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Man’s consciousness not only reflects the objective world, but creates it.
--
Conspectus of Hegel’s Science of Logic — Book III : Subjective Logic or the Doctrine of the Notion (December 1914); Collected Works, Vol. 38, p.85-241

 

Vladimir Lenin

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Objective knowledge, the idea of unity included, belongs to objective consciousness. The forms which express this knowledge when perceived by subjective consciousness are inevitably distorted and, instead of truth, they create more and more delusions. With objective consciousness it is possible to see and feel the unity of everything. But for subjective consciousness the world is split up into millions of separate and unconnected phenomena. Attempts to connect these phenomena into some sort of system in a scientific or philosophical way lead to nothing because man cannot reconstruct the idea of the whole starting from separate facts and they cannot divine the principles of the division of the whole without knowing the laws upon which this division is based.

 

G. I. Gurdjieff

 

If the world is eternally moving and developing matter (as the Marxists think), reflected by the developing human consciousness, what is there “static” here? The point at issue is not the immutable essence of things, or an immutable consciousness, but the correspondence between the consciousness which reflects nature and the nature which is reflected by consciousness.

 

Vladimir Lenin

 

We are concerned with similar states of consciousness and relationship to the world.. ..If previous abstractions paralleled the scientific and objective preoccupations of our times, ours are finding a pictoral equivalent for man’s new knowledge and consciousness of his more complex inner self.

 

Mark Rothko

 

The free artist creates without a commission. He seems distinguished by the complete independence of his creativity and thus acquires the characteristic social features of an outsider whose style of life cannot be measured by the standards of public morality. The concept of the bohemian which arose in the nineteenth century reflects this process. The home of the Gypsies became the generic word for the artist's way of life.
But at the same time the artist, who is as "free as a bird or a fish," bears the burden of a vocation that makes him an ambiguous figure. For a cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the "standpoint of art" can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a "secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.

 

Hans-Georg Gadamer

 

How both the objective world accommodates to presentations in us, and presentations in us to the objective world, is unintelligible unless between the two worlds, the ideal and the real, there exists a pre-determined harmony. But this latter is itself unthinkable unless the activity, whereby the objective world, is produced, is at bottom identical with that which expresses itself in volition, and vice versa.

 

Friedrich Schelling