Beautiful Representation Quotes

Truth is no harlot who throws her arms round the neck of him who does not desire her; on the contrary, she is so coy a beauty that even the man who sacrifices everything to her can still not be certain of her favors.

The representation of women in the society, especially through mass media has been the most delusional act ever done on the grounds of human existence.

Everything is beautiful only so long as it does not concern us.

PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.

Life is never beautiful, but only the pictures of life are so in the transfiguring mirror of art or poetry; especially in youth, when we do not yet know it. Many a youth would receive great peace of mind if one could assist him to this knowledge.

Any beautiful mind, full of ideas, would always express itself in the most natural, simple and straightforward way, anxious to communicate its thoughts to others (if this is at all possible) and thus relieve the solitude that he must experience in a world such as this: but conversely, intellectual poverty, confusion and wrong-headedness, clothe themselves in the most laboured expressions and obscure turns of phrase in order to conceal petty, trivial, bland or trite thoughts in difficult and pompous expressions.

When he put the old-fashioned mechanical toy on her palm, she stopped breathing. It was a tiny representation of an atom, complete with colored ball bearings standing in for neutrons, protons, and on the outside, arranged on arcs of fine wire, electrons. Turning the key on the side made the electrons move, what she’d thought were ball bearings actually finely crafted spheres of glass that sparked with color. A brilliant, thoughtful, wonderful gift for a physics major. “Why magnesium?” she asked, identifying the atomic number of the light metal. His hand on her jaw, his mouth on her own. “Because it’s beautifully explosive, just like my X.

I’ve often thought of the forest as a living cathedral, but this might diminish what it truly is. If I have understood Koyukon teachings, the forest is not merely an expression or representation of sacredness, nor a place to invoke the sacred; the forest is sacredness itself. Nature is not merely created by God; nature is God. Whoever moves within the forest can partake directly of sacredness, experience sacredness with his entire body, breathe sacredness and contain it within himself, drink the sacred water as a living communion, bury his feet in sacredness, touch the living branch and feel the sacredness, open his eyes and witness the burning beauty of sacredness

Why does the social order feel the need to defend itself by evading the fact of real women, our faces and voices and bodies, and reducing the meaning of women to these formulaic and endlessly reproduced "beautiful" images? Though unconscious personal anxieties can be a powerful force in the creation of a vital lie, economic necessity practically guarantees it. An economy that depends on slavery needs to promote images of slaves that "justify" the institution of slavery. Western economies are absolutely dependent now on the continued underpayment of women. An idealogy that makes women feel "worth less" was urgently needed to counteract the way feminism had begun to make us feel worth more. This does not require a conspiracy; merely an atmosphere. The contemporary economy depends right now on the representation of women within the beauty myth.

The "we" evoked here is all of us, black people/people of color, who are daily bombarded by a powerful colonizing whiteness that seduces us away from ourselves that negates that there is beauty to be found in any form of blackness that is not imitation whiteness.

I would never speak about faith, but speak about the Lord himself - not theologically, as to the why and wherefore of his death - but as he showed himself in his life on earth, full of grace, love, beauty, tenderness and truth. Then the needy heart cannot help hoping and trusting in him, and having faith, without ever thinking about faith. How a human heart with human feelings and necessities is ever to put confidence in the theological phantom which is commonly called Christ in our pulpits, I do not know. It is commonly a miserable representation of him who spent thirty-three years on our Earth, living himself into the hearts and souls of men, and thus manifesting God to them.

The pastor concluded by saying, 'Even if you have always had it perfect: loving parents, a loving spouse, and you've never been hurt or let down, that's great but it's still a poor representation of the love that God offers you. God will always love you stronger and deeper than any person ever can.

The first card was a beautifully rendered but terrifying representation of what Henry guessed was one of the Elders’ forms. Next was half a Wolf cookie. Last was a card that had a simple drawing of a smiley face. “That is sooooo wrong,” Merri Lee said, shuddering. “Yes, it is.” Henry picked

The soul can only be satisfied in the Absolute Beauty; any partial representation of the Absolute, or even eternal existence, cannot satisfy his quest.

Nature seems to take advantage of the simple mathematical representations of the symmetry laws. When one pauses to consider the elegance and the beautiful perfection of the mathematical reasoning involved and contrast it with the complex and far-reaching physical consequences, a deep sense of respect for the power of the symmetry laws never fails to develop.

It is just as little necessary for the saint to be a philosopher as for the philosopher to be a saint; just as it is not necessary for a perfectly beautiful person to be a great sculptor, or for a sculptor to be himself a beautiful person. In general it is a strange demand on a moralist that he should commend no other virtue than that which he himself possesses.

Butterflies are a lot like rainbows: They’re phenomenally beautiful in real life, yet no graphic representation can do them justice; ergo, it’s best to forgo.

An economy that depends on slavery needs to promote images of slaves that “justify” the institution of slavery. The contemporary economy depends right now on the representation of women within the beauty myth. Economist John Kenneth Galbraith offers an economic explanation for “the persistence of the view of homemaking as a ‘higher calling’”: the concept of women as naturally trapped within the Feminine Mystique, he feels, “has been forced on us by popular sociology, by magazines, and by fiction to disguise the fact that woman in her role of consumer has been essential to the development of our industrial society…. Behavior that is essential for economic reasons is transformed into a social virtue.

The world is so big, so complicated, so replete with marvels and surprises that it takes years for most people to begin to notice that it is, also, irretrievably broken. We call this period of research “childhood.” There follows a program of renewed inquiry, often involuntary, into the nature and effects of mortality, entropy, heartbreak, violence, failure, cowardice, duplicity, cruelty, and grief; the researcher learns their histories, and their bitter lessons, by heart. Along the way, he or she discovers that the world has been broken for as long as anyone can remember, and struggles to reconcile this fact with the ache of cosmic nostalgia that arises, from time to time, in the researcher’s heart: an intimation of vanished glory, of lost wholeness, a memory of the world unbroken. We call the moment at which this ache first arises “adolescence.” The feeling haunts people all their lives. Everyone, sooner or later, gets a thorough schooling in brokenness. The question becomes: What to do with the pieces? Some people hunker down atop the local pile of ruins and make do, Bedouin tending their goats in the shade of shattered giants. Others set about breaking what remains of the world into bits ever smaller and more jagged, kicking through the rubble like kids running through piles of leaves. And some people, passing among the scattered pieces of that great overturned jigsaw puzzle, start to pick up a piece here, a piece there, with a vague yet irresistible notion that perhaps something might be done about putting the thing back together again. Two difficulties with this latter scheme at once present themselves. First of all, we have only ever glimpsed, as if through half-closed lids, the picture on the lid of the jigsaw puzzle box. Second, no matter how diligent we have been about picking up pieces along the way, we will never have anywhere near enough of them to finish the job. The most we can hope to accomplish with our handful of salvaged bits—the bittersweet harvest of observation and experience—is to build a little world of our own. A scale model of that mysterious original, unbroken, half—remembered. Of course the worlds we build out of our store of fragments can be only approximations, partial and inaccurate. As representations of the vanished whole that haunts us, they must be accounted failures. And yet in that very failure, in their gaps and inaccuracies, they may yet be faithful maps, accurate scale models, of this beautiful and broken world. We call these scale models “works of art.

(...) this is where having representation really helped, if only to remind you that someone liked your work, thought it important or at the very least beautiful (...)

In trousers. In gowns. With your hair shorn or in braids or down your back. You have never not been beautiful.

I can’t think of any better representation of beauty than someone who is unafraid to be herself.

Watching Paris is Burning, I began to think that the many yuppie-looking, straight -acting, pushy, predominantly white folks in the audience were there because the film in no way interrogates “whiteness.” These folks left the film saying it was “amazing,” “marvellous,” incredibly funny,” worthy of statements like, “Didn’t you just love it?” And no, I didn’t love it. For in many ways the film was a graphic documentary portrait of the way in which colonized black people (in this case black gay brothers, some of whom were drag queens) worship at the throne of whiteness, even when such worship demands that we live in perpetual self-hate, steal, go hungry, and even die in its pursuit. The "we" evoked here is all of us, black people/people of color, who are daily bombarded by a powerful colonizing whiteness that seduces us away from ourselves, that negates that there is beauty to be found in any form of blackness that is not imitation whiteness.

In my entire scientific life, extending over forty-five years, the most shattering experience has been the realization that an exact solution of Einstein's equations of general relativity, discovered by the New Zealand mathematician Roy Kerr, provides the absolute exact representation of untold numbers of massive black holes that populate the universe. This "shuddering before the beautiful," this incredible fact that a discovery motivated by a search after the beautiful in mathematics should find its exact replica in Nature, persuades me to say that beauty is that to which the human mind responds at its deepest and most profound level.

