“Many children who grow up in our cities are surrounded by the artifacts of science but have good reason to see them as belonging to "the others"; in many cases they are perceived as belonging to the social enemy.”

Introduction
Mindstorms: Children, Computers, and Powerful Ideas (1980)

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Seymour Papert 13
MIT mathematician, computer scientist, and educator 1928–2016

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“The human race, to which so many of my readers belong, has been playing at children’s games from the beginning, and will probably do it till the end, which is a nuisance for the few people who grow up.”

Opening lines
The Napoleon of Notting Hill (1904)
Context: The human race, to which so many of my readers belong, has been playing at children’s games from the beginning, and will probably do it till the end, which is a nuisance for the few people who grow up. And one of the games to which it is most attached is called “Keep to-morrow dark,” and which is also named (by the rustics in Shropshire, I have no doubt) “Cheat the Prophet.” The players listen very carefully and respectfully to all that the clever men have to say about what is to happen in the next generation. The players then wait until all the clever men are dead, and bury them nicely. They then go and do something else. That is all. For a race of simple tastes, however, it is great fun.
For human beings, being children, have the childish wilfulness and the childish secrecy. And they never have from the beginning of the world done what the wise men have seen to be inevitable.

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“Europe belongs to Picasso, Matisse and many others, India belongs only to me.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

When Amrita returned to India because her experience in a metropolis, after the initial excitement had died down.
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“Many pleasant things are better when they belong to someone else. … When things belong to others, we enjoy them twice as much, without the risk of losing them, and with the pleasure of novelty.”

Muchas cosas de gusto no se han de poseer en propiedad. … Gózanse las cosas ajenas con doblada fruición, esto es, sin el riesgo del daño y con el gusto de la novedad.
Maxim 263
The Art of Worldly Wisdom (1647)

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“A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement — and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.”

Martin Esslin (1918–2002) Playwright, theatre critic, scholar

Introduction to Absurd Drama (1965) http://www.samuel-beckett.net/AbsurdEsslin.html
Context: The "Theatre of the Absurd" has become a catch-phrase, much used and much abused. What does it stand for? And how can such a label be justified? Perhaps it will be best to attempt to answer the second question first. There is no organised movement, no school of artists, who claim the label for themselves. A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement — and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.
Yet critical concepts of this kind are useful when new modes of expression, new conventions of art arise.

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“In the case of good books, the point is not to see how many of them you can get through, but how many can get through to you.”

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Source: Connie Robertson (1998). Book of Humorous Quotations. p. 2

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