One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
Roger ScrutonRead
Beauty can be consoling, disturbing, sacred, profane; it can be exhilarating, appealing, inspiring, chilling. It can affect us in an unlimited variety of ways. Yet it is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend. If there are people who are indifferent to beauty, then it is surely because they do not perceive it.
Interpretation
Beauty has a profound impact on our emotions and perceptions, asking us to engage with it deeply.
This quote by Roger Scruton emphasizes the multifaceted nature of beauty and its powerful influence on human emotions and thoughts. Beauty can evoke a wide range of feelings, from joy to discomfort, and it insists upon our attention, acting almost as a friend who reaches out to us. Scruton suggests that those who remain indifferent to beauty simply fail to recognize its presence and significance in life.
In practice
In a speech about the importance of art in education, one could use this quote to illustrate how beauty enriches our lives.
One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
There are big questions science doesn't answer, such as why is there something rather than nothing? There can't be a scientific answer to that because it's the answer that precedes science.
18th century opera is packed with emotion, but contains not a trace of kitsch. Only with the 'thees' and 'thous' of Victorian poetry does the disease begin to grow in our poetic tradition.
The robust English view used to be that the correct response to offensive words is to ignore them, or to answer them with a rebuke. If you invoke the law at all, it should be to protect the one who gives the offence, and not the one who takes it. Now, it seems, it is all the other way round.
For two centuries the English countryside has been an icon of national identity and the loved reminder of our island home. Yet the government is bent on littering the hills with wind turbines and the valleys with high speed railways.
You cannot own a symphony or a novel in the way you can own a Damien Hirst. As a result there are far fewer fake symphonies or fake novels than there are fake works of visual art.
The Moon, the dried weeds and the Pleiades - Seven feet tall the dark, dried weed stalks make a part of the night a red lace on the milky blue sky
Nobody wants to read about the honest lawyer down the street who does real estate loans and wills. If you want to sell books, you have to write about the interesting lawyers - the guys who steal all the money and take off. That's the fun stuff.
I believe in previous lives and the Muse—and that books and music exist before they are written and that they are propelled into material being by their own imperative to be born, via the offices of those willing servants of discipline, imagination and inspiration whom we call artists.
I shy away from the word 'creation.' In the ordinary, social meaning of the word - well, it's very nice, but fundamentally, I don't believe in the creative function of the artist. He's a man like any other.
I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.
The reasons that drive me to write are many and the most important are the most secret, I think. Perhaps most of all this: to put something out of death's reach.
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