“The ethics of art are terrifying because real art by increasing our knowledge of ourselves increases in exactly the same proportion the ethical commitment.”

Source: The View From Nowhere (1986), p. 135.

Jonas Sima interview <!-- pages 176-178 -->
Bergman on Bergman (1970)
Context: Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes. … All this talk about me standing aside, cutting myself off and so forth, has always amazed me... I've stated, firmly and clearly, that though as an artist I'm not politically involved, I obviously am an expression of the society I live in. Anything else would be grotesque. But I don't make propaganda for either one attitude or the other. No. As I told you, I vote for the Social Democrats. Their way of solving social problems comes closest to what I regard as decent. That I also find their actual solutions odd in many ways is another matter...

As quoted in Virginia Tech Magazine (Summer 2013) by Denise Young; also in Digital Da Vinci: Computers in the Arts and Sciences (2014) by Newton Lee

Bulletin of New York Academy of Medicine, Vol. IV (1928)

1949 - 1958, Speech to the Penguins' (1949)

Source: 1910s, Mysticism and Logic and Other Essays http://archive.org/stream/mysticism00russuoft/mysticism00russuoft_djvu.txt (1918), Ch. 6: On the Scientific Method in Philosophy

Source: The Geological Evidences of the Antiquity of Man (1863), Ch.20, p. 406
Context: No one can believe in transmutation who is not profoundly convinced that all we know in paleontology is as nothing compared to what we have yet to learn, and they who regard the record as so fragmentary, and our acquaintance with the fragments which are extant as so rudimentary, are apt to be astounded at the confidence placed by the progressionists in data which must be defective in the extreme. But exactly in proportion as the completeness of the record and our knowledge of it are overrated, in that same degree are many progressionists unconscious of the goal towards which they are drifting. Their faith in the fullness of the annals leads them to regard all breaks in the series of organic existence, or in the sequence of the fossiliferous rocks, as proofs of original chasms and leaps in the course of nature, signs of the intermittent action of the creational force, or of catastrophes which devastated the habitable surface; and they are therefore fearless of discovering any continuity of plan (except that which must have existed in the Divine mind) which would imply a material connection between the outgoing organisms and the incoming ones.

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.