As the rest of the modern world develops into what Seoul already has been for years—an image-laden, social-media-driven landscape, where digital representations of us can be automatically filtered to have longer lashes or poreless skin, and digital makeup can be instantly applied before we show up on our video meetings—it makes clear Korea’s looks-obsessed culture, where appearance norms inch further and further out of reach, isn’t some anomaly.

religions were the first great inventions of the fiction writers. A convincing representation and a plausible explanation of the world for understandably confused minds. A beautiful, shapely story containing hard, exact lies.

I examined it cautiously. On the opposite side of the chain from the wolf, there now hung a brilliant heart-shaped crystal. It was cut in a million facets, so that even in the subdued light shining from the lamp, it sparkled. I inhaled in a low gasp..." "But I thought it was a good representation,' he continued. 'It's hard and cold.' He laughed. 'And it throws rainbows in the sunlight.' 'You forgot the most important similarity,' I murmured. 'It's beautiful.' 'My heart is just as silent,' he mused. 'And it, too, is yours.

We are needy creatures, and our greatest need is for home—the place where we are, where we find protection and love. We achieve this home through representations of our own belonging, not alone but in conjunction with others. All our attempts to make our surroundings look right—through decorating, arranging, creating—are attempts to extend a welcome to ourselves and to those whom we love. ... our human need for beauty is not simply a redundant addition to the list of human appetites. It is not something that we could lack and still be fulfilled as people. It is a need arising from our metaphysical condition as free individuals, seeking our place in an objective world. We can wander through this world, alienated, resentful, full of suspicion and distrust. Or we can find our home here, coming to rest in harmony with others and with ourselves. The experience of beauty guides us along this second path: it tells us that we are at home in the world, that the world is already ordered in our perceptions as a place fit for the lives of beings like us.

What’s so interesting here is that through the course of development, these secure children increasingly “internalize” their parents’ emotional availability and responsiveness and come to hold the same constant or dependable loving feeling toward themselves that their parents originally held toward them (certainly, a beautiful developmental process to watch unfold in securely attached children). Said differently, cognitive development increasingly allows securely attached children to internally hold a mental representation of their emotionally responsive parents when the attachment figures are away and they can increasingly soothe themselves as their caregivers have done—facilitating the child’s own capacity for affect regulation and independent functioning. Thus, as these children grow older and mature cognitively and emotionally, they become increasingly able to soothe themselves when distressed, function for increasingly longer periods without emotional refueling, and effectively elicit appropriate help or support when necessary. In this way, object constancy and more independent functioning develops—facilitating their ability to comfort themselves and become the source of their own self-esteem and secure identity as capable, love-worthy persons. Furthermore, they possess the cognitive schemas or internal working models necessary to establish new relationships with others that hold this same affirming affective valence.

But there are also remarkable differences between the two. The Beautiful in nature is connected with the form of the object, which consists in having boundaries. The Sublime, on the other hand, is to be found in a formless object, so far as in it or by occasion of it boundlessness is represented, and yet its totality is also present to thought. Thus the Beautiful seems to be regarded as the presentation of an indefinite concept of Understanding; the Sublime as that of a like concept of Reason. Therefore the satisfaction in the one case is bound up with the representation of quality, in the other with that of quantity.

In Altdorfer's painting, infinitude acquires a special pathos and beauty through its religious associations, but in principle, as Nietzsche knew, all claims to copy nature must lead to the demand of representing the infinite. The amount of information reaching us from the visible world is incalculably large, and the artist's medium is inevitably restricted and granular. Even the most meticulous realist can accommodate only a limited number of marks on his panel, and though he may try to smooth out the transition between his dabs of paint beyond the threshold of visibility, in the end he will always have to rely on suggestion when it comes to representing the infinitely small.

My beautiful, deadly little Stardust, as I've decided to call her. A representation of the complicated supernova of feelings I've experienced since first laying eyes on her. Like the dusty remains of a star's chaotic explosion, she’s somehow managed to coat every piece of my existence with her bejeweling presence, and she doesn’t even know who I am.

I shall begin with the third sort of words; compound abstracts, such as virtue, honor, persuasion, docility. Of these I am convinced, that whatever power they may have on the passions, they do not derive it from any representation raised in the mind of the things for which they stand. As compositions, they are not real essences, and hardly cause, I think, any real ideas.

The complex interplay of the emotions, however, is far beyond the understanding of functional neuroanatomists. Where, for example, are the representations of the id, ego, and and the superego? Through what pathway are ethical and moral judgments shepherded? What processes allow beauty to be in the eye of the beholder? These philosophical questions represent a true frontier of human discovery.

The formula was the same formula we see in every election: Republicans demonize government, sixties-style activism, and foreigners. Democrats demonize corporations, greed, and the right-wing rabble. Both candidates were selling the public a storyline that had nothing to do with the truth. Gas prices were going up for reasons completely unconnected to the causes these candidates were talking about. What really happened was that Wall Street had opened a new table in its casino. The new gaming table was called commodity index investing. And when it became the hottest new game in town, America suddenly got a very painful lesson in the glorious possibilities of taxation without representation. Wall Street turned gas prices into a gaming table, and when they hit a hot streak we ended up making exorbitant involuntary payments for a commodity that one simply cannot live without. Wall Street gambled, you paid the big number, and what they ended up doing with some of that money you lost is the most amazing thing of all. They got America—you, me, Priscilla Carillo, Robert Lukens—to pawn itself to pay for the gas they forced us to buy in the first place. Pawn its bridges, highways, and airports. Literally sell our sovereign territory. It was a scam of almost breathtaking beauty, if you’re inclined to appreciate that sort of thing.

When I was little, my sister had a pretty jewellery box. Inside was a ballerina that denoted one idea of feminine beauty with her dainty waist, pink tulle skirt and gold hair. This was a representation of femininity that I felt I would never achieve, but one that I sought. Years later I had a ballerina tattooed on my right arm as a symbol of the femininity I now feel. It illustrates the journey I have undertaken and the trans femme/woman I have become.

I like it here much better. I think what people build can be very beautiful, but what God builds goes beyond beauty. You stand outside Notre Dame, say, and you marvel at the accomplishment, but you can’t really connect. It’s artificial, do you see? It’s only a representation of something. Spirit, holiness, maybe even God. But it’s not the thing itself. Out here, it’s all there before you, around you. You’re steeped in it, the real thing. Spirit. Holiness. God.

From the erasure and delegitimization of bisexual and transgender identities to the infantilization of asexuals to the “white-centric” expressions of relationships and identities to the prevalence of monosexism in LGBTQ+ circles, the continued centering of gay and lesbian relationships as the primary and best indicator of individual queer representation is doing harm. It robs us all of the complex and beautiful diversity of how we experience sexuality, gender, and community.

Dada demonstrated that a society that had lost respect was no longer in a position to demand that the artist adhere to its aesthetic and ideological values. The bourgeois idea of beauty had become ridiculous. Poetry was now abstract and based on sound. Rather than focusing on representation, painters now worked with their material for its own sake in terms of its colour, form and structure. The element of chance was treated as a creative process, that freed the artist from the alienation of conditioning.

The Language of the Birds" 1 A man saw a bird and found him beautiful. The bird had a song inside him, and feathers. Sometimes the man felt like the bird and sometimes the man felt like a stone—solid, inevitable—but mostly he felt like a bird, or that there was a bird inside him, or that something inside him was like a bird fluttering. This went on for a long time. 2 A man saw a bird and wanted to paint it. The problem, if there was one, was simply a problem with the question. Why paint a bird? Why do anything at all? Not how, because hows are easy—series or sequence, one foot after the other—but existentially why bother, what does it solve? And just because you want to paint a bird, do actually paint a bird, it doesn’t mean you’ve accomplished anything. Who gets to measure the distance between experience and its representation? Who controls the lines of inquiry? We do. Anyone can. Blackbird, he says. So be it, indexed and normative. But it isn’t a bird, it’s a man in a bird suit, blue shoulders instead of feathers, because he isn’t looking at a bird, real bird, as he paints, he is looking at his heart, which is impossible. Unless his heart is a metaphor for his heart, as everything is a metaphor for itself, so that looking at the paint is like looking at a bird that isn’t there, with a song in its throat that you don’t want to hear but you paint anyway. The hand is a voice that can sing what the voice will not, and the hand wants to do something useful. Sometimes, at night, in bed, before I fall asleep, I think about a poem I might write, someday, about my heart, says the heart. 3 They looked at the animals. They looked at the walls of the cave. This is earlier, these are different men. They painted in torchlight: red mostly, sometimes black—mammoth, lion, horse, bear—things on a wall, in profile or superimposed, dynamic and alert. They weren’t animals but they looked like animals, enough like animals to make it confusing, meant something but the meaning was slippery: it wasn’t there but it remained, looked like the thing but wasn’t the thing—was a second thing, following a second set of rules—and it was too late: their power over it was no longer absolute. What is alive and what isn’t and what should we do about it? Theories: about the nature of the thing. And of the soul. Because people die. The fear: that nothing survives. The greater fear: that something does. The night sky is vast and wide. They huddled closer, shoulder to shoulder, painted themselves in herds, all together and apart from the rest. They looked at the sky, and at the mud, and at their hands in the mud, and their dead friends in the mud. This went on for a long time. 4 To be a bird, or a flock of birds doing something together, one or many, starling or murmuration. To be a man on a hill, or all the men on all the hills, or half a man shivering in the flock of himself. These are some choices. The night sky is vast and wide. A man had two birds in his head—not in his throat, not in his chest—and the birds would sing all day never stopping. The man thought to himself, One of these birds is not my bird. The birds agreed.

