Aesthetics Practitioner Quotes

Success is the important thing. Propaganda is not a matter for average minds, but rather a matter for practitioners. It is not supposed to be lovely or theoretically correct. I do not care if I give wonderful, aesthetically elegant speeches, or speak so that women cry. The point of a political speech is to persuade people of what we think right. I speak differently in the provinces than I do in Berlin, and when I speak in Bayreuth, I say different things than I say in the Pharus Hall. That is a matter of practice, not of theory. We do not want to be a movement of a few straw brains, but rather a movement that can conquer the broad masses. Propaganda should be popular, not intellectually pleasing. It is not the task of propaganda to discover intellectual truths.

This book is the synthesis of, on one hand, the no-nonsense practitioner of uncertainty who spent his professional life trying to resist being fooled by randomness and trick the emotions associated with probabilistic outcomes and, on the other, the aesthetically obsessed, literature-loving human being willing to be fooled by any form of nonsense that is polished, refined, original, and tasteful. I am not capable of avoiding being the fool of randomness; what I can do is confine it to where it brings some aesthetic gratification.

According to Shaivism, anupaya may also be reached by entering into the infinite blissfulness of the Self through the powerful experiences of sensual pleasures. This practice is designed to help the practitioner reach the highest levels by accelerating their progress through the sakta and sambhava upayas. These carefully guarded doctrines of Tantric sadhana are the basis for certain practices, like the use of the five makaras (hrdaya) mentioned earlier. The experience of a powerful sensual pleasure quickly removes a person’s dullness or indifference. It awakens in them the hidden nature and source of blissfulness and starts its inner vibration. Abhinavagupta says that only those people who are awakened to their own inner vitality can truly be said to have a heart (hrdaya). They are known as sahrdaya (connoisseurs). Those uninfluenced by this type of experiences are said to be heartless. In his words: “It is explained thus—The heart of a person, shedding of its attitude of indifference while listening to the sweet sounds of a song or while feeling the delightful touch of something like sandalpaste, immediately starts a wonderful vibratory movement. (This) is called ananda-sakti and because of its presence the person concerned is considered to have a heart (in their body) (Tantraloka, III.209-10). People who do not become one (with such blissful experiences), and who do not feel their physical body being merged into it, are said to be heartless because their consciousness itself remains immersed (in the gross body) (ibid., III.24).” The philosopher Jayaratha addresses this topic as well when he quotes a verse from a work by an author named Parasastabhutipada: “The worship to be performed by advanced aspirants consists of strengthening their position in the basic state of (infinite and blissful pure consciousness), on the occasions of the experiences of all such delightful objects which are to be seen here as having sweet and beautiful forms (Tantraloka, II.219).” These authors are pointing out that if people participate in pleasurable experiences with that special sharp alertness known as avadhana, they will become oblivious to the limitations of their usual body-consciousness and their pure consciousness will be fully illumined. According to Vijnanabhairava: “A Shiva yogin, having directed his attention to the inner bliss which arises on the occasion of some immense joy, or on seeing a close relative after a long time, should immerse his mind in that bliss and become one with it (Vijnanabhairava, 71). A yogin should fix his mind on each phenomenon which brings satisfaction (because) his own state of infinite bliss arises therein (ibid., 74).” In summary, Kashmir Shaivism is a philosophy that embraces life in its totality. Unlike puritanical systems it does not shy away from the pleasant and aesthetically pleasing aspects of life as somehow being unspiritual or contaminated. On the contrary, great importance has been placed on the aesthetic quality of spiritual practice in Kashmir Shaivism. In fact, recognizing and celebrating the aesthetic aspect of the Absolute is one of the central principles of this philosophy. — B. N. Pandit, Specific Principles of Kashmir Shaivism (3rd ed., 2008), p. 124–125.

