Art consists in making others feel what we feel.

Every art communicates because it expresses. It enables us to share vividly and deeply in meanings… For communication is not announcing things… Communication is the process of creating participation, of making common what had been isolated and singular… the conveyance of meaning gives body and definiteness to the experience of the one who utters as well as to that of those who listen.

Art goes beyond language, beyond lives. It’s a universal way to send messages between each other and through time.

With words one man can make another blessed, or drive him to despair; by words the teacher transfers his knowledge to the pupil; by words the speaker sweeps his audience with him and determines its judgments and decisions. Words call forth effects and are the universal means of influencing human beings.

Writing is nothing less than thought transference, the ability to send one's ideas out into the world, beyond time and distance, taken at the value of the words, unbound from the speaker.

Ordinarily we communicate intelligence to each other by speech. I first call up in my own brain a picture of a scene I wish to describe, and then, by means of an orderly transmission of wave vibrations set in motion by my vocal chords through the material atmosphere, a corresponding picture is implanted in the brain of anyone whose ear is capable of receiving such vibrations. If the scene I wish to impress on the brain of the recipient is of a complicated character, or if the picture of it in my own brain is not definite, the transmission will be more or less imperfect; but if I wish to get my audience to picture to themselves some very simple object, such as a triangle or a circle, the transmission of ideas will be well-nigh perfect, and equally clear to the brains of both transmitter and recipient. Here we use the vibrations of the material molecules of the atmosphere to transmit intelligence from one brain to another.

Art is a manifestation of emotion, and emotion speaks a language that all may understand

The work of art is, after all, an act of faith in our ability to communicate symbolically.

...it was the arts, those noble expressions of the human spirit that are communicated through literature, dance, song, film, drama, painting and sculpture, among the many other such creative means, that helped articulate the sufferings of [these] people that were heard around the globe.

In a way, artists are messengers between worlds, bringing ideas and symbols from one to the other.

Are there not many Arts which, though speechless, express their meanings with perfect adequacy, with satisfaction to the recipient, and serve at the same time as a medium of communication between soul and soul?

Art simply expresses things that cannot be put in words, it’s a conversation for your eyes, and it makes you look at things differently. That’s just wonderful!

Art is not a handicraft; it is the transmission of feeling the artist has experienced.

Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. After continued use, many metaphorical words become incorporated into the language and lose their original significance; words such as "explain," "ponder," "see (what you mean)" we no longer think of as metaphorical. Metaphors arise because we continually need to stretch the range of words as we accumulate new concepts and abstract relationships. A printed text is not simply a chain of individual words, picked one at a time; it is a whole. It has a structure, but it has meaning for us only if it represents a continuity of our experience of past texts. A text in some strange foreign language set up an abrupt change in our experience, a discontinuity, and we make nothing of it. Given a translator's dictionary we may decipher some of the words and attain some understanding, though this understanding through translation has been achieved by projecting the text onto our own language; that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)