Art Is Open To Interpretation Quotes

All worthy work is open to interpretations the author did not intend. Art isn't your pet -- it's your kid. It grows up and talks back to you.

There is a kind of counter-criticism that seeks to expand the work of art, by connecting it, opening up its meanings, inviting in the possibilities. A great work of criticism can liberate a work of art, to be seen fully, to remain alive, to engage in a conversation that will not ever end but will instead keep feeding the imagination. Not against interpretation, but against confinement, against the killing of the spirit. Such criticism is itself a great art. This is a kind of criticism that does not pit the critic against the text, does not seek authority. It seeks instead to travel with the work and its ideas, to invite it to blossom and invite others into a conversation that might have previously seemed impenetrable, to draw out relationships that might have been unseen and open doors that might have been locked. This is a kind of criticism that respects the essential mystery of a work of art, which is in part its beauty and its pleasure, both of which are irreducible and subjective. The worst criticism seeks to have the last word and leave the rest of us in silence; the best opens up an exchange that need never end.

I can't just give it away like that, Samantha. I wanted to leave it open...to interpretation." He smiles slightly at the word "interpretation," recalling perhaps key moments in his own genius. "You need to tell me what you did. You need to tell me exactly." "Do I?" He's pissed now. And not a little heard Samantha. I am his audience of one, do I not realize that? The work he put into this thing, the planning. He was expecting frankly for me to be blown away. Instead here I am asking for little annoying details and worse -- explanations. "I mean, why bother if I'm just going to bother telling you exactly? Where's the fun in that? Why bother making art at all?

Formerly, in my attempts to isolate this talent, I deducted, so to speak, from what I heard, the part itself, a part, the common property of all the actresses who appeared as Phèdre, which I myself had studied beforehand so that I might be capable of subtracting it, of gleaming as a residuum Mme Berma’s talent alone. But this talent which I sought to discover outside the part itself was indissolubly one with it. So with a great musician (it appears that this was the case with Vinteuil when he played the piano), his playing is that of so fine a pianist that one is no longer aware that the performer is a pianist at all, because his playing has become so transparent, so imbued with what he is interpreting, that one no longer sees the performer himself — he is simply a window opening upon a great work of art.

Great art is created through freedom of self-expression and received with freedom of individual interpretation. Great art opens a conversation rather than closing it. And often this conversation is started by accident.

What artists and scientists have in common is the ability to live in an open-ended state of interpretation and reinterpretation of the products of our work. The work of artists and scientists is ultimately the pursuit of truth, but members of both camps understand that truth in its very nature is contextual and changeable, dependent on point of view, and that today’s truths become tomorrow’s disproven hypotheses or forgotten objets d’art.

Load your bookshelves with the best literature you can find. Hang beautiful, thought-provoking art work around your house. Watch history and science documentaries as well as good movies and television programs. Listen to beautiful music (which, of course, is open to interpretation).

Through books we can time travel, play make-believe and even create our own intangible art using the words to paint complex and vivid images in our minds. Your own interpretations of what’s on a page, like snowflakes or fingerprints, will never be the same as someone else’s. And to me, that’s the magic that books hold: Preserved in dried ink, on flattened paper, between two covers, that make up the endless world of possibilities lost in a page of carefully curated characters The unread books that have been staring you in the face for the past five years that you swear you could have read, or books that took you years to read that evolved along with your life; those that were bought for you as gifts or those that you bought yourself as a treat after a testing semester at school. The books that remind you of someone you loved, the books you forgot to return to a friend, or the coffee table books you will likely never read, and be pleasantly surprised by their pages when they are opened for the first time by a visiting friend.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

Not every change is so subtle. There are chefs in Rome taking the same types of risks other young cooks around the world are using to bend the boundaries of the dining world. At Metamorfosi, among the gilded streets of Parioli, the Columbian-born chef Roy Caceres and his crew turn ink-stained bodies into ravioli skins and sous-vide egg and cheese foam into new-age carbonara and apply the tools of the modernist kitchen to create a broad and abstract interpretation of Italian cuisine. Alba Esteve Ruiz trained at El Celler de Can Roca in Spain, one of the world's most inventive restaurants, before, in 2013, opening Marzapane Roma, where frisky diners line up for a taste of prawn tartare with smoked eggplant cream and linguine cooked in chamomile tea spotted with microdrops of lemon gelée.