Darwin and Nietzsche were the common spiritual and intellectual source for the mean-spirited and bellicose ideological assault on progress, liberalism, and democracy that fired the late-nineteenth-century campaign to preserve or rejuvenate the traditional order. Presensitized for this retreat from modernity, prominent fin-de-siècle aesthetes, engages literati, polemical publicists, academic sociologists, and last but not least, conservative and reactionary politicians became both consumers and disseminators of the untried action-ideas. Oscar Wilde and Stefan George were perhaps most representative of the aristocratizing aesthetes whose rush into dandyism or retreat into cultural monasticism was part of the outburst against bourgeois philistinism and social levelling. Their yearning for a return to an aristocratic past and their aversion to the invasive democracy of their day were shared by Thomas Mann and Hugo von Hofmannsthal, whose nostalgia for the presumably superior sensibilities of a bygone cultivated society was part of their claim to privileged social space and position in the present. Although they were all of burgher or bourgeois descent, they extolled ultra-patrician values and poses, thereby reflecting and advancing the rediscovery and reaffirmation of the merits and necessities of elitism. Theirs was not simply an aesthetic and unpolitical posture precisely because they knowingly contributed to the exaltation of societal hierarchy at a time when this exaltation was being used to do battle against both liberty and equality. At any rate, they may be said to have condoned this partisan attack by not explicitly distancing themselves from it. Maurice Barrès, Paul Bourget, and Gabriele D'Annunzio were not nearly so self-effacing. They were not only conspicuous and active militants of antidemocratic elitism, but they meant their literary works to convert the reader to their strident persuasion. Their polemical statements and their novels promoted the cult of the superior self and nation, in which the Church performed the holy sacraments. Barrès, Bourget, and D'Annunzio were purposeful practitioners of the irruptive politics of nostalgia that called for the restoration of enlightened absolutism, hierarchical society. and elite culture in the energizing fires of war.

Like all disappearing forms, art seeks to duplicate itself by means of simulation, but it will nevertheless soon be gone, leaving behind an immense museum of artificial art and abandoning the field completely to advertising. A dizzying eclecticism of form, a dizzying eclecticism of pleasure - such, already, was the agenda of the baroque. For the baroque, however, the vortex of artifice has a fleshly aspect. Like the practitioners of the baroque, we too are irrepressible creators of images, but secretly we are iconoclasts - not in the sense that we destroy images, but in the sense that we manufacture a profusion of images in which there is nothing to see. Most present-day images - be they video images, paintings, products of the plastic arts, or audiovisual or synthesized images - are literally images in which there is nothing to see. They leave no trace, cast no shadow, and have no consequences. The only feeling one gets from such images is that behind each one there is something that has disappeared. The fascination of a monochromatic picture is the marvellous absence of form - the erasure, though still in the form of art, of all aesthetic syntax. Similarly, the fascination of trans sexuality is the erasure - though in the form of spectacle - of sexual difference. These are images that conceal nothing, that reveal nothing - that have a kind of negative intensity. The only benefit of a Campbell's soup can by Andy Warhol (and it is an immense benefit) is that it releases us from the need to decide between beautiful and ugly, between real and unreal, between transcendence and immanence. Just as Byzantine icons made it possible to stop asking whether God existed - without, for all that, ceasing to believe in him.

Cultural conservatism originated in the experience of a way of life that was under threat or disappearing. The memory of that way of life could be preserved, and its spiritual meaning enshrined in works of art. But the way of life itself could not be so easily protected. Should we then appeal to the state to subsidise a dying lifestyle, establishing wildlife parks like those in Aldous Huxley's Brave New World, in which the agrarian way of life stumbles on, unconscious of the world that lies beyond its sensitively policed perimeter? Or should we devote ourselves, instead, to the idea of the thing that we are bound to lose, keeping it alive in art, as did Strauss and von Hofmannsthal in perpetuating the sugar-coated seductiveness of the aristocratic life in Der Rosenkavalier, or D. H. Lawrence in celebrating the close-knit cohesion of the old mining communities in Sons and Lovers? But then, to whom will such works of art be addressed? Necessarily, to those who have become conscious of the old way of life as something lost, something that can be preserved only in this aesthetic form. For its practitioners it would have meant nothing to preserve their way of life as an idea, rather than as the reality of their being in the world. To put it more severely: culture becomes an object of conservation only when it has already been lost.

