There are many that I know and they know it. They are all of them repeating and I hear it. I love it and I tell it. I love it and now I will write it. This is now a history of my love of it. I hear it and I love it and I write it. They repeat it. They live it and I see it and I hear it. They live it and I hear it and I see it and I love it and now and always I will write it. There are many kinds of men and women and I know it. They repeat it and I hear it and I love it. This is now a history of the way they do it. This is now a history of the way I love it. Gertrude Stein, The Making of Americans, 1934
Interviewer: How do you define folk music? Bob Dylan: As a constitutional replay of mass production. —Dylan interview, December 3, 1965, San Francisco, at 25′15′′, Classic Interviews, Volume 1, www.dylannl.nl
IT’S A VUITTON and you know that Vuitton trunks have been called “the trunks that last a life-time.” A VUITTON WARDROBE TRUNK not only IS French but it LOOKS French, not only IS the finest but APPEARS to be the finest. VUITTON TRUNKS ARE GENUINE! —Advertisement in Town and Country, May 15, 1922, quoted in Paul- Gérard Pasols, Louis Vuitton: La Naissance du luxe moderne (2005)
“Chinese Market Awash in Fake Potter Books,” reads a recent New York Times headline. The article goes on to describe the proliferation of unauthorized Harry Potter books in China, in the days leading up to the publication of the seventh book in the series. As the author of the article says, these fake books are “copious.” Howard W. French, “Chinese Market Awash in Fake Potter Books,” New York Times, August 1, 2007.
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Property relations in Mickey Mouse cartoons: here we see for the first time that it is possible to have one’s own arm, even one’s own body, stolen. The route taken by Mickey Mouse is more like that of a file in an office than it is like that of a marathon runner. —Walter Benjamin, “Mickey Mouse” (1931), trans. Rodney Livingstone, in Benjamin, Selected Writings, vol. 2 (1999)
Our poetry now / is the reali-zation that we possess nothing / anything therefore is a delight / (since we do not pos-sess it) and thus need not fear its loss / We need not destroy the past; it is gone / at any moment, it might reappear and seem to be and be the present / Would it be a repetition? Only if we thought we / owned it, but since we don’t, it is free and so are we. —John Cage, “Lecture on Nothing,” in Cage, Silence (1973)
“Se as gravadoras não levam meu trabalho para as rádios, se ele não toca em nenhum lugar, para que eu faço música? Não tive e nem vou ter nenhum retorno financeiro com minha obra, mas meu prazer, minha alegria, continua sendo tocar. Por isso, as minhas músicas eu quero mais é que sejam pirateadas. Quero mais é que as pessoas toquem, ouçam, a conheçam. E pra mim, quem reclama da pirataria é quem faz música apenas para vender. Meu valor não são as notas de dinheiro. São as notas musicais” Hermeto Pascoal
The world is full of objects, more or less interesting; I do not wish to add any more.” Douglas Huebler
“A força da estrada do campo é uma se alguém anda por ela, outra se sobrevoa de aeroplano. Assim é a força de um texto, uma se alguém o lê, outra se o transcreve. Quem voa vê apenas como a estrada se insinua sobre a paisagem e para ele se desenrola segundo as mesma leis que o terreno em torno. Somente quem anda pela estrada experimenta algo de seu domínio e de como, daquela região que, para o que voa, é apenas a planície desenrolada, ela faz sair, a seu comando, a cada uma de suas voltas, distâncias, belvederes, clareiras, perspectivas a cada nova curva [...]. assim comanda unicamente o texto copiado a alma daquele que está ocupado com ele, enquanto o mero leitor nunca fica conhecendo as novas perspectivas do seu interior, tais como se abre o texto, essa estrada através da floresta virgem interior que sempre volta a adensar-se: porque o leitor obedece ao movimento de seu eu no livre reino aéreo do seu devaneio, enquanto o copiador o faz ser comandado” Walter Benjamim.
WARHOL: I mean, you shoul just tell me the words and I can just repeat them, because I can’t, uh…. I Can’t… I’m so empty today. I can’t think of anything. Why don’t you just tell me yhe words and they’ll just come out of my mouth. Q: No, don’t worry about is because… WARHOL: … no, no … I Think it will be so nice. Q: You’ll loosen up after a while. WARHOL: Well, no. It’s not that. It’s just that I can’t, ummm… I have a cold and I can’t, uh, think of anything. It would be so nice if you told me a sentence and I just could repeat it. Q: Well, let me just ask you a question you could answer… WARHOL: No, no. But you repeat the answer too. Entrevista televisiva com Andy Warhol em 1966