The ascent of the soul through love, which Plato describes in the Phaedrus, is symbolized in the figure of Aphrodite Urania, and this was the Venus painted by Botticelli, who was incidentally an ardent Platonist, and member of the Platonist circle around Pico della Mirandola. Botticelli’s Venus is not erotic: she is a vision of heavenly beauty, a visitation from other and higher spheres, and a call to transcendence. Indeed, she is self-evidently both the ancestor and the descendant of the Virgins of Fra Filippo Lippi: the ancestor in her pre-Christian meaning, the descendant in absorbing all that had been achieved through the artistic representation of the Virgin Mary as the symbol of untainted flesh. The post-Renaissance rehabilitation of sexual desire laid the foundations for a genuinely erotic art, an art that would display the human being as both subject and object of desire, but also as a free individual whose desire is a favour consciously bestowed. But this rehabilitation of sex leads us to raise what has become one of the most important questions confronting art and the criticism of art in our time: that of the difference, if there is one, between erotic art and pornography. Art can be erotic and also beautiful, like a Titian Venus. But it cannot be beautiful and also pornographic—so we believe, at least. And it is important to see why. In distinguishing the erotic and the pornographic we are really distinguishing two kinds of interest: interest in the embodied person and interest in the body—and, in the sense that I intend, these interests are incompatible. (See the discussion in Chapter 2.) Normal desire is an inter-personal emotion. Its aim is a free and mutual surrender, which is also a uniting of two individuals, of you and me—through our bodies, certainly, but not merely as our bodies. Normal desire is a person to person response, one that seeks the selfhood that it gives. Objects can be substituted for each other, subjects not. Subjects, as Kant persuasively argued, are free individuals; their non-substitutability belongs to what they essentially are. Pornography, like slavery, is a denial of the human subject, a way of negating the moral demand that free beings must treat each other as ends in themselves.

My sense is that if you go far enough in any stylistic direction, you can make a beautiful and complex representation of reality, although that representation may not be linear. God knows we’ve got enough linearity in our representations of our world. We’ve tremendously overvalued analytical knowledge, rationality, etc. To me, the process of writing is just reading what I’ve written and—like running your hand over one of those mod glass stovetops to find where the heat is—looking for where the energy is in the prose, then going in the direction of that. It’s an exercise in being open to whatever is there.

Also renowned is the beautiful painting ceiling of the cave at Altamira, in Northern Spain. This was the first cave art to be discovered in 1879. The art at Altamira, which has been dated to around 19,000-11,000 years ago, comprises stunning representations of bison, horses, and other large animals, with extraordinary use of colors and shading to indicate depth. The quaint story of its discovery details that the paintings, which are on a low ceiling, were initially missed by the team of archaeologists, but were spotted by one of the team's 8-year-old daughter; she was the only individual small enough to stand erect and still look up at the ceiling.

After staring at photographs of very attractive faces, men show less desire to date an average-looking woman. Exposure to extremely beautiful bodies in visual erotica can wreak havoc on some men's judgement. In one study, men shown pictures of women's beautiful bodies in erotica rated a previously attractive nude as less exciting. Some men even claimed to be less in love with their wives! ... We have a chance to calibrate faces against real-life faces all the time. Everyone sees hundreds and even thousands of faces, but most people have not seen hundreds of nude bodies. Given a much smaller database, nude or minimally clothed bodies in the media may get disproportionate representations in our minds and skew our ideas of the possible or even of the average.

In every age a general misdirection of what may be called sexual "taste"... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being "frank" and "healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible.

Remapping occurs regularly throughout the brain in the absence of injury. My favorite examples concern musicians, who have larger auditory cortical representation of musical sounds than do nonmusicians, particularly for the sound of their own instrument, as well as for detecting pitch in speech; the younger the person begins being a musician, the stronger the remapping.15 Such remapping does not require decades of practice, as shown in beautiful work by Alvaro Pascual-Leone at Harvard.16 Nonmusician volunteers learned a five-finger exercise on the piano, which they practiced for two hours a day. Within a few days the amount of motor cortex devoted to the movement of that hand expanded, but the expansion lasted less than a day without further practice. This expansion was probably “Hebbian” in nature, meaning preexisting connections transiently strengthened after repeated use.

As soon as any relation to our will, to our person, even of those objects of pure contemplation, again enters consciousness, the magic is at an end. We fall back into knowledge governed by the principle of sufficient reason; we now no longer know the Idea, but the individual thing, the link of a chain to which we also belong, and we are again abandoned to all our woe. Most men are almost always at this standpoint, because they entirely lack objectivity, i.e., genius. Therefore they do not like to be alone with nature; they need company, or at any rate a book, for their knowledge remains subject to the will. Therefore in objects they seek only some relation to their will, and with everything that has not such a relation there sounds within them, as it were like a ground-bass, the constant, inconsolable lament, “It is of no use to me.” Thus in solitude even the most beautiful surroundings have for them a desolate, dark, strange, and hostile appearance.

All this is accomplished by the inner power of an artistic nature alone; but that purely objective disposition is facilitated and assisted from without by suitable objects, by the abundance of natural beauty which invites contemplation, and even presses itself upon us. When ever it discloses itself suddenly to our view, it almost always succeeds in delivering us, though it may be only for a moment, from subjectivity, from the slavery of the will, and in raising us to the state of pure knowing. This is why the man who is tormented by passion, or want, or care, is so suddenly revived, cheered, and restored by a single free glance into nature: the storm of passion, the pressure of desire and fear, and all the miseries of willing are then at once, and in a marvellous manner, calmed and appeased. For at the moment at which, freed from the will, we give ourselves up to pure will-less knowing, we pass into a world from which every thing is absent that influenced our will and moved us so violently through it.

Art, as we have known it, stands on the threshold of the transcendental. It points beyond this world of accidental and disconnected things to another realm, in which human life is endowed with an emotional logic that makes suffering noble and love worthwhile. Nobody who is alert to beauty, therefore, is without the concept of redemption—of a final transcendence of mortal disorder into a ‘kingdom of ends’. In an age of declining faith art bears enduring witness to the spiritual hunger and immortal longings of our species. Hence aesthetic education matters more today than at any previous period in history. As Wagner expressed the point:‘It is reserved to art to salvage the kernel of religion, inasmuch as the mythical images which religion would wish to be believed as true are apprehended in art for their symbolic value, and through ideal representation of those symbols art reveals the concealed deep truth within them.’ Even for the unbeliever, therefore the ‘real presence’ of the sacred is now one of the highest gifts of art.

There is however, one reason why the arts so rarely accept a mission that IS within the power of the Church to alter. In the past, the densest or richest location of baptised art has been the Liturgy. The sacred use of the arts in the liturgical setting has provided inspiration for artists engaged in producing artworks for contexts outside the Liturgy, for consumption beyond the limits of the visible Church. In the modern West, the Muses have largely fled the liturgical amphitheatre, which instead is given over to banal language, poor quality popular music, and, in new and re-designed churches, a nugatory or sometimes totally absent visual art. This deprives the wider Christian mission of the arts of essential nourishment. Where would the poetry of Paul Claudel be without the Latin Liturgy? Or John Tavener's music without the Orthodox Liturgy? Where would be the entire tradition of representational art in the West without the liturgical art of which until the seventeenth century at least remained at its heart? We need today to summon back the Muses to the sacred foyer of the Church, to be at home again at that hearth.

