Aesthetic Diversity Quotes

Along with people who pretty themselves for the camera, the unattractive and the disaffected have been assigned their beauty.

While truth is ultimately convergent, beauty is ultimately divergent. No one can and no one should tell anyone else what that person should consider beautiful.

I am certain that most composers today would consider today's music to be rich, not to say confusing, in its enormous diversity of styles, technical procedures, and systems of esthetics.

We don't want to be a design line. Ultimately, we want to be a platform that houses many design aesthetics.

I'm very interested in the distance and the space between those two poles: very concrete, song-based stuff on the one hand and very improvisational, abstract stuff on the other. I don't see any reason music should exclude one or the other, and I think the pairing of them together makes for very interesting music in a lot of ways.

You don't just have to be influenced by rock, or goth, anymore. It's okay to say, 'My influences are Tin Pan music from Bali and Rihanna.' There are still so many combinations that haven't been done yet.

Fashion should be genderless; how people perceive the idea of beauty can vary from one to another.

Our influences are who we are. It's rare that anything is an absolutely pure vision; even Daniel Johnston sounds like the Beatles. And that's the problem with the bands I'm always asked about, the ones derivative of the early Seattle sound. They don't dilute their influences enough.

Stephen Shadley is a great collaborator. Over the years I've seen him work with a wide variety of clients and stylistic approaches. He listens to people in a way that makes them feel like they're part of the process. Steve is an inspiration on all fronts, and, believe me, that's a rare quality.

We are engaging with so many art forms at once in the 21st century, but we're presented with them in a way that is so isolated.

There's no particular class of photograph that I think is any better than any other class. I'm always and forever looking for the image that has spirit! I don't give a damn how it got made.

I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.

Artwise, I'm kind of a chameleon. I don't have an established style or anything like that.

One man’s “ugly” is another man’s “beautiful.

I'm really pleased to share the 'Station to Station' film. It has a very unorthodox structure; it's made up of separate one-minute films. So you watch this piece that is like time moving. Everything is democratised, whether it's a minute of Patti Smith or a single landscape with a drone, it's this amazing modern kaleidoscope.

I don't think that people should be confined to any particular aesthetic.

I don't believe in one ideal beauty.

While "cute" is hopelessly anchored to the Teletubby ideal, "ugly" is free to take infinite varieties. In this way, ugly is beautiful.

If I bring anything to the Coen Brothers' films, it's my ability to change tack and create a different mood from film to film.

Art is so personal. I'm very comforted by the fact that certain movies that I love, other people hate. Certain books that I love, other people hate. You can't please everybody.

My style is a very universal sound, which is very close to where I grew up.

The question of the value of nationality in art is perhaps unsolvable.

It is through the acceptance of a variety of aethetic and intellectual points of view that a culture is given breadth and density.

I like things that are kind of eclectic, when one thing doesn't go with another. That's why I love Rome. The town itself is that way. It's where Fascist architecture meets classic Renaissance, where the ancient bangs up against the contemporary. It has a touch of everything. That's my style, and that's what my work is about.

When I first put out music, people didn't know what I looked like. They called it a new type of something; they couldn't put a genre on it - it was where indie and urban kind of meet in the middle. I thought that was quite exciting.