“Artistic creation is a demand for unity and a rejection of the world.”

The Indian Story of an Author (2018)

The Eye of Spirit : An Integral Vision for a World Gone Slightly Mad (1997)
Context: The integral approach is committed to the full spectrum of consciousness as it manifests in all its extraordinary diversity. This allows the integral approach to recognize and honor the Great Holarchy of Being first elucidated by the perennial philosophy and the great wisdom traditions in general.... The integral vision embodies an attempt to take the best of both worlds, ancient and modern. But that demands a critical stance willing to reject unflinchingly the worst of both as well.

Examples of self-translation (c. 2004), Quotes - Zitate - Citations - Citazioni

"Why Physical Space has Three Dimensions," British Journal for the Philosophy of Science, 6 #21 (May 1955)
Context: Perhaps the first to approach the fourth dimension from the side of physics, was the Frenchman, Nicole Oresme, of the fourteenth century. In a manuscript treatise, he sought a graphic representation of the Aristotelian forms, such as heat, velocity, sweetness, by laying down a line as a basis designated longitudo, and taking one of the forms to be represented by lines (straight or circular) perpendicular to this either as a latitudo or an altitudo. The form was thus represented graphically by a surface. Oresme extended this process by taking a surface as the basis which, together with the latitudo, formed a solid. Proceeding still further, he took a solid as a basis and upon each point of this solid he entered the increment. He saw that this process demanded a fourth dimension which he rejected; he overcame the difficulty by dividing the solid into numberless planes and treating each plane in the same manner as the plane above, thereby obtaining an infinite number of solids which reached over each other. He uses the phrase "fourth dimension" (4am dimensionem).

Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.

Source: A Portrait of the Artist as a Young Man

Part 4: Rebellion and Art
The Rebel (1951)

Source: Organization and environment: Managing differentiation and integration, 1967, p. 11