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Home > Category Index for Science Quotations > Category Index A > Category: Aesthetic

Aesthetic Quotes (26 quotes)

Aesthetic considerations are a matter of luxury and indulgence rather than of necessity.
A New Jersey Court decision confirming an existing billboard to be exempted from retrospective application of a city ordinance restricting billboard location. From 'City of Passaic v. Paterson Bill Posting, Etc., Co. (Court of Errors and Appeals of New Jersey, November 20, 1905)', The New Jersey Law Journal (1906), 29, 244. The court wrote that the effect of the ordinance was to take private property without compensation, and could not be justified as an exercise of the police power because public safety was not unreasonably compromised by the billboard, and thus the ordinance exceeded necessity.
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Art and Religion are, then, two roads by which men escape from circumstance to ecstasy. Between aesthetic and religious rapture there is a family alliance. Art and Religion are means to similar states of mind.
In Art (1913), 92.
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Besides agreeing with the aims of vegetarianism for aesthetic and moral reasons, it is my view that a vegetarian manner of living by its purely physical effect on the human temperament would most beneficially influence the lot of mankind.
In letter to Harmann Huth (27 Dec 1930). Presumably published in Vegetarische Warte (Vegetarian Watch, some time before 1935), a German magazine published by the society Vegetarier-Bund of which Harmann Huth was vice-president. As cited by Alice Calaprice (ed.) in The Ultimate Quotable Einstein (2010), 453. This might be the inspiration for a much-circulated and much-elaborated version attributed, but apparently wrongly, to Einstein. The questionable quote appears as: “Nothing will benefit human health and increase the chances for survival of life on Earth as much as the evolution to a vegetarian diet,” but no reliable source has been found for this as Einstein’s own words. Calaprice included this quote in her earlier edition of The Quotable Einstein (1996) in a final section of “Attributed to Einstein,” but it was removed from the final edition (2010), presumably because after much effort, it remained unsubstantiated.
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Darwin grasped the philosophical bleakness with his characteristic courage. He argued that hope and morality cannot, and should not, be passively read in the construction of nature. Aesthetic and moral truths, as human concepts, must be shaped in human terms, not ‘discovered’ in nature. We must formulate these answers for ourselves and then approach nature as a partner who can answer other kinds of questions for us–questions about the factual state of the universe, not about the meaning of human life. If we grant nature the independence of her own domain–her answers unframed in human terms–then we can grasp her exquisite beauty in a free and humble way. For then we become liberated to approach nature without the burden of an inappropriate and impossible quest for moral messages to assuage our hopes and fears. We can pay our proper respect to nature’s independence and read her own ways as beauty or inspiration in our different terms.
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Doubtless it is true that while consciousness is occupied in the scientific interpretation of a thing, which is now and again “a thing of beauty,” it is not occupied in the aesthetic appreciation of it. But it is no less true that the same consciousness may at another time be so wholly possessed by the aesthetic appreciation as to exclude all thought of the scientific interpretation. The inability of a man of science to take the poetic view simply shows his mental limitation; as the mental limitation of a poet is shown by his inability to take the scientific view. The broader mind can take both.
In An Autobiography (1904), Vol. 1, 485.
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Frequently, I have been asked if an experiment I have planned is pure or applied science; to me it is more important to know if the experiment will yield new and probably enduring knowledge about nature. If it is likely to yield such knowledge, it is, in my opinion, good fundamental research; and this is more important than whether the motivation is purely aesthetic satisfaction on the part of the experimenter on the one hand or the improvement of the stability of a high-power transistor on the other.
Quoted in Richard R. Nelson, 'The Link Between Science and Invention: The Case of the Transistor,' The Rate and Direction of the Inventive Activity (1962). In Daniel S. Greenberg, The Politics of Pure Science (1999), 32, footnote.
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Histology is an exotic meal, but can be as repulsive as a dose of medicine for students who are obliged to study it, and little loved by doctors who have finished their study of it all too hastily. Taken compulsorily in large doses it is impossible to digest, but after repeated tastings in small draughts it becomes completely agreeable and even addictive. Whoever possesses a refined sensitivity for artistic manifestations will appreciate that, in the science of histology, there exists an inherent focus of aesthetic emotions.
Opening remarks of paper, 'Art and Artifice in the Science of Histology' (1933), reprinted in Histopathology (1993), 22, 515-525. Quoted in Ross, Pawlina and Barnash, Atlas of Descriptive Histology (2009).
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I have long recognized the theory and aesthetic of such comprehensive display: show everything and incite wonder by sheer variety. But I had never realized how power fully the decor of a cabinet museum can promote this goal until I saw the Dublin [Natural History Museum] fixtures redone right ... The exuberance is all of one piece–organic and architectural. I write this essay to offer my warmest congratulations to the Dublin Museum for choosing preservation–a decision not only scientifically right, but also ethically sound and decidedly courageous. The avant-garde is not an exclusive locus of courage; a principled stand within a reconstituted rear unit may call down just as much ridicule and demand equal fortitude. Crowds do not always rush off in admirable or defendable directions.