We often think the purpose of criticism is to nail things down. During my years as an art critic, I used to joke that museums love artists the way that taxidermists love deer, and something of that desire to secure, to stabilize, to render certain and definite the open-ended, nebulous, and adventurous work of artists is present in many who work in that confinement sometimes called the art world. A similar kind of aggression against the slipperiness of the work and the ambiguities of the artist's intent and meaning often exists in literary criticism and academic scholarship, a desire to make certain what is uncertain, to know what is unknowable, to turn the flight across the sky into the roast upon the plate, to classify and contain. What escapes categorization can escape detection altogether. There is a kind of counter-criticism that seeks to expand the work of art, by connecting it, opening up its meanings, inviting in the possibilities. A great work of criticism can liberate a work of art, to be seen fully, to remain alive, to engage in a conversation that will not ever end but will instead keep feeing the imagination. Not against interpretation, but against confinement, against the killing of the spirit. Such criticism is itself great art. This is a kind of criticism that does not pit the critic against the text, does not seek authority. It seeks instead to travel with the work and its ideas, to invite it to blossom and invite others into a conversation that might have previously seemed impenetrable, to draw out relationships that might have been unseen and open doors that might have been locked. This is a kind of criticism that respects the essential mystery of art, which is in part its beauty and its pleasure, both of which are irreducible and subjective. The worst criticism seeks to have the last word and leave the rest of us in silence; the best opens up an exchange that need never end.

A Spinoza in poetry becomes a Machiavelli in philosophy. Mysticism is the scholastic of the heart, the dialectic of the feelings. So long as our scholastic education takes us back to antiquity and furthers the study of the Greek and Latin languages, we may congratulate ourselves that these studies, so necessary for the higher culture, will never disappear. If we set our gaze on antiquity and earnestly study it, in the desire to form ourselves thereon, we get the feeling as if it were only then that we really became men. The pedagogue, in trying to write and speak Latin, has a higher and grander idea of himself than would be permissible in ordinary life. If one has not read the newspapers for some months and then reads them all together, one sees, as one never saw before, how much time is wasted with this kind of literature. The classical is health; and the romantic, disease. When Nature begins to reveal her open secret to a man, he feels an irresistible longing for her worthiest interpreter, Art. For all other Arts we must make some allowance; but to Greek Art alone we are always debtors. The dignity of Art appears perhaps most conspicuously in Music; for in Music there is no material to be deducted. It is wholly form and intrinsic value, and it raises and ennobles all that it expresses. Art rests upon a kind of religious sense: it is deeply and ineradicably in earnest. Thus it is that Art so willingly goes hand in hand with Religion. Art is essentially noble; therefore the artist has nothing to fear from a low or common subject. Nay, by taking it up, he ennobles it; and so it is that we see the greatest artists boldly exercising their sovereign rights. Ignorant people raise questions which were answered by the wise thousands of years ago. To praise a man is to put oneself on his level. In science it is a service of the highest merit to seek out those fragmentary truths attained by the ancients, and to develop them further.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

When Nature begins to reveal her open secret to a man, he feels an irresistible longing for her worthiest interpreter, Art. For all other Arts we must make some allowance; but to Greek Art alone we are always debtors. The dignity of Art appears perhaps most conspicuously in Music; for in Music there is no material to be deducted. It is wholly form and intrinsic value, and it raises and ennobles all that it expresses. Art rests upon a kind of religious sense: it is deeply and ineradicably in earnest. Thus it is that Art so willingly goes hand in hand with Religion. Art is essentially noble; therefore the artist has nothing to fear from a low or common subject. Nay, by taking it up, he ennobles it; and so it is that we see the greatest artists boldly exercising their sovereign rights. Ignorant people raise questions which were answered by the wise thousands of years ago. In science it is a service of the highest merit to seek out those fragmentary truths attained by the ancients, and to develop them further. The Classical is health, the Romantic disease.

Persephone left the floral world of her mother (some say willingly, others say through abduction) to be with Hades, the king of the underworld. There, she found missing parts of herself and became a woman. It is said that Inanna, the Sumerian goddess of love, gained “Truth and the Art of Lovemaking” from her journey down below. Before she took the journey, many translations of the myth refer to Inanna as “the pure Inanna.” The pure Inanna descended into the shadows, lost her innocence, and emerged as the Goddess of Love. Dante’s pilgrim journeys through hell in search of his true love and his true life. Mark Musa, a translator and interpreter of Dante’s Inferno writes, “The only way to escape from the dark wood is to descend into Hell; the only way up that mountain lit by the ray of the sun is to go down. Man must first descend in humility before he can raise himself to God. Before man can hope to climb the mountain of salvation, he must first know what sin is. The purpose of the Pilgrim’s journey through Hell is precisely this: to learn all there is to know about sin, as a necessary preparation for the ascent to God.

