That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity β that is to say, the unexpected, surprise and astonishment, are a essential part and characteristic of beauty.
Charles BaudelaireRead
Modernity signifies the transitory, the fugitive, the contingent, the half of art of which the other half is the eternal and the immutable.
Interpretation
Modernity in art reflects the fleeting and temporary aspects of life, contrasting with its eternal truths.
In this quote, Baudelaire suggests that modernity captures the essence of transience, emphasizing that art encompasses both the ephemeral qualities of present experiences and the enduring truths. He implies that understanding art involves recognizing this duality, where the momentary and the timeless coexist, providing depth to the human experience.
In practice
In a discussion about contemporary art, this quote can be used to illustrate the contrast between permanent and fleeting artistic expressions.
That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity β that is to say, the unexpected, surprise and astonishment, are a essential part and characteristic of beauty.
The dance can reveal everything mysterious that is hidden in music, and it has the additional merit of being human and palpable. Dancing is poetry with arms and legs.
Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness.
There is no sweeter pleasure than to surprise a man by giving him more than he hopes for.
The priest is an immense being because he makes the crowd believe astonishing things.
I consider it useless and tedious to represent what exists, because nothing that exists satisfies me. Nature is ugly, and I prefer the monsters of my fancy to what is positively trivial.
Each work of art excludes the world, concentrates attention on itself. For the time it is the only thing worth doing -to do just that; be it a sonnet, a statue, a landscape, an outline head of Caesar, or an oration. Presently we return to the sight of another that globes itself into a whole as did the first, for example, a beautiful garden; and nothing seems worth doing in life but laying out a garden.
Anything you are shows up in your music - jazz is whatever you are, playing yourself, being yourself, letting your thoughts come through.
The mystery was gone but the amazement was just starting.
Elegance must be the right combination of distinction, naturalness, care and simplicity. Outside this, believe me, there is no elegance. Only pretension.
The poet does not know - often he will never know - whom he really writes for.
I am involved in the architecture of space.
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