Your corn is ripe today; mine will be so tomorrow. 'Tis profitable for us both, that I should labour with you today, and that you should aid me tomorrow.
David HumeRead
But in many orders of beauty, particularly those of the finer arts, it is requisite to employ much reasoning, in order to feel the proper sentiment; and a false relish may frequently be corrected by argument and reflection. There are just grounds to conclude, that moral beauty partakes of this latter species, and demands the assistance of our intellectual faculties, in order to give it a suitable influence on the human mind.
Interpretation
Understanding beauty in art requires intellectual engagement and reflection rather than just emotional response.
David Hume's quote highlights the complexity of experiencing beauty in the arts, suggesting that true appreciation often necessitates reasoning and reflection. Rather than simply relying on immediate emotional reactions, Hume argues that one must engage intellectually with art to cultivate a deeper understanding and appreciation of its moral and aesthetic qualities.
In practice
In a lecture on aesthetics, one might quote Hume to emphasize the importance of intellectual engagement with art.
Your corn is ripe today; mine will be so tomorrow. 'Tis profitable for us both, that I should labour with you today, and that you should aid me tomorrow.
Eloquence, at its highest pitch, leaves little room for reason or reflection, but addresses itself entirely to the desires and affections, captivating the willing hearers, and subduing their understanding.
All that belongs to human understanding, in this deep ignorance and obscurity, is to be sceptical, or at least cautious, and not to admit of any hypothesis whatever, much less of any which is supported by no appearance of probability.
The great end of all human industry is the attainment of happiness
There is a very remarkable inclination in human nature to bestow on external objects the same emotions which it observes in itself, and to find every where those ideas which are most present to it.
To have recourse to the veracity of the supreme Being, in order to prove the veracity of our senses, is surely making a very unexpected circuit.
All great chefs have two things in common. First, they respect nature as the true artist, and they are just cooks. Second, everything that they do is an extension of them as a person.
When I write, I don't know what is going to emerge. I begin in a condition of complete unknowing, an utter nakedness of concept or goal. A word appears, another word appears, an image. It is a moving into mystery.
It is not the right angle that attracts me, nor the straight line, hard and inflexible, created by man. What attracts me is the free and sensual curve - the curve that I find in the mountains of my country, in the sinuous course of its rivers, in the body of the beloved woman.
The yellow fog that rubs its back upon the window-panes The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening Lingered upon the pools that stand in drains Let fall upon its back the soot that falls from chimneys Slipped by the terrace, made a sudden leap And seeing that it was a soft October night Curled once about the house, and fell asleep
I have a real interest in pushing some of the limits of things that studios don't want to make.
Another word for creativity is courage.
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