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I will try to account for the degree of my aesthetic emotion. That, I conceive, is the function of the critic.
In Art (1913), 169.
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If texts are unified by a central logic of argument, then their pictorial illustrations are integral to the ensemble, not pretty little trifles included only for aesthetic or commercial value. Primates are visual animals, and (particularly in science) illustration has a language and set of conventions all its own.
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In its earliest development knowledge is self-sown. Impressions force themselves upon men’s senses whether they will or not, and often against their will. The amount of interest in which these impressions awaken is determined by the coarser pains and pleasures which they carry in their train or by mere curiosity; and reason deals with the materials supplied to it as far as that interest carries it, and no further. Such common knowledge is rather brought than sought; and such ratiocination is little more than the working of a blind intellectual instinct. It is only when the mind passes beyond this condition that it begins to evolve science. When simple curiosity passes into the love of knowledge as such, and the gratification of the æsthetic sense of the beauty of completeness and accuracy seems more desirable that the easy indolence of ignorance; when the finding out of the causes of things becomes a source of joy, and he is accounted happy who is successful in the search, common knowledge passes into what our forefathers called natural history, whence there is but a step to that which used to be termed natural philosophy, and now passes by the name of physical science.
In this final state of knowledge the phenomena of nature are regarded as one continuous series of causes and effects; and the ultimate object of science is to trace out that series, from the term which is nearest to us, to that which is at the farthest limit accessible to our means of investigation.
The course of nature as it is, as it has been, and as it will be, is the object of scientific inquiry; whatever lies beyond, above, or below this is outside science. But the philosopher need not despair at the limitation on his field of labor; in relation to the human mind Nature is boundless; and, though nowhere inaccessible, she is everywhere unfathomable.
The Crayfish: an Introduction to the Study of Zoölogy (1880), 2-3. Excerpted in Popular Science (Apr 1880), 16, 789-790.
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In the conception of a machine or the product of a machine there is a point where one may leave off for parsimonious reasons, without having reached aesthetic perfection; at this point perhaps every mechanical factor is accounted for, and the sense of incompleteness is due to the failure to recognize the claims of the human agent. Aesthetics carries with it the implications of alternatives between a number of mechanical solutions of equal validity; and unless this awareness is present at every stage of the process … it is not likely to come out with any success in the final stage of design.
From 'The Esthetic Assimilation of the Machine', Technics and Civilization (1934), 349.
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In the social production of their life, men enter into definite relations that are indispensable and independent of their will; these relations of production correspond to a definite stage of development of their material forces of production. The sum total of these relations of production constitutes the economic structure of society - the real foundation, on which rises a legal and political superstructure and to which correspond definite forms of social consciousness. The mode of production of material life determines the social, political and intellectual life process in general. It is not the consciousness of men that determines their being, but, on the contrary, their social being that determines their consciousness. At a certain stage of their development, the material productive forces in society come in conflict with the existing relations of production, or - what is but a legal expression for the same thing - with the property relations within which they have been at work before. From forms of development of the productive forces these relations turn into fetters. Then begins an epoch of social revolution. With the change of the economic foundation the entire immense superstructure is more or less rapidly transformed. In considering such transformations a distinction should always be made between the material transformation of the economic conditions of production, which can be determined with the precision of natural science, and the legal, political, religious, aesthetic or philosophic - in short, ideological forms in which men become conscious of this conflict and fight it out. Just as our opinion of an individual is not based on what he thinks of himself, so we can not judge of such a period of transformation by its own consciousness; on the contrary, this consciousness must be explained rather from the contradictions of material life, from the existing conflict between the social productive forces and the relations of production. No social order ever disappears before all the productive forces for which there is room in it have been developed; and new, higher relations of production never appear before the material conditions of their existence have matured in the womb of the old society itself. Therefore, mankind always sets itself only such tasks as it can solve; since, looking at the matter more closely, we will always find that the task itself arises only when the material conditions necessary for its solution already exist or are at least in the process of formation. In broad outlines we can designate the Asiatic, the ancient, the feudal, and the modern bourgeois modes of production as so many progressive epochs in the economic formation of society. The bourgeois relations of production are the last antagonistic form of the social process of production - antagonistic not in the sense of individual antagonism, but of one arising from the social conditions of life of the individuals; at the same time the productive forces developing in the womb of bourgeois society create the material conditions for the solution of that antagonism. This social formation constitutes, therefore, the closing chapter of the prehistoric stage of human society.
Karl Marx
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It would seem that more than function itself, simplicity is the deciding factor in the aesthetic equation. One might call the process beauty through function and simplification.
As quoted in Christian Science Monitor (7 May 1952).
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Mathematics is not only one of the most valuable inventions—or discoveries—of the human mind, but can have an aesthetic appeal equal to that of anything in art. Perhaps even more so, according to the poetess who proclaimed, “Euclid alone hath looked at beauty bare.”