I taught mathematics here at the university for many years. But before that time, I used to create beautiful music with my beloved wife, who passed away. Her name was Sarah.” He paused for a moment to gather himself after uttering her name, but then continued. “I didn’t play for many years after she died, but one thing that loss has taught me is that keeping a gift locked away only brings harm. It is essential to express ourselves. Walls and doors keep out not just the bad but also the good. It is our job to own the keys of our freedom, and to be able to open those doors. I spent many years behind a closed door without knowing where to find the key to my life, but thanks to my music, I am now finding my way out. To quote an extraordinary but lesser-known philosopher, my late wife Sarah Held, ‘What is life without the beauty of art or music or poetry to help us interpret it, encourage us to know how to feel, how to love and how to live?’ In music I see the darkness, the light, the messiness, the beauty, and the complexities of life that simply can’t be summed up like an equation. Music, for me, helps bring down the walls, to open those locked doors. And I hope it has been that way for you too, tonight.

Our feelings belong to one world, our ability to name things and our thoughts belong to another; we can establish a concordance between the two, but not bridge the gap. And it was something like this gap, this fault, that I had to cross when, the first time I went to see La Berma act, and after straining to catch her every word, I had found some difficulty in connecting my ideas of “nobility of interpretation” and “originality” and had broken into applause only after a moment’s blankness, and as if my applause did not spring from my actual impression but was somehow linked to my preconceived ideas and to the pleasure I felt in saying to myself, “At last I am listening to La Berma.” And the difference that exists between a person or a work of art of strongly individual character and the idea of beauty exists just as much between what it makes us feel and the idea of love or admiration. Listening to La Berma had given me no pleasure (any more than seeing Gilberte). I had said to myself, “So I don’t admire her.” Yet all the while I was thinking only about deepening my understanding of her acting, I was preoccupied with that alone, and I was trying to open my mind as wide as possible to grasp everything that was involved in her acting; I now understood that this was exactly what admiration was.

Admonished by his ear, and straight was known The Arch-Angel Uriel, one of the seven Who in God’s presence, nearest to his throne, Stand ready at command, and are his eyes That run through all the Heavens, or down to the Earth Bear his swift errands over moist and dry, O’er sea and land: him Satan thus accosts. “Uriel, for thou of those seven Spirits that stand In sight of God’s high throne, gloriously bright, The first art wont his great authentic will Interpreter through highest Heaven to bring, Where all his sons thy embassy attend; And here art likeliest by supreme decree Like honour to obtain, and as his eye To visit oft this new creation round; Unspeakable desire to see, and know All these his wonderous works, but chiefly Man, His chief delight and favour, him for whom All these his works so wonderous he ordained, Hath brought me from the quires of Cherubim Alone thus wandering. Brightest Seraph, tell In which of all these shining orbs hath Man His fixed seat, or fixed seat hath none, But all these shining orbs his choice to dwell; That I may find him, and with secret gaze Or open admiration him behold, On whom the great Creator hath bestowed Worlds, and on whom hath all these graces poured; That both in him and all things, as is meet, The universal Maker we may praise; Who justly hath driven out his rebel foes To deepest Hell, and, to repair that loss, Created this new happy race of Men To serve him better: Wise are all his ways.” So spake the false dissembler unperceived; For neither Man nor Angel can discern Hypocrisy, the only evil that walks Invisible, except to God alone,

