2
" When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.’ An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art. "
― L. Ron Hubbard
3
" There are so many works of the mind, so much humanity, that to disburden ourselves of ourselves is an understandable temptation. Open a book and a voice speaks. A world, more or less alien or welcoming, emerges to enrich a reader's store of hypotheses about how life is to be understood. As with scientific hypotheses, even failure is meaningful, a test of the boundaries of credibility. So many voices, so many worlds, we can weary of them. If there were only one human query to be heard in the universe, and it was only the sort of thing we were always inclined to wonder about--Where did all this come from? or, Why could we never refrain from war?--we would hear in it a beauty that would overwhelm us. So frail a sound, so brave, so deeply inflected by the burden of thought, that we would ask, Whose voice is this? We would feel a barely tolerable loneliness, hers and ours. And if there were another hearer, not one of us, how starkly that hearer would apprehend what we are and were. "
― Marilynne Robinson
4
" Hence a young man is not a proper hearer of lectures on political science; for he is inexperienced in the actions that occur in life, but its discussions start from these and are about these; and, further, since he tends to follow his passions, his study will be vain and unprofitable, because the end aimed at is not knowledge but action. And it makes no difference whether he is young in years or youthful in character; the defect does not depend on time, but on his living, and pursuing each successive object, as passion directs. For to such persons, as to the incontinent, knowledge brings no profit; but to those who desire and act in accordance with a rational principle knowledge about such matters will be of great benefit. "
― Aristotle , The Nicomachean Ethics
5
" Literature works from mind to mind and is more progenitive. It is at once more universal and more poignantly particular. If it speaks of bread or wine or stone or tree, it appeals to the whole of these things, to their ideas; yet each hearer will give to them a peculiar personal embodiment in his imagination. Should the story say 'he ate bread', the dramatic producer or painter can only show 'a piece of bread' according to his taste or fancy, but the hearer of the story will think of bread in general and picture it in some form of his own. If a story says 'he climbed a hill and saw a river in the valley below', the illustrator may catch, or nearly catch, his own vision of such a scene; but every hearer of the words will have his own picture, and it will be made out of all the hills and rivers and dales he has ever seen, but especially out of The Hill, The River, The Valley which were for him the first embodiment of the word. "
― J.R.R. Tolkien , Tolkien On Fairy-stories