“The most profound reason… why the metropolis conduces to the urge for the most individual personal existence… appears to me to be the following: the development of modern culture is characterized by the preponderance of what one may call the "objective spirit" over the "subjective spirit."”

Source: The Selfish Gene (1976, 1989), Ch. 4. The Gene machine
Context: Survival machines that can simulate the future are one jump ahead of survival machines that who can only learn of the basis of trial and error. The trouble with overt trial is that it takes time and energy. The trouble with overt error is that it is often fatal.... The evolution of the capacity to simulate seems to have culminated in subjective consciousness. Why this should have happened is, to me, the most profound mystery facing modern biology.

Speech to the American Bar Association (2 September 1925).
Context: The most ominous spirit of our times, as it seems to me, is the indication of the growth of an intolerent spirit. It is the more dangerous when armed, as it usually is, with sincere conviction. It is a spirit whose wrath must be turned away by the soft answers of a sweet reasonableness. It can be exorcised only by invoking the Genius which watched over our infancy and has guided our development— a good Genius— still potent let us believe — the American spirit of civil and religious liberty. Our institutions were not devised to bring about uniformity of opinion; if they had we might well abandon hope. It is important to remember, as has well been said, "the essential characteristic of true liberty is that under its shelter many different types of life and character and opinion and belief can develop unmolested and unobstructed."

Source: The Metropolis and Modern Life (1903), p. 409

Source: Spirit and Reality (1946), p. 52
Context: Spirit, like flame, like freedom, like creativeness, is opposed to any social stagnation or any lifeless tradition. In terms of Kantian philosophy — terms which I consider erroneous and confusing — spirit appears as a thing in itself and objectification as a phenomenon. Another and truer definition would be, spirit is freedom and objectification is nature (not in the romantic sense). Objectification has two aspects: on the one hand it denotes the fallen, divided and servile world, in which the existential subjects, the personalities, are materialized. On the other it comprehends the agency of the personal subject, of spirit tending to reinforce ties and communications in this fallen world. Hence objectification is related to the problem of culture, and in this consists the whole complexity of the problem.
In objectification there are no primal realities, but only symbols. The objective spirit is merely a symbolism of spirit. Spirit is realistic while cultural and social life are symbolical. In the object there is never any reality, but only the symbol of reality. The subject alone always has reality. Therefore in objectification and in its product, the objective spirit, there can be no sacred reality, but only its symbolism. In the objective history of the world nothing transpires but a conventional symbolism; the idea of sacredness is peculiar to the existential world, to existential subjects. The real depths of spirit are apprehensible only existentially in the personal experience of destiny, in its suffering, nostalgia, love, creation, freedom and death.

The Blackfoot Physics (2006)

Vanna Bonta Talks Sex in Space (Interview - Femail magazine)

X magazine (1959-62)
Variant: It may be that it is the odd, the personal, the curious, the simply honest, that at this moment, when everyone looks to the extreme and flamboyant, constitutes the most interesting manifestation of the spirit of art.
Context: A situation has occurred wherein a premium is put on any work qualifying for the term "progressive"… The idea of progress in the arts; the notion that we move forward from one good thing to another in a simple progression and in a single direction... Baudelaire dealt so profoundly with this... But this can be said: if there were such a thing as a direct and simple progression from the work of one generation to the next the historical difficulty of the Progressive Artist could not exist... the popular notion of the Progressive and the New Art may not after all be the last word on a complex subject. That there may be, even to-day... such a thing as the absolutely modern. That as before it may be something unexpected, and not completely accounted for in the arrangements for encouraging the arts... For to be contemporary is not necessarily to be part of any movement, to be included in the official representations of national and international art. History shows that it may well be the opposite. It may be that it is the odd, the personal, the curious, the simply honest, that at this moment, when everyone looks to the extreme and flamboyant, constitutes the most interesting manifestation of the spirit of art... It may be necessary to be absolutely modern.

Source: The City of God and the True God as its Head (In Royce’s “The Conception of God: a Philosophical Discussion Concerning the Nature of the Divine Idea as a Demonstrable Reality”), p.90-1

Source: Elements of Rhetoric (1828), p. 52-53