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.

NO TONGUE IN CHEEK, WE CAN HONESTLY SAY THAT OUR LOUIS

VUITTON REPLICA BAGS ARE ABSOLUTELY INDISTINGUISHABLE FROM

THE ORIGINALS. YOU CAN TAKE YOUR LOUIS VUITTON REPLICA

HANDBAG TO A LOUIS VUITTON FLAGSHIP STORE AND COMPARE, FEEL

THE LEATHER, TEST THE HANDLES, CHECK OUT THE LINING—NOT

EVEN A LOUIS VUITTON MASTER CRAFTSMAN WILL BE ABLE TO TELL

WHICH IS THE ORIGINAL AND WHICH THE LOUIS VUITTON REPLICA

HANDBAG FROM BASICREPLICA.COM. LOUIS VUITTON REPLICA BAGS

WITH THE SAME ALCANTARA LINING, QUALITY COW- HIDE LEATHER

GIVEN A FINISH THAT OXIDIZES TO A DARK HONEY JUST THE WAY THE

ORIGINAL LOUIS VUITTON HANDBAGS COLOUR AS THEY AGE,

AUTHENTICALLY ORIGINAL IMITATIONS OF THE REAL ORIGINALS!

http://www.basicreplica.com/aboutstore.html

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