A text from my book “Upwards in Time”, contemplating the phenomenon of beauty in art. This book was edited by the wonderful English/Academic Editor Milo B. Pertchevitch that I highly recommend for his skills, friendliness, honesty, dedication and love for his work. I am very thankful for his valuable help:
.…Besides the fact that I support freedom of the arts and that the artist ought to be able to express any idea he wishes, whether it has to do with beauty or not, I would like to state my conviction in this regard: One can compose or play the most traditionally or acoustically consonant, externally ordered and poetic sounds with the worst intention, the result, in my opinion, is harsh for the listener. Beautiful poetic words producing a good effect on the human’s mood and well-being are not necessarily made of consonant material, or containing musical consonance the way we know it; one can analyze the sound of the word acoustically or spectrally without finding a material or acoustic secret. When that word is stated with good intention and love, its quality is surely not to be measured by the timbral characteristic of the sound and its material reality, but by the whole phenomenon of what is behind and beyond the sound: from the person who has spoken the word and his intention, to his character, culture, and manner in which the word was stated. The physical aspect of the propagation of sound in space and its characteristics play a less important role here; the effect of the sound on the human is much more related to its intelligent source of propagation than the sound itself. I hope further experiments will prove this so that people will be convinced and take a new turn, in order to concentrate more on our good intentions and interior beauty instead of merely focusing on appearances.