While aesthetic richness has prevailed in Indian spiritual life form ancient times, there has also been a parallel puritanical aspect among Indian people. This puritanism was prevalent in various traditions of monks, and evolved into the systems of Buddhism and Jainism. Monks of these two religious paths prohibited the use of objects that were pleasing to the senses, and prescribed forcible control of the mind and senses, suppression of the emotions and instincts, and renunciation of worldly enjoyments. Those monks who became experts in this austere type of penance often developed supernatural psychic powers like telepathy and hypnotism. Even though Patanjali denounced the attainment of such powers (siddhis) as being impediments to liberation (Yogasutra, IV.36-37) still they tended to have considerable influence on people from all walks of life. Brahmanic thinkers were inflienced as well, but wisely accommodated the ideals and practices of these monks by placing them into the renunciatory and seclusionary periods of a practitioner’s later lifetime (the third and fourth stages which follow the student and householder stages). Tantric theologians did not accept puritanism. Instead they propagated a spiritual path that focused on the simultaneous attainment of enjoyment (bhukti), and liberation (mukti). They accepted both of them as the goal of human life, and developed philosophies and methods that could be followed equally by both monks and householders. They did not approve of any form of forcible control or repression of the mind, emotions, and senses, but rather emphasized that such practices could create adverse reactions that might simply deepen a practitioner’s bondage. — B. N. Pandit, Specific Principles of Kashmir Shaivism (3rd ed., 2008), p. 118.

We need to stop pretending that it’s all about molecular biology. Serious illnesses are affected by aesthetics, by art, and by the moral questions that are negotiated by practitioners and patients.

The definition of art is problematic, but, simplistically, it is the application of skills to the creation of aesthetic values. Science can be defined as the methodical pursuit of knowledge about the phenomena of the physical world on the basis of unbiased observation and systematic experimentation. Roughly speaking, the objects of art and science are beauty and truth, respectively. Yoga is an art because it evidently does not have the mathematical exactitude of the natural sciences. The British-American mathematician-philosopher Alfred North Whitehead once remarked: “Art flourishes when there is a sense of adventure, a sense of nothing having been done before, of complete freedom to experiment; but when caution comes in you get repetition, and repetition is the death of art.”2 These comments apply to Yoga quite well. It is an incredible adventure of the spirit, which seeks to create an altogether new destiny. Each time the practitioner applies the wisdom of Yoga to life’s many situations, he or she must engage the process as if it were the first time. Thus Yoga is continuous self-application but not merely repetition. The Sanskrit term abhyāsa, which literally means “repetition,” has the primary meaning of “practice” in the context of Yoga, and practice calls for what the Zen masters call “beginner’s mind.” Any efforts to squeeze Yoga into the much-celebrated scientific method is doomed to failure, which is not to say that Yoga cannot or should not be studied rigorously from a scientific perspective. In fact, since the 1920s various research organizations and individual researchers have conducted such research, especially medical investigations, with varying degrees of success, and their findings have definitely been helpful in appraising Yoga’s effectiveness.3 Yet, Yoga is not completely subjective and inexact either. It proceeds according to careful rules established over a long period of (repeatable) personal experimentation.

A carpenter faces the accusation of his level, an electrician must answer the question of whether the lights are in fact on, a speed shop engine builder sees his results in a quarter-mile time slip. Such standards have a universal validity that is apparent to all, yet the discriminations made by practitioners of an art respond also to aesthetic subtleties that may not be visible to the bystander. Only a fellow journeyman is entitled to say “nicely done.

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【V信83113305】：Kyoto Art and Design College (KADC) is a prestigious institution in Japan, renowned for nurturing creativity and innovation in the arts. Located in the historic city of Kyoto, the school draws inspiration from its rich cultural heritage while embracing contemporary design trends. KADC offers a diverse range of programs, including graphic design, fashion, illustration, and interior design, tailored to equip students with both technical skills and artistic vision. The curriculum emphasizes hands-on learning, collaboration with industry professionals, and exposure to global design perspectives. With state-of-the-art facilities and a faculty of experienced practitioners, KADC fosters an environment where students can experiment and refine their unique styles. Graduates often emerge as influential figures in the creative industries, blending traditional Japanese aesthetics with modern design sensibilities. The school’s commitment to excellence makes it a top choice for aspiring artists and designers worldwide.，专业办理京都芸術デザイン専門学校京都艺术设计专门学校成绩单高质学位证书服务, 购买京都艺术设计专门学校毕业证, 京都芸術デザイン専門学校文凭制作服务您学历的展现, 日本毕业证办理, 修改京都芸術デザイン専門学校京都艺术设计专门学校成绩单电子版gpa实现您的学业目标, 如何办理京都芸術デザイン専門学校京都艺术设计专门学校学历学位证, 日本京都芸術デザイン専門学校京都艺术设计专门学校毕业证成绩单在线制作办理, 购买京都艺术设计专门学校毕业证, 挂科办理京都芸術デザイン専門学校京都艺术设计专门学校毕业证文凭

