"How to clarify to herself, for example, that long, sharp lines clearly bore the mark? They were fine and slender. At any given moment they stopped every bit as much as lines, every bit as much in the same state as at the beginning. Interrupted, always interrupted not because they terminated, but because no one could take them to an end. Circles were more perfect, less tragic, and didn’t move her enough. Circles were the work of man, finished before death and not even God could finish them better. While straight, fine, freestanding lines — were like thoughts."
From Near to the Wild at Heart by Clarice Lispector, translated by Alison Entrekin.
"Of course, this was once the artist’s claim to heroism — being sensitive to the times and other people’s affect so as to express a general sentiment or zeitgeist in a unique, compelling way. Aesthletes’ self-editing is now outsourced to the audience, who carefully pick over the barrage of content with unprecedented zeal. Their eagerness to assess and evaluate artists’ work lies somewhere between being volunteer market researchers and a wish to bend artists to their will and “democratize” their art."
From Athletic Aesthetics by Brad Troemel.
Illustration by Koštana Banović