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The supreme accomplishment is to blur the line between work and play.
--
Statement of 1964, as quoted in Mindfulness edited by Ellen J. Langer, p. 133; also in Social Creativity Vol. 2 (1999) edited by Alfonso Montuori and Ronald E. Purser.

 

Arnold Joseph Toynbee

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Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual.

 

Theo van Doesburg

 

Work and play are an artificial pair of opposites, because the best kind of play contains an element of work, and the most productive kind of work must include something of the spirit of play.

 

Sydney J. Harris

 

No one should ever work.
Work is the source of nearly all the misery in the world. Almost all the evil you'd care to name comes from working or from living in a world designed for work. In order to stop suffering, we have to stop working.
That doesn't mean we have to stop doing things. It does mean creating a new way of life based on play; in other words, a ludic revolution. By "play" I mean also festivity, creativity, conviviality, commensality, and maybe even art. There is more to play than child's play, as worthy as that is. I call for a collective adventure in generalized joy and freely interdependent exuberance. Play isn't passive.

 

Bob Black

 

Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear... Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.

 

Paul Simon

 

Another characteristic of the idler's work is that it looks suspiciously like play. This, again, makes the non-idler feel uncomfortable. Victims of the Protestant work ethic would like all work to be unpleasant. They feel that work is a curse, that we must suffer on this earth to earn our place in the next. The idler, on the other hand, sees no reason not to use his brain to organise a life for himself where his play is his work, and so attempt to create his own little paradise in the here and now.

 

Tom Hodgkinson