True artistic experience is never passive, for the spectator is obliged to participate, as it were, in the continuous or discontinuous variations of proportions, positions, lines and planes. Moreover, he must see clearly how this play of repeated or non-repeated changes may give rise to a new harmony of relations which will constitute the unity of the work. Every part becomes organized into a whole with the other parts. All the parts contribute to the unity of the composition, none of them assuming a dominant place in the whole. (on the necessary unity of a piece of art, 1925)
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"Abstract Painting", Michel Seuphor, Dell Publishing Co. 1964, p. 86Theo van Doesburg
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Canada has no cultural unity, no linguistic unity, no religious unity, no economic unity, no geographic unity. All it has is unity.
Kenneth Boulding
The relations that define a system as a unity, and determine the dynamics of interaction and transformations which it may undergo as such a unity constitute the organization of the machine.
Francisco Varela
The one absolutely, the Intelligible, the ever Preexisting, comprehending all the universe together within the One — nay, more, is not the whole world One living thing — all and everywhere full of life and soul, perfect and made up out of parts likewise perfect? Now of this double unity the most perfect part (I mean of the Unity in the Intelligible World that comprehends all things in One, and of the Unity encompassing the Sensible World, that brings together all things into a single and perfect nature) is the perfection of the sovereign Sun, which is central and single, and placed in the middle of the intermediate Powers.
Julian (Emperor)
There is a fundamental error in separating the parts from the whole, the mistake of atomizing what should not be atomized. Unity and complementarity constitute reality.
Werner Heisenberg
It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer. Although it is very difficult to express in words the effect of a work of art, it may be said that the viewer’s deepest impression can best be defined as the achievement of a balance between objective meaning and subjectieve meaning, both directly penetrated by awareness. He has a sensation of height and of depth which are no longer in any way bound to natural conditions or to spatial dimensions, a sensation which places the viewer in a state of consciousnes harmony. (1925)
Theo van Doesburg
Doesburg, Theo van
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