon to be further popularized in Britain by Burke. Yet Johnson was suspicious, and not just because he considered the word ‘sublime’ a barbarous import. The theory threatened to unite aesthetics and psychology. As Napoleon would remark, ‘Du sublime au ridicule il n’y a qu’un pas.’ It had already resulted in a flood of meretricious poetry,

Let me try to clear the ground by reiterating three definitions proposed twenty years ago in a book cowritten with Walt Crawford,8 and adding a fourth to define the content of the various types of resource that constitute the human record as it is encountered and experienced in libraries: Data: Facts and other raw material that can be processed into useful information. Information: Data processed and rendered useful. Knowledge: Information transformed into meaning and made manifest in texts, cartographic, and other visual or audiovisual materials. Imaginative/aesthetic creations: Literary texts, graphic/visual/audiovisual creations, and the like, in which the aesthetic transcends the utilitarian.

Our informational dreams and nightmares have surprisingly deep past, for if physical pages are not digital texts and Poole's and Reuters are not Google, nineteenth-century discussions of information often feel familiar because they are part of a long revolution.

A deconstructed text is tantamount to a forgery.

Ah! Books don't come all that often, at least not my way. Andre Malraux's The Psychology of Art was one of them. It was published just after the war. It was too expensive to buy but I located a copy of this luminous book in the Manchester Art Gallery; and i had to make several journeys by motor-cycle, often through sleet and snow until I had finished it. From time to time I wanted to get up on the table to proclaim its truth to all around me, or slap my next-desk neighbour over the back and say, 'There you are; just get hold of that!' Once I nearly did but just in time I noticed he was reading a text on the structure of plastics. By now, of course, I know that some people can get as much aesthetic pleasure out of contemplating the formula for a long molecule as others do from beholding a mural by Piero della Francesca. Technologists have their Ah! Moments too!

It is only by imposing a naïve and unexamined aesthetic of their own, [Tzvetan] Todorov proposes, that modern scholars are able to declare so confidently that certain parts of the ancient text could not belong with others: the supposedly primitive narrative is subjected by scholars to tacit laws like the law of stylistic unity, of noncontradiction, of nondigression, of nonrepetition, and by these dim but purportedly universal lights is found to be composite, deficient, or incoherent. If just these four laws were applied respectively to Ulysses, The Sound and the Fury, Tristram Shandy, and Jealousy, each of these novels would have to be relegated to the dustbin of shoddily “redacted” literary scraps.

Carlyle’s great treatise on the medieval ruins and medieval life of St Edmundsbury, Past and Present, was their key text because it touched on a matter not simply of concern to aesthetes but which was still a fact of political life. The aesthetic topsy-turvydom of Gothic railway stations, or a neo-medieval Parliament building in which to pass further reform bills, was matched by the cussed and awkward survivals from an actual past clashing miserably with an industrially greedy, culturally blind present.

Friedrich Nietzsche (1844–1900) has so often been accused of being fascism’s progenitor that his case requires particular care. Intended for the Lutheran pastorate, the young Nietzsche lost his faith and became a professor of classical philology while still extraordinarily young. For his remaining good years (he suffered permanent mental breakdown at fifty, perhaps related to syphilis) he invested all his brilliance and rage in attacking complacent and conformist bourgeois piety, softness, and moralism in the name of a hard, pure independence of spirit. In a world where God was dead, Christianity weak, and Science false, only a spiritually free “superman” could fight free of convention and live according to his own authentic values. At first Nietzsche inspired mostly rebellious youth and shocked their parents. At the same time, his writing contained plenty of raw material for people who wanted to brood on the decline of modern society, the heroic effort of will needed to reverse it, and the nefarious influence of Jews. Nietzsche himself was scornful of patriotism and the actual anti-Semites he saw around him, and imagined his superman a “free spirit, the enemy of fetters, the non-worshipper, the dweller in forests.” His white-hot prose exerted a powerful intellectual and aesthetic influence across the political spectrum, from activist nationalists like Mussolini and Maurice Barrès to nonconformists like Stefan George and André Gide, to both Nazis and anti-Nazis, and to several later generations of French iconoclasts from Sartre to Foucault. “Nietzsche’s texts themselves provide a positive goldmine of varied possibilities.

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.

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The inference that any interest in our Hindu past is tantamount to being communal is the ludicrous reaction of the rootless anglicised elite in our country, and of people of a certain ideological persuasion. For them, millennia of our history, and of the undeniable and unparalleled achievements of ancient India, must lie buried, unexplored, inert and forgotten, because to show an interest in them—and even more dangerously, appreciation for them—turns you automatically into a ‘Hindu’ fundamentalist. The tragedy is that such reflex ‘secularists’ know close to nothing about our ancient past. They can quote Shakespeare but have never read Kalidasa or Thiruvalluvar; their knowledge of our epics, the Mahabharata and the Ramayana, has been gleaned from comic books and they have only the scantiest idea of the basic storyline. They have no idea when Adi Shankaracharya lived, what he wrote, no clue of the six systems of Hindu philosophy or the three foundational texts of Hinduism, not even a notion about the remarkable principle of aesthetics of that period, no knowledge about the intellect that went into such concepts as dharma, no concept about what the four purusharthas are, and are largely ignorant about the unprecedented scientific achievements of that time.

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