Beauty Void lay the world, in nothingness concealed, Without a trace of light or life revealed, Save one existence which second knew- Unknown the pleasant words of We and You. Then Beauty shone, from stranger glances free, Seen of herself, with naught beside to see, With garments pure of stain, the fairest flower Of virgin loveliness in bridal bower. No combing hand had smoothed a flowing tress, No mirror shown her eyes their loveliness No surma dust those cloudless orbs had known, To the bright rose her cheek no bulbul flown. No heightening hand had decked the rose with green, No patch or spot upon that cheek was seen. No zephyr from her brow had fliched a hair, No eye in thought had seen the splendour there. Her witching snares in solitude she laid, And love's sweet game without a partner played. But when bright Beauty reigns and knows her power She springs indignant from her curtained bower. She scorns seclusion and eludes the guard, And from the window looks if doors be barred. See how the tulip on the mountain grown Soon as the breath of genial Spring has blown, Bursts from the rock, impatient to display Her nascent beauty to the eye of day. When sudden to thy soul reflection brings The precious meaning of mysterious things, Thou canst not drive the thought from out thy brain; Speak, hear thou must, for silence is such pain. So beauty ne'er will quit the urgent claim Whose motive first from heavenly beauty came When from her blessed bower she fondly strayed, And to the world and man her charms displayed. In every mirror then her face was shown, Her praise in every place was heard and known. Touched by her light, the hearts of angels burned, And, like the circling spheres, their heads were turned, While saintly bands, whom purest at the sight of her, And those who bathe them in the ocean sky Cries out enraptured, "Laud to God on high!" Rays of her splendour lit the rose's breast And stirred the bulbul's heart with sweet unrest. From her bright glow its cheek the flambeau fired, And myriad moths around the flame expired. Her glory lent the very sun the ray Which wakes the lotus on the flood to-day. Her loveliness made Laila's face look fair To Majnún, fettered by her every hair. She opened Shírín's sugared lips, and stole From Parvíz' breast and brave Farhád's the soul. Through her his head the Moon of Canaan raised, And fond Zulaikha perished as she gazed. Yes, though she shrinks from earthly lovers' call, Eternal Beauty is the queen of all; In every curtained bower the screen she holds, About each captured heart her bonds enfolds. Through her sweet love the heart its life retains, The soul through love of her its object gains. The heart which maidens' gentle witcheries stir Is, though unconscious, fired with love of her. Refrain from idle speech; mistake no more: She brings her chains and we, her slaves, adore. Fair and approved of Love, thou still must own That gift of beauty comes from her alone. Thou art concealed: she meets all lifted eyes; Thou art the mirror which she beautifies. She is that mirror, if we closely view The truth- the treasure and the treasury too. But thou and I- our serious work is naught; We waste our days unmoved by earnest thought. Cease, or my task will never end, for her Sweet beauties lack a meet interpreter. Then let us still the slaves of love remain For without love we live in vain, in vain. Jámí, "Yúsuf and Zulaikha". trans. Ralph T. H. Griffith. Ballantyne Press 1882. London. p.19-22

He was but three-and-twenty, and had only just learned what it is to love—­to love with that adoration which a young man gives to a woman whom he feels to be greater and better than himself. Love of this sort is hardly distinguishable from religious feeling. What deep and worthy love is so, whether of woman or child, or art or music. Our caresses, our tender words, our still rapture under the influence of autumn sunsets, or pillared vistas, or calm majestic statues, or Beethoven symphonies all bring with them the consciousness that they are mere waves and ripples in an unfathomable ocean of love and beauty; our emotion in its keenest moment passes from expression into silence, our love at its highest flood rushes beyond its object and loses itself in the sense of divine mystery. And this blessed gift of venerating love has been given to too many humble craftsmen since the world began for us to feel any surprise that it should have existed in the soul of a Methodist carpenter half a century ago, while there was yet a lingering after-glow from the time when Wesley and his fellow-labourer fed on the hips and haws of the Cornwall hedges, after exhausting limbs and lungs in carrying a divine message to the poor. That afterglow has long faded away; and the picture we are apt to make of Methodism in our imagination is not an amphitheatre of green hills, or the deep shade of broad-leaved sycamores, where a crowd of rough men and weary-hearted women drank in a faith which was a rudimentary culture, which linked their thoughts with the past, lifted their imagination above the sordid details of their own narrow lives, and suffused their souls with the sense of a pitying, loving, infinite Presence, sweet as summer to the houseless needy. It is too possible that to some of my readers Methodism may mean nothing more than low-pitched gables up dingy streets, sleek grocers, sponging preachers, and hypocritical jargon—­elements which are regarded as an exhaustive analysis of Methodism in many fashionable quarters. That would be a pity; for I cannot pretend that Seth and Dinah were anything else than Methodists—­not indeed of that modern type which reads quarterly reviews and attends in chapels with pillared porticoes, but of a very old-fashioned kind. They believed in present miracles, in instantaneous conversions, in revelations by dreams and visions; they drew lots, and sought for Divine guidance by opening the Bible at hazard; having a literal way of interpreting the Scriptures, which is not at all sanctioned by approved commentators; and it is impossible for me to represent their diction as correct, or their instruction as liberal. Still—­if I have read religious history aright—­faith, hope, and charity have not always been found in a direct ratio with a sensibility to the three concords, and it is possible—­thank Heaven!—­to have very erroneous theories and very sublime feelings. The raw bacon which clumsy Molly spares from her own scanty store that she may carry it to her neighbour’s child to “stop the fits,” may be a piteously inefficacious remedy; but the generous stirring of neighbourly kindness that prompted the deed has a beneficent radiation that is not lost. Considering these things, we can hardly think Dinah and Seth beneath our sympathy, accustomed as we may be to weep over the loftier sorrows of heroines in satin boots and crinoline, and of heroes riding fiery horses, themselves ridden by still more fiery passions.

