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William Dean Howells

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I am not sorry for having wrought in common, crude material so much; that is the right American stuff; and perhaps hereafter, when my din is done, if anyone is curious to know what that noise was, it will be found to have proceeded from a small insect which was scraping about on the surface of our life and trying to get into its meaning for the sake of the other insects larger or smaller. That is, such has been my unconscious work; consciously, I was always, as I still am, trying to fashion a piece of literature out of the life next at hand.
--
Letter to Charles Eliot Norton (April 26, 1903).

 
William Dean Howells

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Perhaps the greatest personality who has ever devoted herself to developing the art of the dance …  Her interests ranged over a wide field of activities. There was a time when she wished to initiate a reform of human life in its least details of costume, of hygiene, of morals. But gradually she came to concentrate her interest upon the dance. For her the dance is not merely the art which permits the spirit to express itself in movement; it is the base of a whole conception of life, a life flexible, harmonious, natural. In the development of the dance she found herself confronted by the dilemma which has just been alluded to. On the one hand was the limited technique of the ballet, on the other the unnatural contortions of the eccentric school. To return to the unconscious gesture of the people — that is to say, the crude, stereotyped gestures of the street — offered no way of escape. She found the solution in a return to the natural gesture of human life as represented in Greek art.

 
Isadora Duncan
 

Mathematics is too arduous and uninviting a field to appeal to those to whom it does not give great rewards. These rewards are of exactly the same character as those of the artist. To see a difficult uncompromising material take living shape and meaning is to be Pygmalion, whether the material is stone or hard, stonelike logic. To see meaning and understanding come where there has been no meaning and no understanding is to share the work of a demiurge. No amount of technical correctness and no amount of labour can replace this creative moment, whether in the life of a mathematician or of a painter or musician. Bound up with it is a judgement of values, quite parallel to the judgement of values that belongs to the painter or the musician. Neither the artist nor the mathematician may be able to tell you what constitutes the difference between a significant piece of work and an inflated trifle; but if he is not able to recognise this in his own heart, he is no artist and no mathematician.

 
Norbert Wiener
 

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Peace Pilgrim
 

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