“For an artist there is no more serious and, at the same time, more joyous task than to create, through art, a new aesthetic, and ultimately, a new way of being.”

Source: 1940's, Beyond the Aesthetics (1946), p. 38

Source: 1940s, Beyond the Aesthetics' (1946), pp. 36-37

Introductory
The Grammar of Science (1900)

Amusing Ourselves to Death: Public Discourse in the Age of Show Business (1985)
Context: A new technology sometimes creates more than it destroys. Sometimes, it destroys more than it creates. But it is never one-sided. The invention of the printing press is an excellent example. Printing fostered the modern idea of individuality but it destroyed the medieval sense of community and social integration. Printing created prose but made poetry into an exotic and elitist form of expression. Printing made modern science possible but transformed religious sensibility into an exercise in superstition. Printing assisted in the growth of the nation-state but, in so doing, made patriotism into a sordid if not a murderous emotion. Another way of saying this is that a new technology tends to favor some groups of people and harms other groups. School teachers, for example, will, in the long run, probably be made obsolete by television, as blacksmiths were made obsolete by the automobile, as balladeers were made obsolete by the printing press. Technological change, in other words, always results in winners and losers.

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:) Ich habe wieder einige Maler gesprochen, aber die Modernen [in Nederland] schreiben mehr als sie malen. Wenn man so über Kunst schreibt und immer so mit einem festen Plan malen will, dan verliert man ganz und gar die tiefe, herrliche, spontane Kunst. Man muss so ganz tief heraus immer Neuses schaffen.
in a letter to Herwarth Walden, 23 July 1915; the 'Sturm'-Archive, Berlin
very probably Jacoba is refering here to the Dutch Stijl-artists, as Piet Mondrian and Theo v. Doesburg
1910's

quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
1930's

Entry (1957)
Eric Hoffer and the Art of the Notebook (2005)

"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.

Source: Blue Ant trilogy, Pattern Recognition (2003), Chapter 26, "SIGINT"