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It is significant that people who refuse to tell their children fairytales do not fear that the children will believe in princes and princesses, but that they will believe in witches and bogeys.

Susanne Katherina Langer

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Susanne Katherina Langer
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To trace the development of mind from earliest times ... requires ... not a categorical concept, but a functional one.... The most promising operational principle for this purpose is the principle of individuation.
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Artistic form is congruent with the dynamic forms of our direct sensuous, mental, and emotional life works of art are projections of felt life, as Henry James called it, into spatial, temporal, and poetic structures.
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One can bear anything of which one is able to conceive.
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Most new discoveries are suddenly-seen things that were always there.
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Magic, then, is not a method, but a language it is part and parcel of that greater phenomenon, ritual, which is the language of religion. Ritual is a symbolic transformation of experiences that no other medium can adequately express.
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The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.
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A signal is comprehended if it serves to make us notice the object or situation it bespeaks. A symbol is understood when we conceive the idea it presents.
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A mind that is very selective to forms... is apt to use its images metaphorically, to exploit their possible significance for the conception of remote or intangible ideas.
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Common-sense knowledge is prompt, categorical, and inexact.
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Art is the creation of forms symbolic of human feeling.
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The historian does not locate known facts in a hypothetical, general pattern of processes his aim is to link fact to fact, one unique knowable event to another individual one that begot it.
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We have no physical model of this endless rhythm of individuation and involvement, we do have its image in the world of art, most purely in dance.
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Cinema is like dream.
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Most new discoveries are suddenly-seen things that were always there. A new idea is a light that illuminates presences which simply had no form before the light fell on them.
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Feeling, in the broad sense of whatever is felt in any way, as sensory stimulus or inward tension, pain, emotion or intent, is the mark of mentality.
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In human life, art may arise from almost any activity, and once it does so, it is launched on a long road of exploration, invention, freedom to the limits of extravagance, interference to the point of frustration, finally discipline, controlling constant change and growth.
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What is artistically good is whatever articulates and presents feeling to our understanding.
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As comedy presents the vital rhythm of self-preservation, tragedy exhibits that of self-consummation.
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Is it conceivable that mysticism is a mark of inadequate art?
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