“The ability to observe without evaluating is the highest form of intelligence.”

Source: Quoted, The Crack-Up (1936)
Context: Before I go on with this short history, let me make a general observation – the test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.
One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise. This philosophy fitted on to my early adult life, when I saw the improbable, the implausible, often the "impossible," come true.

"The Anonymity of the Regional Poet: Ted Kooser," from Can Poetry Matter? Essays on Poetry and American Culture (1992)
Essays

Flowers for Algernon (1966)
Context: Don't misunderstand me," I said. "Intelligence is one of the greatest human gifts. But all too often a search for knowledge drives out the search for love. This is something else I've discovered for myself very recently. I present it to you as a hypothesis: Intelligence without the ability to give and receive affection leads to mental and moral breakdown, to neurosis, and possibly even psychosis. And I say that the mind absorbed in and involved in itself as a self-centered end, to the exclusion of human relationships, can only lead to violence and pain.

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.

page 85
Fooled by Randomness (2001)

Speech to the Chicago Council on Foreign Relations (12 July 2004)
2004

What is Art? (1897)
Context: Humanity unceasingly strives forward from a lower, more partial and obscure understanding of life to one more general and more lucid. And in this, as in every movement, there are leaders — those who have understood the meaning of life more clearly than others — and of those advanced men there is always one who has in his words and life, manifested this meaning more clearly, accessibly, and strongly than others. This man's expression … with those superstitions, traditions, and ceremonies which usually form around the memory of such a man, is what is called a religion. Religions are the exponents of the highest comprehension of life … within a given age in a given society … a basis for evaluating human sentiments. If feelings bring people nearer to the religion's ideal … they are good, if these estrange them from it, and oppose it, they are bad.