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Read through the most famous quotes by topic #esthetic
Never worry about the reader, what the reader can understand. When you are writing, glance over your shoulder, and you’ll find there is no reader. Just you and the page. Feel lonely? Good! Assuming you can write clear English (or Norwegian) sentences, give up all worry about communication. If you want to communicate, use the telephone. To write a poem you have to have a streak of arrogance (…) when you are writing you must assume that the next thing you put down belongs not for reasons of logic, good sense, or narrative development, but because you put it there. You, the same person who said that, also said this. The adhesive force is your way of writing, not sensible connection. ↗
I think it's more accurate to think of aesthetics as a key ingredient in a recipe, as opposed to the icing on the cake. ↗
Man's first expression, like his first dream, was an aesthetic one. Speech was a poetic outcry rather than a demand for communication. Original man, shouting his consonants, did so in yells of awe and anger at his tragic state, at his own self-awareness and at his own helplessness before the void. ↗
#communication #existentialism #expression #origins #the-void
When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve. ↗
Religion does not help me. The faith that others give to what is unseen, I give to what one can touch, and look at. My gods dwell in temples made with hands; and within the circle of actual experience is my creed made perfect and complete: too complete, it may be, for like many or all of those who have placed their heaven in this earth, I have found in it not merely the beauty of heaven, but the horror of hell also. ↗
Whereas life separates meaning from emotion, art unites them. Story is an instrument by which you create such epiphanies at will, the phenomenon known as aesthetic emotion...Life on its own, without art to shape it, leaves you in confusion and chaos, but aesthetic emotion harmonizes what you know with what you feel to give you a heightened awareness and a sureness of your place in reality. ↗