Dreams give your soul wings. And images from dreams are the exquisite patterns on the wings. Hold your dream as you would hold a butterfly -- in your open, quiet palms. Make sure none of the delicate wing dust brushes off onto clumsy hands. Pinning the dream down with interpretation will tear the wings off the butterfly and kill it. .... Hold your dream images gently enough so that they still can fly.

The accompanying note from her younger sister, on the other hand, said next to nothing. Lord Ingram stared at it. How should he interpret this apparent coolness on Holmes’s part? She’d long been open in her desire to take him as her lover.Now that it had happened, were two forays to his bed enough? Were his days of being propositioned by Holmes over? And what would he do if that was the case?

There is a kind of counter-criticism that seeks to expand the work of art, by connecting it, opening up its meanings, inviting in the possibilities. A great work of criticism can liberate a work of art, to be seen fully, to remain alive, to engage in a conversation that will not ever end but will instead keep feeding the imagination. Not against interpretation, but against confinement, against the killing of the spirit. Such criticism is itself great art. This is a kind of criticism that does not pit the critic against the text, does not seek authority. It seeks instead to travel with the work and its ideas, to invite it to blossom and invite others into a conversation that might have previously seemed impenetrable, to draw out relationships that might have been unseen and open doors that might have been locked. This is a kind of criticism that respects the essential mystery of a work of art, which is in part its beauty and its pleasure, both of which are irreducible and subjective. The worst criticism seeks to have the last word and leave the rest of us in silence; the best opens up an exchange that need never end.

Most common of all, however, is an ambiguity of meaning in which different interpretations – even mutually contradictory ones – may be held at the same time. Such interpretive conflict, which might have been regarded as artistic failure in an earlier moment of modernist autonomy or postmodern representational critique, is now regarded as a sign of desirable openness, reflecting the layered reality of experience in our time. It is not a coincidence that the younger photographers cited in this chapter are all women; feminist theory has been very influential in creating a more relativist worldview. The female photographers in this chapter are all starting from the position that identity is something to be negotiated rather than assumed, as reflected in their hybridized versions of portraiture.

Rather than equating the terms 'local' and 'cosmopolitan' with geographical areas (rural and urban respectively), sociologist Wade Clark Roof suggests that these terms refer to character types who can be found in a diversity of settings in the United States. Locals are strongly oriented toward community or neighborhood, favor commitments to primary groups (family, neighborhood, fraternal and community organizations), tend to personalize their interpretations of social experience, and are more traditional in their beliefs and values. Cosmopolitans, on the other hand, are oriented toward the world outside the residential community, prefer membership in professional or special interest organizations, and are more open to social change and more tolerant of diversity in belief than locals. While a disproportionate number of locals are found in smaller communities, studies indicate that other factors - such as length of residence in a community, age, and educational level - play an even stronger role in determining orientation.

The mythical Thunderbird, in one form or another, was held in awe by practically all of the Indian tribes. On the Great Plains, where the phenomena of thunderstorms was very striking, the Thunderbird was supposed to be a deity in the form of a bird of enormous size, which produced thunder by flapping its wings, and lightning by opening and closing its eyes. These great birds were thought to carry a lake of fresh water on their backs, which caused a great downpour when they flew through the air. Tribes of the Pacific Coast thought the Thunderbird caught whales during a thunderstorm and used its wings as a bow to shoot arrows. Each tribe interpreted the bird differently in its art, as shown on these two pages. The design of the Thunderbird was used to decorate war drums, pottery, and walls and was supposed to protect individuals and tribes from the Evil Spirits.