There is no psychology in a fairy tale. The characters have little interior life; their motives are clear and obvious. If people are good, they are good, and if bad, they’re bad. Even when the princess in ‘The Three Snake Leaves’…inexplicably and ungratefully turns against her husband, we know about it from the moment it happens. Nothing of that sort is concealed. The tremors and mysteries of human awareness, the whispers of memory, the promptings of half-understood regret or doubt or desire that are so much part of the subject matter of the modern novel are absently entirely. One might almost say that the characters in a fairy tale are not actually conscious. They seldom have names of their own. More often than not they’re known by their occupation or their social position, or by a quirk of their dress: the miller, the princess, the captain, the Bearskin, Little Red Riding Hood. When they do have a name it’s usually Hans, just as Jack is the hero of every British fairy tale. The most fitting pictorial representation of fairy-tale characters seems to me to be found not in any of the beautifully illustrated editions of Grimm that have been published over the years, but in the little cardboard cut-out figures that come with the toy theatre.

All great amusements are dangerous to the Christian life; but among all those which the world has invented there is none more to be feared than the theatre. It is a representation of the passions so natural and so delicate that it excites them and gives birth to them in our hearts, and, above all, to that of love, principally when it is represented as very chaste and virtuous. For the more innocent it appears to innocent souls, the more they are likely to be touched by it. Its violence pleases our self-love, which immediately forms a desire to produce the same effects which are seen so well represented; and, at the same time, we make ourselves a conscience founded on the propriety of the feelings which we see there, by which the fear of pure souls is removed, since they imagine that it cannot hurt their purity to love with a love which seems to them so reasonable. So we depart from the theatre with our heart so filled with all the beauty and tenderness of love, the soul and the mind so persuaded of its innocence, that we are quite ready to receive its first impressions, or rather to seek an opportunity of awakening them in the heart of another, in order that we may receive the same pleasures and the same sacrifices which we have seen so well represented in the theatre.

Now, as words affect, not by any original power, but by representation, it might be supposed, that their influence over the passions should be but light; yet it is quite otherwise; for we find by experience, that eloquence and poetry are as capable, nay indeed much more capable, of making deep and lively impressions than any other arts, and even than nature itself in very many cases. And this arises chiefly from these three causes. First, that we take an extraordinary part in the passions of others, and that we are easily affected and brought into sympathy by any tokens which are shown of them; and there are no tokens which can express all the circumstances of most passions so fully as words; so that if a person speaks upon any subject, he can not only convey the subject to you, but likewise the manner in which he is himself affected by it. [...] Secondly, there are many things of a very affecting nature, which can seldom occur in the reality, but the words that represent them often do; and thus they have an opportunity of making a deep impression and taking root in the mind, whilst the idea of the reality was transient [...] Thirdly, by words we have it in our power to make such combinations as we cannot possibly do otherwise. By this power of combining we are able, by the addition of well-chosen circumstances, to give a new life and force to the simple object.

The beautiful in nature is a question of the form of the object, and it consists in limitation, whereas the sublime is to be found in an object even devoid of form, so far as it immediately involves, or else by its presence evokes, a representation of limitlessness, yet with a super-added thought of its totality. Accordingly the beautiful seems to be regarded as a presentation of an indeterminate concept of the understanding , the sublime as a presentation of an indeterminate concept of reason, Hence, the delight is in the former case coupled with the representation of quality, but in this case with that of quantity. Moreover, the former delight is very different from the latter in kind. For the beautiful is directly attended with a feeling of the furtherance of life, and thus is compatible with charms and a playful imagination. On the other hand, the feeling of the sublime is a pleasure that only arrises indirectly, being brought about by the feeling of a momentary check of the vital forces followed all at once by discharge all the more powerful, and so it is an emotion that seems to be no play, but a serious matter of the imagination. Hence charms are also incompatible with it; and, since the mind is not simply attracted by the object, but is also alternately repelled thereby, the delight in the sublime does not show how much involve positive pleasure as admiration or respect, i.e. merits the name of a negative pleasure.

Sadly though, this side of heaven, we can only attempt to have a fore-shadow of the romance to come. Even the best marriages and the men and women who valiantly strive to follow the Bible’s model of marriage fall short. I am sure many of us have failed in obtaining the type of earthly relationship God planned and intended to display His love. Pre-marital sex, extra-marital sex, homosexuality, sex outside of a marriage covenant, and love-less, dysfunctional marriages are just the beginning. Many have been abused, sold, objectified, molested, even raped. All manner of perversion and depravity have marred the beauty God intended. We are broken, injured, hurt, marginalized, left feeling like so much less than what God requires. If you are one broken, please hear this: It should not have been. It was not God’s way or His will that you were treated like anything less than His highly valued, flawless beauty—His beloved. If you are one who lost your way and engaged in things beneath your royal standing, He died, arose and lives to forgive and restore. Yes, we know a good and solid Biblical marriage gives the closest representation of godly intimacy. But let’s get real for a minute. So few of us have ever experienced that for ourselves or grew up in homes where that was our example, we desperately need to trust God for our own healing and restoration in this area before we can ever hope to experience it in our relationships. I am convinced God’s priority for us is to learn about spiritual intimacy with Him. He can restore marriages, liberate from sexual addictions, save spouses, give us a godly man. But I think, for the most part, those things happen after we realize and accept our need for Christ. His priority will always be our spirit intimately one with His, because He puts the spirit above the flesh. We have to lay our souls bare and ask for His touch. God alone can reclaim our perception of intimacy for His holy and righteous glory. He can restore our hearts and minds to righteousness, clean and pure so we might experience holy intimacy through the Spirit until we see Him face to face in glory.

Man belongs to two spheres. And Scripture not only teaches that these two spheres are distinct, it also teaches what estimate of relative importance ought to be placed upon them. Heaven is the primordial, earth the secondary creation. In heaven are the supreme realities; what surrounds us here below is a copy and shadow of the celestial things. Because the relation between the two spheres is positive, and not negative, not mutually repulsive, heavenly-mindedness can never give rise to neglect of the duties pertaining to the present life. It is the ordinance and will of God, that not apart from, but on the basis of, and in contact with, the earthly sphere man shall work out his heavenly destiny. Still the lower may never supplant the higher in our affections. In the heart of man time calls for eternity, earth for heaven. He must, if normal, seek the things above, as the flower's face is attracted by the sun, and the water-courses are drawn to the ocean. Heavenly-mindedness, so far from blunting or killing the natural desires, produces in the believer a finer organization, with more delicate sensibilities, larger capacities, a stronger pulse of life. It does not spell impoverishment, but enrichment of nature. The spirit of the entire Epistle shows this. The use of the words "city" and "country" is evidence of it. These are terms that stand for the accumulation, the efflorescence, the intensive enjoyment of values. Nor should we overlook the social note in the representation. A perfect communion in a perfect society is promised. In the city of the living God believers are joined to the general assembly and church of the firstborn, and mingle with the spirits of just men made perfect. And all this faith recognizes. It does not first need the storms and stress that invade to quicken its desire for such things. Being the sum and substance of all the positive gifts of God to us in their highest form, heaven is of itself able to evoke in our hearts positive love, such absorbing love as can render us at times forgetful of the earthly strife. In such moments the transcendent beauty of the other shore and the irresistible current of our deepest life lift us above every regard of wind or wave. We know that through weather fair or foul our ship is bound straight for its eternal port.

That there is struggle and inequality even in beauty, and war for power and supremacy: that doth he here teach us the plainest parable. How divinely do vault and arch here contrast in the struggle: how with light and shade they strive against each other, the divinely striving ones. — This is a clear description of the Gothic cathedral where you really feel that life itself has become congealed-one could say it was congealed life. It is often compared to a wood or to the branches of a tree; all sorts of animals run up and down those columns and spires. It is wood that has become stone, or spirit that has become incorruptible matter, and the architecture symbolizes the struggle from which it arose. One sees the struggle itself represented in Norman art, in those manifold representations of the fight between man and monsters, particularly. In the Gothic cathedral this conflict is fully developed and fully represented in the enormous height and depth, in the light and the shadow, and in the extraordinary complication of all those architectural forms melting into each other, or fighting one another. It is also expressed in the peculiar arches built outside the church to support the walls inside; it gives one the idea of tremendous tension, of a thing that is almost bursting. When you look, for instance, in Notre Dame in Paris, at the tension of the walls inside supported by the arches, you realize how daring the whole enterprise was-to catch so much spirit in matterand what they had to do in order to secure it. There is no such thing in the Norman cathedrals; they are really made of stone, while in the Gothic cathedrals one begins to doubt the weight of the stone. And a little later one sees the same peculiarity in sculpture. In the cinquecento sculpture of Michelangelo and the later men, they seemed to deny the immobility of the stone; up to that time, stone had been practically immovable, even Greek sculpture, but with Michelangelo, the stone began to move with a surplus of life which is hardly believable. It seems as if it either were not stone or as if something wrong had happened. There is too much life, the stone seems to walk away. It begins to move till the whole thing falls asunder. You see, that is what Nietzsche is describing here. He calls them the divinely striving ones that are no longer striving; they have congealed, they have come to rest. Jung, C. G.. Nietzsche's Zarathustra: Notes of the Seminar given in 1934-1939. Two Volumes: 1-2, unabridged (Jung Seminars) (p. 1109-1110)

Finding themselves in competition with younger women (many of whom are not and will never be feminist) for male attention they often emulate sexist representations of female beauty.

