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The slow arrow of beauty. The most noble kind of beauty is that which does not carry us away suddenly, whose attacks are not violent or intoxicating (this kind easily awakens disgust), but rather the kind of beauty which infiltrates slowly, which we carry along with us almost unnoticed, and meet up with again in dreams...

The contemplative immersion in beauty, in which willing retreats and the self withdraws, produces a state in which time, so to speak, is at a stand-still. The absence of willing and interest brings time to a standstill, even renders it still. Stillness is what distinguishes aesthetic intuition from mere sensual perception.

From the practical interest of desire, the interest of art is distinguished by the fact that it lets its object persist freely and on its own account, while desire converts it to its own use by destroying it. On the other hand, the consideration of art differs in an opposite way from theoretical consideration by scientific intelligence,

According to Schmitt, it is ‘a sign of inner conflict to have more than one real enemy’. A stable character does not allow for a ‘doubling of the enemy’. It is necessary to engage with the one real enemy and ‘fight him’, ‘in order to gain one’s own measure, one’s own limit, one’s own shape’. Thus, the enemy is ‘our own shape in the form of a question’.

For Blanchot, the empty sky as the counter-image to the starry heavens represents the primal scene of his childhood. This sky reveals to him the a-topicality of what is wholly other, an outside that cannot be internalized, and whose beauty and sublimity fill the child with a ‘devastating joy’:

里尔克在《布里格手记》（Die Aufzeichnung des Malte Laurids Brigge）中将“看”描述成创伤。“看”使自己完全遭遇侵入自我未知区域的事物。学习“看”并不是一件积极、自觉的事情，确切地说，学习“看”是听凭发生（Geschehen-lassen）抑或遭遇发生：

分散注意力的手法将色情作品变成情色摄影：“这是一个对比试验。梅普勒索普（Robert Mapplethorpe）通过近距离拍摄内裤布料，把他的性具特写从色情（das Pornographische）变成了情色（das Erotische）：这张照片不再是千篇一律的，因为我对布料的纹理很感兴趣。”

美的感性学是一种近代才有的现象。只有在近代美学中，美和崇高才是割裂开来的。美被完全禁锢在其纯粹的积极性之中。

“厌恶是（丑陋）真实的一面，是利用源于肉体腐烂或精神腐败的畸形（Unform）对现象的美好形式所进行的否定。……死尸身上徒有生命的假象，使得它被厌恶到无以复加。”

在伽达默尔（Hans-Georg Gadamer）看来，否定性对艺术来说至关重要。它是艺术的伤疤，与光滑的积极性相对立。在否定中，总有什么在那儿撼动着我，挖空我的心思，让我百思不解。它在呼唤，你要改变自己的人生