【V信83113305】：Founded in 1954 by the visionary designer Kuwasawa Yoko, the Kuwasawa Design School (KDS) in Tokyo stands as a pioneering institution in Japanese design education. Renowned for its avant-garde approach, KDS blends practical skills with theoretical depth, fostering creativity across disciplines like graphic design, interior design, and fashion. Its curriculum emphasizes hands-on projects, industry collaboration, and global perspectives, attracting students worldwide. The school’s legacy is rooted in Bauhaus principles, adapted to Japanese aesthetics, producing alumni who shape global design trends. With state-of-the-art facilities and a faculty of leading practitioners, KDS remains a hub for innovation, bridging tradition and modernity in design education. Its influence extends beyond classrooms, impacting Japan’s design industry and cultural landscape.，桑泽设计研究所专门学校原版购买, 専門学校桑沢デザイン研究所留学成绩单毕业证, 挂科办理桑泽设计研究所专门学校毕业证文凭, 专业办理専門学校桑沢デザイン研究所桑泽设计研究所专门学校成绩单高质学位证书服务, 日本専門学校桑沢デザイン研究所桑泽设计研究所专门学校毕业证成绩单在线制作办理, offer桑泽设计研究所专门学校在读证明, 桑泽设计研究所专门学校电子版毕业证与日本専門学校桑沢デザイン研究所学位证书纸质版价格, 申请学校!専門学校桑沢デザイン研究所成绩单桑泽设计研究所专门学校成绩单専門学校桑沢デザイン研究所改成绩

【V信83113305】：Ikenobo Junior College, located in Kyoto, Japan, is a unique institution dedicated to the study and preservation of ikebana, the traditional Japanese art of flower arrangement. Founded by the Ikenobo School, the oldest and most prestigious ikebana school in Japan, the college offers specialized programs that blend practical artistic training with deep cultural education. Students immerse themselves in mastering techniques, understanding floral aesthetics, and learning about the philosophy behind this meditative art form. The curriculum not only produces skilled practitioners but also cultivates ambassadors of Japanese culture. For those passionate about ikebana and traditional arts, Ikenobo Junior College provides an unparalleled and authentic educational experience.，fake-池坊短期大学-degree, 加急办池坊短期大学文凭学位证书成绩单gpa修改, 池坊短期大学毕业证成绩单学历认证最安全办理方式, 高端定制池坊短期大学毕业证留信认证, 办池坊短期大学毕业证Ikebana Junior Collegeuniversity, 池坊短期大学毕业证池坊短期大学毕业证学校原版100%一样, 池坊短期大学毕业证书池坊短期大学毕业证诚信办理, 日本Ikebana Junior College池坊短期大学毕业证成绩单在线制作办理, Offer(池坊短期大学成绩单)池坊短期大学如何办理?

【V信83113305】：The École des Arts Appliqués in France stands as a pivotal institution in the world of applied arts education. For decades, it has championed a unique pedagogical approach that seamlessly merges traditional craftsmanship with contemporary design thinking. Its curriculum spans a diverse range of disciplines, including interior architecture, graphic design, fashion, and object design, all underpinned by a strong emphasis on technical skill and creative innovation. The school fosters an environment where theoretical knowledge is constantly tested through practical, hands-on projects, preparing students to become versatile practitioners. By maintaining strong ties with the professional industry, it ensures its graduates are not only conceptually astute but also industry-ready, continuing France's profound legacy of influencing global design and aesthetic trends.，IDAA毕业证办理多少钱又安全, 100%收到-IDAA毕业证书应用艺术发展学院毕业证, IDAA文凭制作, 原版应用艺术发展学院毕业证办理流程和价钱, IDAA毕业证认证, 应用艺术发展学院毕业证成绩单在哪里能办理, 在线办理IDAA应用艺术发展学院毕业证本科硕士成绩单方法, 应用艺术发展学院成绩单制作, 最便宜办理IDAA毕业证书

