objective correlative

The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.

—T.S. Eliot, "Hamlet and His Problems"

defamiliarization or ostranenie

The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects 'unfamiliar', to make forms difficult, to increase the difficulty and length of perception, because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important.

—Viktor Shklovsky, "Art as Technique", 1917, Russian Formalist Criticism: Four Essays, edited by L.T. Lemon & M.J. Reis, (U. of Nebraska Press, 1965, p12)

multum in parvo

The phrase multum in parvo has always had a special significance for me. In its terse and compact Latin diction, it exemplifies exactly what it connotes: much in little. The archetype of brevity, however, is not easy to define. Abstraction, conciseness, symbolism, and imaginative potential are basic in the concept. A multiplicity of detail is concentrated into a unified principle, the particular is transformed into the universal, a largeness of meaning is conveyed with the utmost economy of means. This largeness of meaning should be accomplished by a dramatic impact, in a word: insight with a gasp.

—Carl Zigrosser, Multum In Parvo (George Braziller, 1965)

negative capability

...several things dovetailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, which Shakespeare possessed so enormously—I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason…

—John Keats, in a letter to his brothers, Dec. 21, 1817

kintsugi

Kintsugi means "to patch with gold", this Japanese technique is thought to have begun in the late 15th century, after a shogun sent a damaged Chinese tea bowl back to China to be fixed. It was returned held together with ugly metal staples, so Japanese craftsmen developed a way to repair the vessel by mending the cracks ornamentally.
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mise en scène

Mise en scène is a French term and originates in the theater. It means, literally, "put in the scene." For film, it has a broader meaning, and refers to almost everything that goes into the composition of the shot, including the composition itself: framing, movement of the camera and characters, lighting, set design and general visual environment, even sound as it helps elaborate the composition. Mise-en-scène can be defined as the articulation of cinematic space, and it is precisely space that it is about.
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Mise en scène is a useful term when thinking about imagery in poetry and how the visualized environment is arrayed and apprehended via the resources of language. [JF]
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revision

Occam's Razor is a logical principle attributed to the mediaeval philosopher William of Occam (or Ockham). The principle states that one should not make more assumptions than the minimum needed. This principle is often called the principle of parsimony. It underlies all scientific modeling and theory building. It admonishes us to choose from a set of otherwise equivalent models of a given phenomenon the simplest one. In any given model, Occam's razor helps us to "shave off" those concepts, variables or constructs that are not really needed to explain the phenomenon. By doing that, developing the model will become much easier, and there is less chance of introducing inconsistencies, ambiguities and redundancies.
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