The spoken-sung word is the source from which the art of music is taken (and which it duplicates, represents, extends, and abstracts).
The written-pictured word is the source from which the art of image is taken (and which it duplicates, represents, extends, and abstracts).
The spoken-sung-written-pictured word (and its word-mind altogether) is the source from which the art of word is taken (and which it duplicates, represents, extends, and abstracts).
The bodily-organized word-mind (spoken, sung, written, pictured, and however duplicated, represented, extended, abstracted, and, altogether, concretely rendered) is the source of all art.
All art is the concrete perceptual animation of the responsive word-mind—or the vibratory, sensory, and conceptual event of conditionally arising awareness.
Therefore, percept and concept are the primal substances of all art—and even science is subordinate to every art of means.
The perceptual (or however plastic) aspect of all art is the sensory (and, altogether, vibratory) animation of the intrinsic “self”-apprehension of order.
The perceptual (or however plastic) aspect of all art is the sensory animation of the impulse to either control or escape or transcend evident chaos by means of the exercise of the intrinsically self-evident inner integrity (or root-indivisibility) that is self-apprehended within the human being and in the (thereby apprehended) fundamental order of the humanly observed world.
The conceptual aspect of all art is the mental animation of the intrinsic self-apprehension of order.
The conceptual aspect of all art is the mental animation of the impulse to either control or escape or transcend evident chaos by means of the exercise of the intrinsically self-evident inner integrity (or root-indivisibility) that is self-apprehended within the human being and in the (thereby apprehended) fundamental order of the humanly observed world.
The animation (or the perceptual and conceptual exercise) of the means of art (or, otherwise, of science) is the principal, and profoundly fragile, and (yet) intrinsically indivisible and indestructible response whereby the intrinsic inner integrity (or root-indivisibility) of the human being confronts evident chaos (or internally and externally observed disorder).
Thus and thereby (and thereas), by any effort of perceptual and/or conceptual means, the intrinsic inner integrity (or root indivisibility) of the human being constantly (but always only temporarily) controls or escapes chaos (through the re-assertion of order), and, ultimately, Perfectly Transcends chaos—by Intrinsically Transcending all perceptual and conceptual means themselves, through the Tacit Self-Recognition of the Intrinsically Self-Evident “Non-chaos” (or the Always Prior Self-Unity, Indivisibility, Indestructibility, and Intrinsic egolessness) of Reality Itself.
—This essay is from Transcendental Realism, pages 27-28, by the World-Friend, Adi Da