【V信83113305】：The New York School of Interior Design (NYSID) stands as a premier institution dedicated exclusively to the art and science of interior design. Located in the heart of New York City, it draws inspiration from the metropolis's rich architectural tapestry and vibrant design community. NYSID offers a rigorous, studio-based curriculum that spans residential, commercial, and sustainable design, preparing students to become innovative and responsible practitioners. With a faculty of industry professionals and a strong emphasis on both aesthetic principles and technical proficiency, the college provides an immersive educational experience. Its graduates are highly sought after, entering the field with a sophisticated portfolio and a deep understanding of how to shape human experience through intentional interior environments.，【V信83113305】定制-纽约室内设计学院毕业证NYSOID毕业证书,纽约室内设计学院毕业证NYSOID毕业证学校原版100%一样,NYSOID毕业证书加急制作,NYSOID毕业证学校原版一样吗,加急定制-NYSOID学位证纽约室内设计学院毕业证书,一比一制作-NYSOID文凭证书纽约室内设计学院毕业证,百分比满意度-NYSOID毕业证,100%满意-NYSOID毕业证纽约室内设计学院学位证,100%收到-NYSOID毕业证书纽约室内设计学院毕业证,100%加急制作-NYSOID毕业证学校原版一样

【V信83113305】：The Strasbourg National School of Architecture (ENSAS) is a prominent institution dedicated to the education and innovation of future architects. Located in the culturally rich and cross-border metropolis of Strasbourg, the school leverages its unique position to explore European architectural traditions and contemporary challenges. Its curriculum emphasizes a hands-on, project-based approach, integrating theoretical knowledge with practical application in urban design, sustainability, and digital technologies. ENSAS fosters a critical and creative environment, encouraging students to develop a nuanced understanding of the social, environmental, and aesthetic dimensions of space. With strong connections to professional networks and a focus on interdisciplinary research, the school prepares its graduates to become thoughtful and innovative practitioners shaping the built environment of tomorrow.，学历文凭认证ENSA Strasbourg毕业证-斯特拉斯堡国立高等建筑学院毕业证如何办理, 法国留学本科毕业证, 本地法国硕士文凭证书原版定制ENSA Strasbourg本科毕业证书, 修改Ecole Nationale Supérieure d'Architecture de Strasbourg斯特拉斯堡国立高等建筑学院成绩单电子版gpa让学历更出色, 购买ENSA Strasbourg毕业证, 最便宜办理ENSA Strasbourg斯特拉斯堡国立高等建筑学院毕业证书, 原版定制ENSA Strasbourg斯特拉斯堡国立高等建筑学院毕业证书案例, 斯特拉斯堡国立高等建筑学院毕业证书加急制作, 高端ENSA Strasbourg毕业证办理流程

【V信83113305】：The Planning and Design School of Creativity and Innovation in France stands as a premier institution dedicated to nurturing visionary thinkers and practitioners. It integrates advanced research with hands-on experimentation, fostering interdisciplinary approaches across urban planning, architecture, design, and digital arts. The school emphasizes sustainable development, social inclusion, and technological adaptation, preparing students to address complex global challenges. Through collaborations with industry leaders and cultural institutions, it creates a dynamic ecosystem where theoretical knowledge meets practical application. This unique environment cultivates not only skilled professionals but also forward-looking innovators who contribute to shaping more resilient, equitable, and aesthetically conscious societies.，仿制规划与设计创意、创造研究学院毕业证CREAD毕业证书快速办理, CREAD毕业证和学位证办理流程, 加急规划与设计创意、创造研究学院毕业证CREAD毕业证书办理多少钱, 购买规划与设计创意、创造研究学院毕业证, 想要真实感受CREAD规划与设计创意、创造研究学院版毕业证图片的品质点击查看详解, CREAD文凭制作, 规划与设计创意、创造研究学院毕业证书-一比一制作, 百分百放心原版复刻规划与设计创意、创造研究学院CREAD毕业证书, 办法国CREAD规划与设计创意、创造研究学院文凭学历证书