The political beauty of our online age is that it’s now actually feasible—and urgently necessary—to reengage the public in just this way. In Aristotle’s time, Athenian citizens assembled on the Pnyx hillside near the Acropolis to cast their ballots. For most of American history, elected representatives came together in the Congress to cast votes in the name of the people. Yet that kind of representation is now in name only, except if you happen to be a wealthy campaign contributor. In the coming age of e-governance, however, direct democracy will once again become feasible, and indeed inevitable.

I must acknowledge that though his adoption embodies graciousness, it is also a reminder this world is not as it should be. Brokenness permeates our world. Sure, beauty is born from ashes, but the ashes don't just magically disappear. Suffering and all that is wrong in this world still exists. This side of heaven, tragedy remains and the moments of her son becoming ours is a representation of joy and suffering deeply intertwined. Our son, the living proof and blessing that love is what makes a family, reminds us that adoption is born out of undeniable loss. Irrevocable loss of wholeness, of what was meant to be. To only acknowledge the beauty without giving voice to the tragedy, is to detract from adoption. In diminishing the tragedy of adoption, I decrease my son's story, along with others a part of the adoption circle. I would be choosing to ignore a massive portion of who he is.

As long as you have broad representation from many parts of society, representative government works extremely well. And it works even better when the representatives serve for only a short period of time and return to their communities, leaving a spot for someone else from the community to become the next representative.

He painted beautiful demons that smiled with frightening realism from the canvas; demons that-even though only representations in paint-promised pain and pleasure in equal measure.

Love and aspirations! Let me take you behind the rainbow, And show you the colours of love, Let me make you wet with my feelings of love, As every droplet of my colourful feelings kisses you behind that rainbow. Let me borrow some colourful mist from the butterfly, And sprinkle it on your soul, Let me love you whole including your soul, As you become the envy of every butterfly. Let me take you to the garden of roses, lavenders and other beautiful flowers, And love you like careless lovers, Let us be those carefree and self indulgent lovers, As I secretly endow you with the beauty of all these flowers. Let us stand at the banks of the noisy rivulet, And flow with its hastiness in one direction, Let you be the sea and I will be the river flowing in this direction, As you and I become the part of the happily and always rushing rivulet. Let me take you to a place where it is always morning, And let the dew fall on your soul and quench you, Let you be the pasture of million grass blades as the dew drops kiss you, As you witness the wave of pleasure engulfing you , then only for you let me be this morning. Let me take you to the distant valley where the shepherdess sings a beautiful song, And you try to be her melody, Let me then be the every note of this melody, As you get drawn towards the mesmerising song. Let me make you sit before my mirror long enough, And fill myself just with your visual imaginations, Let there be no memory left in me except your imaginations, As I love you today Irma may it be till eternity, and yet not enough! Let me feel your bright body and deep eyes, under the sun, And I shall love you in presence of this universe, Let me kiss you , to feel you and to remember you just like this universe, As sometimes under the moonlight I feel you are my warmth and my only sun! Let me love you forever, Although loving is brief but forgetting is an infinite loop of time, So, let me love you Irma till the end of time, Because we were born for each other and to be together forever. Let me now take you to the pinnacle of hopes, dreams and beautiful aspirations, And you decide if you wish to push me into the abyss of nothingness, Let me tell you though, I shall find you even in that nothingness, Because as we both stood in front of the mirror, I hope you remember, my reflection was a representation of your beauty and aspirations!

We took everything we’d learned about the industry and Nest’s potential customers, about demographics and psychographics, and we created two distinct personas. One was a woman and the other a man. The man was into technology, loved his iPhone, was always looking for cool new gadgets. The woman was the decider—she dictated what made it into the house and what got returned. She loved beautiful things, too, but was skeptical of super-new, untested technology. We gave them names and faces. We made a mood board of their home, their kids, their interests, their jobs. We knew what brands they loved and what drove them crazy about their house and how much money they spent on heating bills in the winter. We needed to look through their eyes to understand why the man might pick up the box. And so we could convince the woman to keep it. Over time we added more personas—couples, families, roommates—as we better understood our customers. But in the beginning we started with two—two human beings who everyone could imagine, whose photos they could touch. That’s how prototyping works. It’s how you make abstract concepts into physical representations. You turn your messaging architecture into words and pictures on a box. [See also: Figure 5.4.1, in Chapter 5.4.] You turn “someone in a store” into Beth from Pennsylvania. And then you keep going. Every step of the way, along every link of the chain.

Museums of primitive art are filled with masks, figurines, bas-relief sculptures, all looted from all over the world and robbed of their meanings. For those who created them, life resided not in the object itself, but rather in the spirit that inspired it. A corpse, even one artistically entombed, is still a dead body. They are no longer works of art, but simply objects. They are beautiful, whereas they should be alive, From time immemorial, humans have sculpted to magnify their gods. There is a reason why some religions are against any depiction of their gods while others are committed to the practice. There is some form of highly human insolence in recreating the god that created you, and there is a risk of adoring the tangible representation in itself instead of the discarnate deity. That is what sculpture is: both a tribute and a challenge to the gods. Some spiritualities tolerate this ambivalence, others don't. Others yet use representations to further tighten control over their flock and guarantee their submissiveness. They select the artists and dictate the dogma they should represent. Sculpture is both the easiest and the most delicate of art forms. It is more than just hewing a form out of a compact block, or reproducing a model: you have to breathe life into It. That is not something you can learn or improvise. There is always some part of yourself that you infuse into the material. In our modern world, where art is a business like any other, techniques are taught, but the magic, on the other hand, is still a gift, midway between bliss and suffering.

To Poincaré’s suggestion that the fourth dimension be represented as a succession of scenes, Picasso added a visually ingenious twist: Set down different views of a scene all at once, simultaneously. These were the essential elements in Picasso’s discovery of a representation of nature that caught the enormous conceptual transformations occurring in art, science and technology at the beginning of the twentieth century.

The objective measure of beauty is beauty itself. The real measure of life is life itself. The objective measure of existence is existence itself. We are part of the beauty of the existing world. Through us, the world measures and enjoys itself in its myriad ways. Life and the world impose standards, but we also make and impose our standards. Our standards must be in accordance, to the highest degree, with the factual state of the world to be a real representation of the world at its best. If our standards deviate from this high demand, then what is left is mostly simulacrum, proportionate to the degree of our deviation or departure from the highest possible standards.

for Edwards, God’s Word and Spirit illuminate our worldly wisdom, rendering our knowledge more clear, beautiful and real than ever before. In a remarkable notebook entry dating from 1729, Edwards depicted this point vividly: A mind not spiritually enlightened [by means of the Bible and God’s Spirit] beholds spiritual things faintly, like fainting, fading shadows that make no lively impression on his mind, like a man that beholds the trees and things abroad in the night: the ideas ben’t strong and lively, and [are] very faint; and therefore he has but a little notion of the beauty of the face of the earth. But when the light comes to shine upon them, then the ideas appear with strength and distinctness; and he has that sense of the beauty of the trees and fields given him in a moment, which he would not have obtained by going about amongst them in the dark in a long time. A man that sets himself to reason without divine light is like a man that goes into the dark into a garden full of the most beautiful plants, and most artfully ordered, and compares things together by going from one thing to another, to feel of them and to measure the distances; but he that sees by divine light is like a man that views the garden when the sun shines upon it. There is ... a light cast upon the ideas of spiritual things in the mind of the believer, which makes them appear clear and real, which before were but faint, obscure representations.133

AN ANSWER TO OUR QUESTION Places of worship embody the aspirations of their architects, and the communities they represent, to ideal beauty. Their chosen means of expression feature color, geometry, and symmetry. Consider, in particular. the magnificent plate HH. Here the local geometry of the ambient surfaces and the local patterns of their color change as our gaze surveys them. It is a vibrant embodiment of anamorphy and anachromy-the very themes that our unveiling of Nature's deep design finds embodied at Nature's core. Does the world embody beautiful ideas? There is our answer, before our eyes: Yes. Color and geometry, symmetry, anachromy, and anamorphy, as ends in themselves, are only one branch of artistic beauty. Islam's injunction against representational art played an important part in bringing these forms of beauty to the fore, as did the physical constraint of structural stability (we need columns to support the weight of ceilings, and the arches and domes to distribute tension). Depictions of human faces, bodies, emotions, landscapes, historic scenes, and the like, when they are allowed, are far more common subjects for art than those austere beauties. The world does not, in its deep design, embody all forms of beauty, nor the ones that people without special study, or very unusual taste, find most appealing. But the world does, in its deep design, embody some forms of beauty that have been highly prized for their own sake, and have been intuitively associated with the divine.

