— John Lennon
Let us suppose for a moment that the Western world has been hugely fragmented and splintered in its consciousness and its individualism for many centuries. And that under electric conditions it is being integrated and merged together again at a very fast clip. The question for us is, all right, if this is happening, what is a valid human strategy for conduct? Should we resist it and detach ourselves? Should we involve ourselves?... As far as the artist can clarify issues in this way, he is doing very important work. — Marshall McLuhan
The transformations of culture do not take place in history. They take place in myth. It is because the individual cannot perceive in the limits of his own lifetime such transformations as the Neolithic or Industrial revolutions that we have need of myth. A model, a hypothesis or a myth is a way of rendering the invisible. Because the unconscious is outside of time, it can perceive transformations beyond the limits of the ego. These unconscious perceptions are expressed in art or mythologies. We ourselves are living in an age of cultural transformation, but if you went to the experts to ask for a description, they could tell you nothing. You have to go to those who are at home in the unconscious and the super-conscious, the artists and prophets; through myth and symbol in art, science fiction or religion, they will describe the present by speaking about the future.  — William Irwin Thompson
The way we think has everything to do with the way we perceive. With our logical, rational frames of reference, we can only see small pieces of the larger patterns of our world; but art is impatient, skips over decades of theory, and is either baffling or stretches perception into new territories of knowing. There are levels of communication that only art can reach. For me, this is where hope waits. — Nora Bateson
It’s important to encourage artists to use their creativity to address the issues of the world today. They obviously have an important role to play because of their creative spirit, their way of communicating and seeing the world. They often look outside the box. They touch our heart, and sometimes touch our heart before our mind! Their compassion is essential.  — Kofi Annan
What is essential in a work of art is that it should rise far above the realm of personal life, and speak from the spirit and heart of the poet as man to the spirit and heart of humankind.
Carl Gustav Jung
There is no conflict between mysticism and science, but there is a conflict between the science of 2000 BC. and the science of 2000 AD.. The three-level universe of the Bible is of no use to us. We have to have poets, we have to have seers who will render to us the experience of the transcendent through the world in which we are living. — Joseph Campbell
Art is to the community what the dream is to the individual. — Thomas Mann
The business of art is to reveal the relation between man and his environment.
CC — D.H. Lawrence
Bringing people to speak together is the most important art.  — Joseph Beuys
To understand the whole of us and the world, we have to participate with the whole of us. Specifically, the bringing together of verbal and non-verbal forms of knowledge - rational and intuitive - is necessary. — Francisco Varela
The new age of education is programmed for discovery rather than instruction.
Art as radar environment, radar feedback, early warning system: the antennae of the race. 
— Marshall McLuhan



Language is our refuge, but it is also our prison. Words create a wall around us which keeps us trapped inside. Yet, in this wall, there is a fissure, a potential way out, a hope for release and freedom outside the boundaries imposed by language : and that is art! — Serge Tribolet
The (work of art) becomes a document on the fragmentary state of the vision of a certain moment of history. The work reveals man’s conception of his situation in the world at a certain stage of evolution of his species and in function of the information received about his status in the universe. Each time a fresh piece of information questions the reigning definition, man gains a new awareness of his relationship with the world —and the artist within the pictorial space represents a new visual system which explains it. At this moment emerges the deconstruction of the former system, and the setting up of a new scheme.  — Réalités magazine
We must think of art and its production (creation) as a social project, and not as local and circumstantial praxis that varies with momentary events. We need to shift from a vision of utilitarian activity towards a symbolic function that is useful for and in society. We must think of art, in culture, as an activity in which every human being, that is to say social being, can distance, can question, can re-examine the rules, forms, and norms in order to explore and confront his own representations of the world. To propose art as a means to examine the world order, and thus as a tool for emancipation, autonomy, for individual and collective responsibility. A realm and project of democracy.   — Michel Simmonot

Add Text Here...

I write these words against a background of seemingly ungovernable crisis. It’s the Age of the Apocalypse, for no-one any longer can say whether humanity will survive. The world’s leading scientists in the relevant fields seem agreed about this: we’ve created for ourselves as set of... crises, which may prove impossible to contain... Repeatedly, we attack dysfunctions in our social organisation while the symptoms continue to worsen… I submit that what causes the helpless feeling is the inadequacy of old forms of thought to cope with an historically unprecedented situation. We can’t even think of solutions without correctly recognising the problem, and its now commonplace to pose our problems incorrectly. We tend to focus on what’s seen rather than on our way of seeing… Instead of focusing on how we produce and consume, we must focus on how we perceive and on how we communicate.  — Gene Youngblood

Add Text Here...

