DENIS DUTTON

I think the idea of the social construction of beauty - this idea that beauty is simply whatever culture or society says it is - is on the run. Of course, beauty does arise in a cultural context. No one ever denies that. But there's also a natural response people have to it.

Salvador Dali has been called kitsch, but, although some of this work may be grotesque, its brazenly self-conscious bad taste saves it from being true kitsch, which always strives to please.

My parents were in the book business, my brothers still run the Dutton bookstores in Los Angeles, and I've been interested in editing books and journals all of my life.

I try to figure out - intellectually, philosophically, psychologically - what the experience of beauty is.

Solemnity and a complete absence of irony also mark kitsch.

It's clear on the one hand that an education enriches and informs a response to beauty, even makes it possible in esoteric cases. On the other hand, there's no question that someone with no musical education whatsoever might wander into a concert hall and be overwhelmed by the 'Beethoven Pastoral Symphony'.

Beauty is nature’s way of acting at a distance.

[Art] would have helped us survive in the Pleistocene - in the period, say, 1.6 million years ago until fairly recently. The kind of imaginative abilities that artists have and that we all have in the appreciation of art - to appreciate Jane Austen, the late quartets of Beethoven.

A few years ago, Bill Gates was boasting that we'll soon have sensors which will turn on the music that we like or show on the walls the paintings we like when we walk into a room. How boring! The hell with our preexisting likes; let's expand ourselves intellectually.

The arts, like language, emerged spontaneously and universally in similar forms across cultures, employing imaginative and intellectual capacities that had clear survival value.

It's clear on the one hand that an education enriches and informs a response to beauty, even makes it possible in esoteric cases. On the other hand, there's no question that someone with no musical education whatsoever might wander into a concert hall and be overwhelmed by the 'Beethoven Pastoral Symphony'.

It's a grave mistake in publishing, whether you're talking about Internet or print publication, to try to play to a limited repertoire of established reader interests.

I have seen journals with good financial backing and editorial support die because they looked so bad nobody wanted to publish them.

I think the idea of the social construction of beauty - this idea that beauty is simply whatever culture or society says it is - is on the run. Of course, beauty does arise in a cultural context. No one ever denies that. But there's also a natural response people have to it.

My parents were in the book business, my brothers still run the Dutton bookstores in Los Angeles, and I've been interested in editing books and journals all of my life.

I try to figure out - intellectually, philosophically, psychologically - what the experience of beauty is.

Dumbing down takes many forms: art that is good for you, museums that flatter you, universities that increase your self-esteem. Culture, after all, is really about you.

Salvador Dali has been called kitsch, but, although some of this work may be grotesque, its brazenly self-conscious bad taste saves it from being true kitsch, which always strives to please.

Solemnity and a complete absence of irony also mark kitsch.

A few years ago, Bill Gates was boasting that we'll soon have sensors which will turn on the music that we like or show on the walls the paintings we like when we walk into a room. How boring! The hell with our preexisting likes; let's expand ourselves intellectually.

[Art] would have helped us survive in the Pleistocene - in the period, say, 1.6 million years ago until fairly recently. The kind of imaginative abilities that artists have and that we all have in the appreciation of art - to appreciate Jane Austen, the late quartets of Beethoven.

The arts, like language, emerged spontaneously and universally in similar forms across cultures, employing imaginative and intellectual capacities that had clear survival value.

Once kitsch is interpreted ironically, it ceases to be kitsch

Beauty is nature’s way of acting at a distance.

The continuous capacity of genius to surpass understanding remains a human constant.