In short: by imagining a space-filling fluid, and allowing for its possible effects, we are able to consider a wide variety of transformed images as representations of the same scene, viewed through different states of the fluid. In a similar way, by introducing just the right kind of material into space-time, Einstein was able to allow the distortions of physical law, which are introduced by Galilean transformations that vary in space and time, to be accomplished as modifications of a new material. That material is called the metric field or, as I prefer to say, metric fluid. The expanded system, containing the original world plus a hypothetical new material, obeys laws that remain the same even when we make variable changes in velocity, though the state of the metric fluid changes. In other words, the equations for the expanded system can support our huge, "outrageous" local symmetry. We might expect that systems of equations that support such an enormous amount of symmetry are very special, and hard to come by. The new material must have just the right properties. Equations with such enormous symmetry are the analogue of the Platonic solids-or, better, the spheres-among equations!

MT: These texts are at one and the same time very beautiful and obscure; they need to be explicated, clarified. “What is hidden will be revealed.” Why must Revelation be hidden? RG: It's not that it must be hidden, actually it's not hidden at all. It's mankind that is blind. We're inside the closure of representation, everyone is in the fishbowl of his or her culture. In other words, mankind doesn't see what I was saying earlier, the principle of illusion that governs our viewpoint. Even after the Revelation, we still don't understand. MT: Does that mean that things are going to emerge gradually, but that at first they're incomprehensible? RG: They seem incomprehensible because mankind lives under the sign of Satan, lives a lie and lives in fear of the lie, in fear of liars. The reversal performed by the Passion has yet to occur. MT: Insofar as the Church itself has been mistaken for two thousand years and has been practicing a sacrificial reading of the Passion of the Christ, that reading is a way of hiding Revelation. RG: I'm not saying that the Church is mistaken. The reading that I'm proposing is in line with all the great dogmas, but it endows them with an anthropological underpinning that had gone unnoticed. MT: Why not just clean up our bad habits by sweeping them away once and for all in the year zero, making way for an era of love and infinite peace? RG: Because the world wouldn't have been able to take it! Since the sacrificial principle is the fundamental principle of the human order—up to a certain point human beings need to pour out their violence and tensions onto scapegoats—destroying it all at once is impossible. That's why Christianity is made in such a way as to allow for transitions. This is no doubt one of the reasons why it is at once so far from and so close to myth, and always susceptible to being interpreted a bit mythically. When Nietzsche says that Christianity is impossible, that it can only lead to absurdities, to outrageous, insane things, it can be said that he's superficially right, even if ultimately he's wrong. You can't get rid of the sacrificial principle by just flicking it away as if it were a piece of dust. History isn't finished. Every day very interesting things, changes in outlook, are happening right before our eyes. In the United States and everywhere, a lot of current cultural phenomena can be unified by describing them as the discovery of new victims, or rather as their concrete rehabilitation, for in truth we've known about them for a long time: women, children, the elderly, the insane, the physically and mentally handicapped, and so forth. For example, the question of abortion, which has great importance in American debates, is no longer formulated except in the following terms: “Who is the real victim? Is it the child or is it the mother?” You can no longer defend a given position, or indeed any of them, except by making it into a contribution to the anti-victimary crusade. MT

This ability is partly why artistically naive viewers prefer representational paintings over abstract ones: they can latch onto a piece of the meaning of the painting.

The doctrine of predestination is controversial not because the Bible is unclear or because there are good arguments on all sides. It is controversial because sinful man lacks intelligence to grasp the truth and integrity to admit the truth. He demands salvation from God but refuses to give him the glory. He reserves a decisive role for himself, and declares that although God makes salvation possible for everyone, he makes it actual for no one until each person permits God to save him.   He convinces himself that he is the master of his soul, and that no one can take it out of his hands. Jesus said, "You did not choose me, but I chose you and appointed you" (John 15:16), but sinful man retorts, "You have 'chosen' me only because you know that I would choose you, so that my will logically precedes and determines your will!" He says, "If conversion is necessary, then by my will I will turn against my wickedness, even my own evil will, by my might I will escape from Satan's hold and sin's grip, and by my power I will turn to Christ and permit him to save me, as if I need him at all."   The religious sinner resents this representation. He obscures his thoughts with beautiful words and reverent expressions, but he is driven by such wickedness and defiance that he makes himself the center of the universe, so that even God must bow down and serve him. Thus "free will" is Satan's slogan, and Arminianism is his creed. On the other hand, the Christian faith declares, "Salvation comes from the LORD" (Jonah 2:9) – really and wholly from God.

Stackhouse has argued that we are distorting the entire contextualization debate if we interpret it only as a problem of the relationship between praxis and theory. We also need the dimension of poiesis, which he defines as the “imaginative creation or representation of evocative images” (1988:85; cf 104). People do not only need truth (theory) and justice (praxis); they also need beauty, the rich resources of symbol, piety, worship, love, awe, and mystery. Only too often, in the tug-of-war between the priority of truth and the priority of justice, this dimension gets lost.

The game created a parallel world, Sidney thought. It was drama; it was excitement; it was a metaphor for the vicissitudes of life. It was also quintessentially English: democratic (there were teams with all levels of ability), communal (the cricket ‘square’ was often at the centre of the village green), and convivial (the game was full of eccentric characters.) It was the representation of a nation’s cuisine, with its milky tea, cucumber sandwiches, Victoria sponge and lashings of beer. It was also beautiful to watch, with fifteen men, dressed in white and moving on green, creating geometrical patterns that looked as if they had been choreographed by a divine choreographer. As

… What would the cosmetic surgery industry do if women embraced the unchanging beauty within them, instead of obsessing about the ever-changing patriarchal representations of external beauty?

The ideal of whiteness makes a strong appeal. It flatters white people by associating them with (what they define as) the best in human beauty and virtue. The very idea of a best and of striving towards it accords with the aspirational structure of whiteness. There is an ecstasy to be felt in the luminescent representation discussed in the next chapter, a luminescence that makes sense in the context of the idea of whiteness as transcendence, dissolution into pure spirit and no-thing-ness. Equally, the ideal of white as absence may be confounded with the wider representational mode discussed above: being nothing at all may readily be felt as being nothing in particular, the representative human, the subject without properties.

The history of representations of Cleopatra provides one of the clearest instances of the conviction that whiteness is the pinnacle of human beauty. Cleopatra became a byword for feminine beauty in European culture, but in the process she had to be represented as white. As

The vital roles that schema and pattern play in Archaic art can be considered symptoms of a larger Greek demand for regularity and order which extends beyond the realms of representational art into architecture, poetry, and philosophy and beyond the limits of the Archaic period itself. The language of Homer is highly ordered: its formulae were originally patterns for the ear. Hesiod's Theogony imposes patterns on gods and heroes by putting each in his genealogical place, and his Works and Days moves from a particular instance of injustice to universal truths and patterns of human activity. Archaic poetry in general is full of literary schemata or conventions, and Archaic poets express thought and meaning through the harmony of opposites. Archilochos detected a rhysmos (pattern) even in the rise and fall of human fortunes. The philosophers of Miletos attempted to fit nature to preconceived patterns and so to extract order from apparent chaos. Pythagoras (or his followers) ordered the world through number. The urge to impose kosmos (order) on the nature of things is not peculiar to the Archaic mind – in Xenophon's Oikonomikos Sokrates reports that all things, even pots and pans, look more beautiful when they are kept in order, and even the space between them looks beautiful – but is nonetheless particularly characteristic of it.

The age-old quest of both art and science has been to seek new representations of phenomena beyond appearances.