I want to forge in the smithy of my soul the uncreated conscience of my race.
XX — James Joyce   
I just want to have a ringside seat, I want to know about the new Mother Earth, I want to hear and see everything. — Jimi Hendrix
Until notation systems apart from language are developed for culture, it is doubtful that the type of revolution occasioned by the development of writing and mathematics will occur. When this happens, however, there is no way of gauging the effect on human consciousness. — Edward T. Hall
Language is an instrument of thought. The core principles of language are those that determine how you construct and determine thoughts. — Noam Chomsky
In matters of war too the Druids and singing bards are readily obeyed, and this by their enemies as well as by their own people. Often, in fact, when battle lines are drawn and armies close ground with swords and spears poised, they will step out into the middle and stop both sides as if enchanting wild beasts. Thus the spirit yields to the Arts, and Mars reveres the Muses.
XX Diodorus Siculus, 1st Century BCE.
Don’t forget that it is much more important for the city to prosper than its individual members, for if the individual members prosper and the city is ruined, then they are ruined with her, but if a citizen is unfortunate while the city is not, he has a much better hope of mending his fortunes.
CCC — Pericles
The communications of humanity obviously are trending towards that future point at which virtually all information will be spontaneously available and copyable at the individual level: beyond that, a vast transformation must occur. Today when one speaks of Cinema, one implies a metamorphosis in human perception. – Gene Younblood
Whenever the collective unconscious becomes a living experience and is brought to bear upon the conscious outlook of an age, the event is a creative act which is of importance to everyone living in that age. A work of art is produced that contains what may truthfully be called a message to generations of men. — Carl Jung
If it were possible to personify the unconscious, we might think of it as a collective human being combining the characteristics of both sexes, transcending youth and old age, birth and death, and - from having at its command a human experience of one or two million years - practically immortal. If such a being existed, it would be exalted above all temporal change; the present would mean neither more nor less to it than any year in the hundredth millennium before Christ; it would be a dreamer of age-old dreams and, owing to its immeasurable experience, an incomparable prognosticator. It would have lived countless times over again the life of the individual, the family, the tribe, and the nation, and it would possess a living sense of the rhythm of growth, flowering, and decay.
— Carl Jung
Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realise its own ends through him. As a human being, he may have moods and a will and personal aims, but as an artist he is 'man' in a higher sense - he is 'collective man' - one who carries and shapes the unconscious, psychic life of mankind. To perform this difficult office it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being.
All this being so, it is not strange that the artist is an especially interesting case for the psychologist who uses an analytical method. The artist's life cannot be otherwise than full of conflicts, for two forces are at war within him - one the one hand, the common longing for happiness, satisfaction and security in life, and on the other, a ruthless passion for creation which may go so far as to override every personal desire. The lives of artists are as a rule so highly unsatisfactory - not to say tragic - because of their inferiority on the human and personal side, and not because of a sinister dispensation. There are hardly any exceptions to the rule that a person must pay dearly for the divine gift of the creative fire. It is as though each of us were endowed at birth with a certain capital of energy. The strongest force in our make-up will seize and all but monopolise this energy, leaving so little over that nothing of value can come of it...
How can we doubt that it is his art that explains the artist, and not the insufficiencies and conflicts of his personal life? These are nothing but the regrettable results of the fact that he is an artist - that is to say, a man who from his very birth has been called to a greater task than the ordinary mortal. A special ability means a heavy expenditure of energy in a particular direction, with a consequent drain from some other side of life...
The poet's own work outgrows him, as a child its mother. The creative process has feminine quality, and the creative work arises from unconscious depths - we might say, from the realm of the mothers. Whenever the creative fire predominates, human life is ruled and moulded by the unconscious as against the active will, and the conscious ego is swept along on a subterranean current, being nothing more than a helpless observer of events... These primordial (healing) images are numerous, but do not appear in the dreams of individuals or in works of art until they are called into being by the waywardness of the general outlook. When conscious life is characterised by one-sidedness and by a false attitude, then they are activated - one might say, 'instinctively' - and come to light in the dreams of individuals and the visions of artists and seers, thus restoring the psychic equilibrium of the epoch.
In this way, the work of the poet comes to meet the spiritual need of the society in which he lives, and for this reason his work means more to him than his personal fate whether he is aware of this or not...
To grasp the meaning of the work of art, we must allow it to shape us as it once shaped the artist. The we understand the nature of his experience. We see that he has drawn upon the healing and redeeming forces of the collective psyche that underlies consciousness in all its isolation and its painful errors; that he has penetrated into that matrix of life in which all men are embedded, which imparts a common rhythm to all human experience, and allows the individual to communicate his feeling and his striving to mankind as a whole. — Carl Jung
Our new information environment is not quantitative but holistic and qualitative where situations interface at all times, thus creating ever new changes of pattern which call for the training of perception rather than the acquiring of classificatory concepts. — Marshall McLuhan
An artist is involved in politics, constantly aware of world events. — Pablo Picasso
Our favourite concepts are standing in the way of a flood-tide two billion years building up. The verbal dam is collapsing... It is inevitable that a new language will develop to communicate the new aspect of experience. The language of words we now use is extremely clumsy, static and heavy. We are going to have to develop... a language that will pay respect to the fact that our experience, our behaviour, our social forms are flowing all the time. — Timothy Leary