12 Ways to Improve & Project Confident Posture 1. Go people watching. Note how you interpret the different postures you observe. This will expand your awareness of how posture impacts first impressions and will help you become more aware of yours. 2. Stand in front of a mirror to see what other people are seeing. Are your shoulders level? Are your hips level? Do you appear aligned? Are you projecting confidence or timidity? 3. Take posture pictures to provide you with points of reference and a baseline over time. Look at past photos of yourself. 4. Stand with your back against a wall and align your spine. 5. Evenly balance on both feet, spaced hip-width apart. 6. Take yoga or Pilates classes to strengthen your core muscles, improve flexibility, and balance, all which support your posture. 7. Consciously pull your shoulders back, stand erect with chin held high. 8. Practice tucking in your stomach, pulling your shoulders back, raising your chin, and looking straight ahead. 9. Sit up straight without being rigid. 10. Enter a room like you belong there or own it. 11. Stand with an open stance to be welcoming and approachable. 12. Angle your body towards the person to whom you are speaking. Angling your body away may signify that you are indifferent, fearful, putting up a barrier, or trying to get away from them.

what is bought forth by the artisan or the artist...has the bursting open belonging to bringing-forth not in itself, but in another (en alloi), in the craftsman or the artist’ (QCT: 10–11).

in order to fulfil his essence, Greek man must gather (legein) and save (sozein), catch up and preserve, what opens itself in its openness, and he must remain exposed (aletheuein) to all its sundering confusion. (AWP:

Yet the relation between world and earth does not wither away into the empty world or opposites unconcerned with another. The world, in resting upon the earth, strives to surmount it. As self-opening it cannot endure anything closed. The earth, however, as sheltering and concealing, tends always to draw the world into itself and keep it there. (OWA:

An important way to nurture this receptivity to the self ’s emerging forms of aliveness is to develop a compassionate attitude toward our own suffering, particularly when it is caused by events and circumstances outside our control. As much as I have stressed the transformative potential of suffering, there may well be times when the best we can do is to allow ourselves to dwell within, and acknowledge the weight of, our affliction. By this I do not mean that we should not endeavor to ease our anguish, but merely that a compassionate stance toward our suffering entails knowing that there are incidents in our lives that have no deep purpose, that do not contribute to any future aim or aspiration, and that do not yield any profound insight no matter how vehement our attempts to interpret them—that do not, in short, in any way enhance our art of living. This is to say that as much as we should remain open to the idea that pain can guide us to something of value, we need to concede that sometimes certain experiences come about—or refuse to do so—without this in itself meaning anything at all. In this context, the fact that our lives are composed of fleeting moments can even work in our favor in the sense that we can learn to live through episodes of pain and suffering without letting them scar us irrevocably. We can learn to effectively reach for happiness in a world of fragile things.

If geography and time are the warp and weft structuring (art) history, perceptual culture is like the pile of a velvet cloth that, without altering the warp or weft of the fabric, reenchants its texture and depth. It treats Islam as the Simurgh, and objects as its feathers. Like the galleries in China full of representations futilely and obsessively trying to reconstruct the bird from its feathers, the museum is a monument to our inability to feel what we are trying to represent. And yet like the three princes seeking the hand of the Chinese princess in the gallery of creation, we can also discover through objects the spirit we can never expect to pin down in our hands. With these hopes tucked in between the warp of evidence and the weft of interpretation, this book would like to quote a certain textile from a very long time ago: I exist for pleasure; Welcome! For pleasure am I; he who beholds me sees joy and well-being. This book offers complex more than simple pleasures: its many questions diverge and converge, offering iridescence to our certainties. It puts forth the pleasure of using thought as steel wool polishing our mental acumen, enabling perception beyond predetermined realities. It may be that a barzakh exists somewhere between the secular and the sacred, a peninsula of understanding in which we enter the cave of our ghurba and become in the world but not of it. If we tread lightly with a pure heart cleansed in the mirror of curiosity and wonder, it may just open its doors a bit and let us explore the glory it holds inside.

In opening that essay, she wrote, “The earliest experience of art must have been that it was incantatory, magical….” Later in the essay, she adds, “Today is such a time, when the project of interpretation is largely reactive, stifling. It is the revenge of the intellect upon the world. To interpret is to impoverish.

My artistic aesthetic is very much inspired by: “every reception of a work of art is both an interpretation and a performance of it, because in every reception the work takes on a fresh perspective for itself”. (Umberto Eco - The Poetics of the Open Work//1966).