From 'The Joy of Maths'. Collected in Arthur C. Clarke, Greetings, Carbon-Based Bipeds!: Collected Essays, 1934-1998, 460.
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The analogies between science and art are very good as long as you are talking about the creation and the performance. The creation is certainly very analogous. The aesthetic pleasure of the craftsmanship of performance is also very strong in science.
As quoted in Robert S. Root-Bernstein, Michele M. Root-Bernstein, Sparks of Genius: The Thirteen Thinking Tools of the World's Most Creative People (2013), 11.
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The forms of art are inexhaustible; but all lead by the same road of aesthetic emotion to the same world of aesthetic ecstasy.
In Art (1913), 37.
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The Japanese are, to the highest degree, both aggressive and unaggressive, both militaristic and aesthetic, both insolent and polite, rigid and adaptable, submissive and resentful of being pushed around, loyal and treacherous, brave and timid, conservative and hospitable to new ways.
In The Chrysanthemum and the Sword (1946, 2006), 2.
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The process of preparing programs for a digital computer is especially attractive, not only because it can be economically and scientifically rewarding, but also because it can be an aesthetic experience much like composing poetry or music.
The Art of Computer Programming (1968), Vol. 1, v.
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The scientific value of truth is not, however, ultimate or absolute. It rests partly on practical, partly on aesthetic interests. As our ideas are gradually brought into conformity with the facts by the painful process of selection,—for intuition runs equally into truth and into error, and can settle nothing if not controlled by experience,—we gain vastly in our command over our environment. This is the fundamental value of natural science
In The Sense of Beauty: Being the Outlines of Aesthetic Theory (1896), 22.
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The sense for style … is an aesthetic sense, based on admiration for the direct attainment of a foreseen end, simply and without waste. Style in art, style in literature, style in science, style in logic, style in practical execution have fundamentally the same aesthetic qualities, namely, attainment and restraint. The love of a subject in itself and for itself, where it is not the sleepy pleasure of pacing a mental quarter-deck, is the love of style as manifested in that study. Here we are brought back to the position from which we started, the utility of education. Style, in its finest sense, is the last acquirement of the educated mind; it is also the most useful. It pervades the whole being. The administrator with a sense for style hates waste; the engineer with a sense for style economises his material; the artisan with a sense for style prefers good work. Style is the ultimate morality of the mind.
In The Aims of Education and Other Essays (1929), 23.
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The tragedy of deforestation in Amazonia as well as elsewhere in the tropics is that its costs, in... economic, social, cultural, and aesthetic terms, far outweigh its benefits. In many cases, destruction of the region’s rainforests is motivated by short-term gains rather than the long-term productive capacity of the land. And, as a result, deforestation usually leaves behind landscapes that are economically as well as ecologically impoverished.
From Anthony Bennett Anderson (ed.), Alternatives to Deforestation: Steps Toward Sustainable Use of the Amazon Rain Forest (1990), xi. As cited in Lykke E. Andersen (ed.), The Dynamics of Deforestation and Economic Growth in the Brazilian Amazon (2002), 2.
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There is a great deal of emotional satisfaction in the elegant demonstration, in the elegant ordering of facts into theories, and in the still more satisfactory, still more emotionally exciting discovery that the theory is not quite right and has to be worked over again, very much as any other work of art—a painting, a sculpture has to be worked over in the interests of aesthetic perfection. So there is no scientist who is not to some extent worthy of being described as artist or poet.
'Scientist and Citizen', Speech to the Empire Club of Canada (29 Jan 1948), The Empire Club of Canada Speeches (29 Jan 1948), 209-221.
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To appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs, no familiarity with its emotions. Art transports us from the world of man’s activity to a world of æsthetic exaltation. For a moment we are shut off from human interests; our anticipations and memories are arrested; we are lifted above the stream of life. The pure mathematician rapt in his studies knows a state of mind which I take to be similar, if not identical. He feels an emotion for his speculations which arises from no perceived relation between them and the lives of men, but springs, inhuman or super-human, from the heart of an abstract science. I wonder, sometimes, whether the appreciators of art and of mathematical solutions are not even more closely allied.
In Art (1913), 25.
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What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible—significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colours, these æsthetically moving forms, I call “Significant Form”; and “Significant Form” is the one quality common to all works of visual art.
In Art (1913), 8.
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You may object that by speaking of simplicity and beauty I am introducing aesthetic criteria of truth, and I frankly admit that I am strongly attracted by the simplicity and beauty of mathematical schemes which nature presents us. You must have felt this too: the almost frightening simplicity and wholeness of the relationship, which nature suddenly spreads out before us.
Letter to Albert Einstein. In Ian Stewart, Why Beauty is Truth (), 278.
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Carl Sagan Thumbnail In science it often happens that scientists say, 'You know that's a really good argument; my position is mistaken,' and then they would actually change their minds and you never hear that old view from them again. They really do it. It doesn't happen as often as it should, because scientists are human and change is sometimes painful. But it happens every day. I cannot recall the last time something like that happened in politics or religion. (1987) -- Carl Sagan
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