The flame started first by amazement over subject matter, that flame which only a great artist can have — not the emotional pleasure of the layman — but the intuitive understanding and recognition relating obvious reality to the esoteric, must then be confined to a form within which it can burn with a focused intensity: otherwise it flares, smokes and is lost like in an open bonfire.
Our noses too, and our eyes and ears, are political instruments, protesters. An aesthetic response is a political action. . . . We know instinctively, aesthetically, when a fish stinks, when the sense of beauty is offended. Standing for these moments — and these moments occur each day, within every airless office building, seated in each crippling chair, inundated by senseless noise and fattened on industrial food — standing for our responses, these aesthetic reverberations of truth in the soul, may be the primary civic act of the citizen, the origin of caution and of the precautionary principle itself, with its warnings to stop, look, and listen.