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“Why is some music so much deeper and more beautiful than other music? It is because form, in music, is expressive–expressive to some strange subconscious regions of our minds. The sounds of music do not refer to serfs or city-states, but they do trigger clouds of emotion in our innermost selves; in that sense musical meaning IS dependent on intangible links from symbols to things in the world–those 'things', in this case, being secret software structures in our minds.”
― Douglas Hofstadter, Gödel, Escher, Bach: An Eternal Golden Braid

“How would you try to determine whether two spiderwebs had been spun by spiders belonging to the same species? Would you try to identify individual vertices which correspond exactly, thereby setting up an exact map of one web onto the other, vertex by vertex, fiber by fiber, perhaps even angle by angle? This would be a futile effort. Two webs are never exactly the same; yet there is still some sort of "style", "form" what-have-you, that infallibly brands a given species' web.”
― Douglas R. Hofstadter, Gödel, Escher, Bach: An Eternal Golden Braid

“When a system of "meaningless" symbols has patterns in it that accurately track, or mirror, various phenomena in the world, then that tracking or mirroring imbues the symbols with some degree of meaning-indeed, such tracking or mirroring is no less and no more than what meaning is. Depending on how complex and subtle and reliable the tracking is, different degrees of meaningfulness arise.”
― Douglas R. Hofstadter, Gödel, Escher, Bach: An Eternal Golden Braid

“It is extremely interesting, then, to think about the meaning of the word ‘form’ as it applies to constructions of arbitrarily complex shapes. For instance, what is it that we respond to when we look at a painting and feel its beauty? Is if the ‘form’ of the lines and dots on our retina? Evidently it must be, for that is how it gets passed along to the analyzing mechanisms in our heads–but the complexity of the processing makes us feel that we are not merely looking at a two-dimensional surface; we are responding to some sort of inner meaning inside the picture, a multidimensional aspect trapped somehow inside those two dimensions. It is the word ‘meaning’ which is important here. Our minds contain interpreters which accept two-dimensional patterns and then ‘pull’ from them high-dimensional notions which are so complex that we cannot consciously describe them. The same can be said about how we respond to music, incidentally.”
― Douglas R. Hofstadter, Gödel, Escher, Bach: An Eternal Golden Braid