This book does not represent autism, and neither I nor Cassie represent autistic people. We are simply individual voices in a choir of millions of amazing neurodivergent people, all with our own experiences, or own ways of seeing the world, our own ways of existing. I cannot speak for anyone but myself, and I would not want to try. So, whether you enjoyed this book or not, whether you see yourself represented in this story or not, I urge you to seek out other autistic voices. We are beautiful, we are unique, and we are legion.

These voices might be authoritative, but they must never become authoritarian. If authoritarian is constructed, the text is rendered subservient and submerged into its representer and reader. If the authoritative is constructed, the text survives unencumbered and unlimited by its representer and reader.

turned out that the proper visual imagery is generated by the mathematics of quantum mechanics, and it consists entirely of schematic representations of events, not pictures of objects.

Truth be told, there really isn’t any such thing as “Christian Art.” Just like “Beauty” and “Justice,” “Art” belongs fully to the Lord. It’s all his , meaning that, in the end, we can only speak of good art or bad art; art that is a worthy representation of God’s heart or some severely diluted or distorted misrepresentation of the Master Artist.

All of this information is taken from long-term memory and mapped onto, or worked on, by a dedicated representational medium capable of dealing with logical reasoning based in symbols or elements not reducible to logical symbols, such as visual imagery. Conscious and unconscious thought occur in this medium.

Wertheimer’s Gestalt theory of creativity asserts that the mind has an irresistible urge to create structures, or arrangements of facts into patterns that possess maximal symmetry. These are good Gestalts.38 Many cognitive scientists believe that Gestalt principles of perception are hard-wired into the brain and that their function is to make sense of the perceptions with which we are continually bombarded.39 People for whom this drive toward good form is especially strong are most likely to be personally offended by inconsistencies and unaesthetic representations.

the simultaneous representation of entirely different viewpoints whose sum constitutes the depicted object.

Being overweight, especially in the nineties before the antibullying, body-positivity era of today, invited a lot of commentary and critique. I want to say something here before I go any further, today IS better. I don’t mean to make light of body positivity, it’s important and anyone who today feels more comfortable in their skin than they did when the only standard of beauty was a supermodel, I applaud you. For too long we walked around seeing beautiful people in all shapes and sizes that literally had no representation and today it’s drastically better. But being overweight when I was overweight was different.

Halfway through the day, Megan started dicking around on the internet. She made her browser window as small as she could, paused for a second, and then looked up “Carrie Wilkins.” She found Carrie’s website, and on it, this bio: Hi, my name’s Carrie. I’m 26. I make things. I paint and I write, but mostly I design. I like to make things beautiful, or creative. I make my own food and I’m trying to grow my own beets. A lot of people around me seem unhappy and I don’t understand why. I freelance because I know I’d go insane if I couldn’t make my own schedule—I believe variety is the zest of life. I know I want a dog someday soon, and sometimes I make lunch at 3 a.m. I believe in the power of collaboration, and I’d love to work with you! What a total asshole. What does she have, some kind of a pact with Satan? The picture next to Carrie’s bio had some kind of heavy filter on it that made it look vintage, and she had a friendly but aloof look on her face. She was flanked on both sides by plants and was wearing an oxford shirt with fancy shorts and had a cool necklace. It was an outfit, for sure, like all of Carrie’s clothes were outfits, which Megan always thought of as outdated or something only children did. The website linked to a blog, which was mostly photos of Carrie doing different things. It didn’t take too long to find the picture of her with the llama with a caption about how she and her boss got it from a homeless guy. And then just products. Pictures and pictures of products, and then little captions about how the products inspired her. Motherfucker, thought Megan. She doesn’t get it at all. It was like looking at an ad for deodorant or laundry soap that made you feel smelly and like you’d been doing something wrong that the person in the ad had already figured out, but since it was an ad, there was no real way to smell the person and judge for yourself whether or not the person stank, and that was what she hated, hated, hated most of all. I make things, gee-wow. You think you’re an artist? Do you really thing this blog is a representation of art, that great universalizer? That great transmigrator? This isolating schlock that makes me feel like I have to buy into you and your formula for happiness? Work as a freelance designer, grow beets, travel, have lots of people who like you, and above all have funsies! “Everything okay?” asked Jillian. “Yeah, what?” “Breathing kind of heavy over there, just making sure you were okay and everything.” “Oh, uh-huh, I’m fine,” said Megan. “It’s not . . . something I’m doing, is it?” “What? No. No, I’m fine,” said Megan. How could someone not understand that other people could be unhappy? What kind of callous, horrible bullshit was that to say to a bunch of twenty-yearolds, particularly, when this was the time in life when things were even more acutely painful than they were in high school, that nightmare fuck, because now there were actual stakes and everyone was coming to grips with the fact that they’re going to die and that life might be empty and unrewarding. Why even bring it up? Why even make it part of your mini-bio?

Stories can be incredibly powerful and beautiful devices that form and assist our perception and understanding of the world. However, according to twentieth-century American author Kurt Vonnegut, stories rarely tell the truth. After studying stories from an anthropological standpoint, examining the relationships with various cultures, Vonnegut found that stories and myths across many cultures share consistent similar shapes that can typically be broken down into just a few main categories. These shapes can be found graphing the course of a protagonist’s journey through a story along an axis of good and ill fortune. In all stories, someone or something starts somewhere, either in a good place, bad place, or neutral place. Then things happen related to that person which is conveyed as good or bad, bringing the character up and down the axis of fortune as they traverse forward through the story. Then, the story ends and its shape reveals itself. Vonnegut discovered that many popular stories follow common, consistent curves and spikes up and down the good/ill axis and that most end with the protagonist higher on the axis than where they started. However, what’s perhaps most interesting about Vonnegut’s analysis is this argument that these shapes, and consequently most stories, lie. Vonnegut proposed that a more honest, realistic story shape is simply a straight line. In a story of this shape, things still happen and characters still change, but the story maintains ambiguity around whether or not the events that occur are conclusively good or bad. According to Vonnegut, Hamlet is the closest literary representation of real life. “We are so seldom told the truth. In Hamlet-Shakespeare tells us that we don’t know enough about life to know what the good news is and the bad news is and we respond to that.” One story medium that seems to inadvertently coincide with this idea, is the medium of the television series. The goal of TV series is to keep viewers watching as long as possible. Each episode must be an engaging enough story to keep the viewer watching until the end, but each episode must also be left unresolved enough so the larger season-long and series-long stories continue and the viewer is interested in watching all the following episodes. In order to keep the whole thing going, none of the stories can reach a conclusion, and thus, the main characters can’t find ultimate peace or freedom from the uncertainty between good and ill-fortune. Of course, most shows don’t qualify as the straight-line shape in Vonnegut’s analysis, because most shows attempt to convey conclusively good and bad fortunes within them. However merely by the requirements of the medium TV series are forced to self-impose the same sort of universal truth that Vonnegut suggests. That neither the viewer nor the characters in a series can ever know what anything that’s so-called “good” or “bad” in one episode might cause in the next. And that on a fundamental level, the changes in each episode are futile because they are a part of a never-ending cycle of change through conflict and resolution, for the mere sake of its continuation, with no aim of a final resolution or reveal of what’s ultimately good or bad. Of course, eventually, a show reaches its series end when it stops working or runs its natural course. But the show fights its whole life to stay away from this moment. A good TV series, a series that we don’t want to end, is only a series that we don’t want to end because it can’t seem to resolve itself. In this, the format of Tv series also shows us that there is meaning, engagement, and entertainment within the endless cycle of change, regardless of its potential universal futility. And that perhaps change in life can exist not for the sake of some conclusion or ultimate state of peace, but a continuation of itself for the sake of itself. And perhaps the ability to be in this cycle of continued change for the sake of change is the actual good fortune.

The proliferation of substance dependency, physical abuse, sexual promiscuity, and living on the fast track in order not to feel the emptiness of one's life—all point to the loss of a vital element in life. Contemporary men and women, unlike Urbaal of ancient times, no longer have the opportunity to hold tenderly the little image of the goddess or become awe-­inspired while viewing the sacred prostitute dancing in the temple, her beautiful body the representation of joy and passion. Without benefit of direct experience, we can know of the sacred prostitute only through reading deciphered cuneiform tablets or ancient manuscripts describing her rituals. The archetype, as a psychic entity, is surrounded by energy which has the ability to activate and transform conscious contents. When the archetype is constellated, that is, activated, the release of that specific energy is recognized by consciousness and felt in the body through the emotions. Thus, for example, when the archetype of the goddess of love is constellated, we are imbued with the vitality of love, beauty, sexual passion and spiritual renewal. Jung writes that the loss of an archetype gives rise to that frightful 'discontent in our culture'. Instead of digging deep in the earth to recover hidden treasures, I would "dig" in the dark, mysterious spaces of the unconscious to bring those dormant images to the light of consciousness.

