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.
These designers have no reserve. They've chosen a path and thrown themselves onto it head first, regardless of everything. Whether or not their designs are sellable or vulgar. As long as it's new and people talk about it. That is the truth.
I've been imitated so well I've heard people copy my mistakes.
Century-old records are the closest thing we have to a time machine. To listen to the voice of Theodore Roosevelt or the piano playing of Claude Debussy is to feel the years falling away like autumn leaves from a maple tree.
I don't record (any type of genre of music) that I didn't hear in my family's living room by the time I was 10. It just is my rule that I don't break because ... I can't do it authentically ... I really think that you're just hard-wiring (synapses) in your brain up until the age of maybe 12 or 10, and there are certain things you can't learn in an authentic way after that.
You know, sound was still a fairly new thing when I came into movies. And the reason musicals happened is because of sound. They could put music in the picture! That's how it all began.
We live in the digital age and, unfortunately, it’s degrading our music, not improving it It’s not that digital is bad or inferior, it’s that the way it’s being used isn’t doing justice to the art. The MP3 only has 5 percent of the data present in the original recording. … The convenience of the digital age has forced people to choose between quality and convenience, but they shouldn’t have to make that choice.
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