“Participation - that's what's gonna save the human race.”
Pete Seeger (1919–2014) American folk singer
“The noble art of losing face
may some day save the human race
and turn into eternal merit
what weaker minds would call disgrace.”
Losing Face
Grooks
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Do you have more details about the quote "The noble art of losing face
may some day save the human race
and turn into eternal merit
what weaker minds would ca…" by Piet Hein?
Piet Hein37
Danish puzzle designer, mathematician, author, poet 1905–1996Related quotes
Philip Melanchthon (1497–1560) German reformer
They judged that, indisputably, by the study of these disciplines not only was the tongue refined, but also the wildness and barbarity of people’s minds was amended.
Source: Praise of Eloquence (1523), p. 66
“What monstrosities would walk the streets were some people's faces as unfinished as their minds.”
Eric Hoffer (1898–1983) American philosopher
Section 89
Reflections on the Human Condition (1973)
Woodrow Wilson (1856–1924) American politician, 28th president of the United States (in office from 1913 to 1921)
Speech in Syracuse (12 September 1912) PWW 25:145
1910s
Robert Seymour Bridges (1844–1930) British writer
Eros http://rpo.library.utoronto.ca/poem/2933.html, st. 1 (1899). <br class="br">Poetry
Miguel de Unamuno (1864–1936) 19th-20th century Spanish writer and philosopher
The Tragic Sense of Life (1913), XI : The Practical Problem
Context: And what is its moral proof? We may formulate it thus: Act so that in your own judgment and in the judgment of others you may merit eternity, act so that you may become irreplaceable, act so that you may not merit death. Or perhaps thus: Act as if you were to die tomorrow, but to die in order to survive and be eternalized. The end of morality is to give personal, human finality to the Universe; to discover the finality that belongs to it — if indeed it has any finality — and to discover it by acting.
Marcel Duchamp (1887–1968) French painter and sculptor
1951 - 1968, The Creative Act', 1957
Context: I want to clarify our understanding of the word 'art' – to be sure, without an attempt to a definition. What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way as a bad emotion is still an emotion.
Therefore, when I refer to 'art coefficient', it will be understood that I refer not only to great art, but I am trying to describe the subjective mechanism which produces art in a raw state – 'à l'état brute' – bad, good or indifferent.