Stairway of desires Loving you feels like loving my own desires, All of them; and this feeling of loving my own desires, Feels like a stairway of unending passions and wishes, Where you and your love is the only wish of all my wishes, As my heart climbs these steps, one at a time, I wish the stairs never ended, for loving you is the loveliest time, And when every step gets me closer to you, I suddenly miss you, and I sink in the feeling of loving you without you, For these might be the steps of desires and passions, But as long as they do not arise from you they are only lesser passions, That feel red, like the most beautiful red rose, But what is a red rose worth if it doesn't smell like a rose, So, I have stopped climbing the staircase of passions and desires, Because they lead to a conduit feeling which is alien to my love’s true desires, And if it continues like this, it will become my pernicious act, Where I will forever be climbing the steps of desires, because it is a never ending act, A staircase of passions and desires can last forever, So let me stop on the step where I am now, and love you as if there were no forever, There were just this step and just this moment, we call now, Let me know you today, just like I had know you yesterday, to love in better ways now, For who knows where the staircase might lead, But I am sure, my wishes and all my desires, just unto you lead, To you, to your heart, to your desires too, And let me wait to hear that you feel the same too, My penitent heart beats tirelessly, as if it has been cursed to throb endlessly, Just to seek that one wish, one desire, that it loves so endlessly, It created subsequent ripples of desires to keep finding a reason to throb, The reason to love you Irma, is what you shall find if you probe the melody of my heart’s every throb, So here I am standing on the stairway that is made of my desires and endless wishes, Where every step is nothing but a representation of my desires arising from my wishes, The wishes that seek you in everything, Even in the fire that kills the moth, because the fire of passions burns brighter than everything, Brighter than all stars, brighter than the moon too, You would indeed feel the same when you fall in love, someday you shall too!

Stairway of desires Loving you feels like loving my own desires, All of them; and this feeling of loving my own desires, Feels like a stairway of unending passions and wishes, Where you and your love is the only wish of all my wishes, As my heart climbs these steps, one at a time, I wish the stairs never ended, for loving you is the loveliest time, And when every step gets me closer to you, I suddenly miss you, and I sink in the feeling of loving you without you, For these might be the steps of desires and passions, But as long as they do not arise from you they are only lesser passions, Which feel red, like the most beautiful red rose, But what is a red rose worth if it doesn't smell like a rose, So, I have stopped climbing the staircase of passions and desires, Because they lead to a conduit feeling which is alien to my love’s true desires, And if it continues like this, it will become my pernicious act, Where I will forever be climbing the steps of desires, because it can be a never ending act, A staircase of passions and desires can last forever, So let me stop on the step where I am now, and love you as if there were no forever, There were just this step and just this moment, we call now, Let me know you today, just like I had know you yesterday, to love you in better ways now, For who knows where the staircase might lead, But I am sure, my wishes and all my desires, just unto you lead, To you, to your heart, to your desires too, And let me wait to hear that you feel the same too, My penitent heart beats tirelessly, as if it has been cursed to throb endlessly, Just to seek that one wish, one desire, that it loves so endlessly, It created subsequent ripples of desires to keep finding a reason to throb, The reason to love you Irma, is what you shall find if you probe the melody of my heart’s every throb, So here I am standing on the stairway that is made of my desires and endless wishes, Where every step is nothing but a representation of my desires arising from my wishes, The wishes that seek you in everything, Even in the fire that kills the moth, because the fire of passions burns brighter than everything, Brighter than all stars, brighter than the moon too, You would indeed feel the same when you fall in love, and someday you shall too!

Stairway of desires Loving you feels like loving my own desires, All of them; and this feeling of loving my own desires, Feels like a stairway of unending passions and wishes, Where you and your love is the only wish of all my wishes, As my heart climbs these steps, one at a time, I wish the stairs never ended, for loving you is the loveliest time, And when every step gets me closer to you, I suddenly miss you, and I sink in the feeling of loving you without you, For these might be the steps of desires and passions, But as long as they do not arise from you they are only lesser passions, Which feel red, like the most beautiful red rose, But what is a red rose worth if it doesn't smell like a rose, So, I have stopped climbing the staircase of passions and desires, Because they lead to a conduit feeling which is alien to my love’s true desires, And if it continues like this, it will become my pernicious act, Where I will forever be climbing the steps of desires, because it can be a never ending act, A staircase of passions and desires can last forever, So let me stop on the step where I am now, and love you as if there were no forever, There were just this step and just this moment, we call now, Let me know you today, just like I had known you yesterday, only to love you in better ways now, For who knows where the staircase might lead, But I am sure, my wishes and all my desires, just unto you lead, To you, to your heart, to your desires too, And let me wait to hear that you feel the same too, My penitent heart beats tirelessly, as if it has been cursed to throb endlessly, Just to seek that one wish, one desire, that it loves so endlessly, It created subsequent ripples of desires to keep finding a reason to throb, The reason to love you Irma, is what you shall find if you probe the melody of my heart’s every throb, So here I am standing on the stairway that is made of my desires and endless wishes, Where every step is nothing but a representation of my desires arising from my wishes, The wishes that seek you in everything, Even in the fire that kills the moth, because the fire of passions burns brighter than everything, Brighter than all stars, brighter than the moon too, You would indeed feel the same when you fall in love, and someday you shall too!

over “second hand” representations of God by worn-out churchmen, and argued that religion should become “one thing with Science, with Beauty, and with Joy,” the Universalist preacher Abner Kneeland had spent sixty days in a Boston jail for the crime of publishing a letter in his own newspaper, the Boston Investigator, declaring God to be “nature itself,” and any other deity to be “nothing more than a chimera.” Kneeland’s paper had frightened Boston with its promiscuous advocacy of controversial causes, from a woman’s right to keep her own bank account to interracial marriage, divorce, and birth control: he had been locked up for his politics as much as his pantheism. This was to be the last such incarceration in the state’s history, but no one knew that at the time. In scarcely over a decade there would be arrests of prominent Bostonians for their active opposition to the fugitive slave law;

I saw Rhysand. In the thick of those breaking lines. Blood-splattered, fighting beautifully. I saw him assess the field ahead—and transform. The talons came first. Replacing fingers and feet. Then dark scales or perhaps feathers, I couldn’t get a look at them, covered his legs, his arms, his chest. His body contorted, bones and muscles growing and shifting. The beast form Rhys had kept hidden. Never liked to unleash. Unless it was dire enough to do so. Before the Cauldron swept me away, I beheld what happened to his head, his face. It was a thing of nightmares. Nothing human or Fae in it. It was a creature that lived in black pits and only emerged at night to hunt and feast. The face … it was those creatures that had been carved into the rock of the Court of Nightmares. That made up his throne. The throne not only a representation of his power … but of what lurked within. And with the wings …

An artist’s use of live models, the preparation of preliminary sketches, the representation of the nude, and the selling and buying of art—all are revealed by the Met as ploys used by the white European power structure to oppress people of color.

The point of the BoPo movement isn’t necessarily for everyone to simply just “love” their bodies or feel positively about them, but rather, to take a stance against social norms and pressures of what society says beauty “should” be by bringing adequate representation to people of color, people of different ethnicities, people from LGBTQIA+ communities, older adults, and those with disabilities.44 But rather than bringing adequate representation and diversity to society’s ideal body standards, what has unfortunately happened is that many thin, fit, White, and conventionally attractive people, specifically cisgender White women, have taken its message to simply be “love yourself despite your ‘imperfections.’” They’ve taken something that wasn’t meant for them to be used to further validate their own beauty standards.

And the reason I started crying was because I realized how big and insurmountable seeming systemic racism is. It involves so many different perpetrators, it involves us, the victims, and it comes in so many different forms... A big part of the Sunken Place, to me, is the silencing of our voice, the silencing of our screams, what we as a culture did to Colin Kaepernick for using his voice, the silencing of that voice, or the attempted silencing of that voice. And the beauty of what many great civil rights leaders, specifically Martin Luther King Jr., taught us is that our voice is the weapon we have against violence, against oppression, against hatred. So, the silencing of that voice, it comes in prison, it comes in athletes, it comes in the lack of representation of Black people in horror movies, and any part of this industry.

Art-making, the very creation of beauty itself, was equated with the representation of the female nude. Here, the very notion of the originary power of the artist, his status as creator of unique and valuable objects, is founded on the discourse of gender difference as power.