Quotes about copy
page 3

Will Eisner photo

“Graves: “…Tigers with the souls of sheep and heads full of wind…” A CLEVER METAPHOR…NO WONDER THE “PROTOCOLS” COPIES IT!”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.81

Robin Morgan photo

“[N]o one appeared to wonder whether this S-M proliferation was a lesbian copy of a faggot imitation of patriarchal backlash against feminism.”

Robin Morgan (1941) American feminist writer

"The Politics of Sado-Masochistic Fantasies", in Going Too Far: The Personal Chronicle of a Feminist, p 235.

William Burges photo

“Decidedly the best application of art to industry is when a great many copies are made from an exceedingly good pattern.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 1

Frida Kahlo photo
Will Eisner photo

“”Jewish Peril” exposed.
Historic “Fake.”
Details of the forgery.
More parallels.
We published yesterday an article from our Constantinople Correspondent, which showed that the notorious “Protocols of the Elders of Zion” – one of the mysteries of politics since 1905 – were a clumsy forgery, the text being based on a book published in French in 1865. The book, without title page, was obtained by our correspondent from a Russian source, and we were able to identify it with a complete copy in the British Museum.
The disclosure, which naturally aroused the greatest interest among those familiar with Jewish questions, finally disposes of the “Protocols” as credible evidence of a Jewish plot against civilization.
We publish below a second article, which gives further close parallels between the language of the Protocols and that attributed to Machiavelli and Montesquieu in the volume dated from Geneva.
Plagiarism at Work.
(From our Constantinople Correspondent.)
While the Geneva Dialogue open with an exchange of compliments between Monsequieu and Machiavelli, which covers seven pages, the author of the Protocols plunges at once in medias res.
One can imagine him hastily turning over those first seven pages of the book which he has been ordered to paraphrase against time, and angrily ejaculating, “Nothing here.” But on page 8 of the Dialogues he finds what he wants.
Publisher: Good work Graves…we finally paid your émigré £ 300 for it…now if we can find Golovinski and get his confession…
Graves: He joined the Bolsheviks.
Golovinski became a party ‘’’activist’’’ and rose to be an adviser to Trotsky. But he ‘’’died’’’ last year!
Publisher: Well, that’s that!
Publisher: Oh but Graves, “The Times” is influential… after our expose we’ll probably hear no more of this fraud!
Graves: I’m not sure!
Anti-Bolsheviks, White Russians, published thousands of copies! Here’s a page from Nilus’ “The Great in the Small.”
Publisher: Astonishing…mystical symbols…eh?
The “Protocols” quickly began to circulate around the world.
A French edition this year…and in America Henry Ford, the auto magnate, has been serializing it in his paper, the “Dearborn independent”!
Publisher: When did it first appear in Europe?
Graves: The German edition…dated 1919, was the first!
This is an evil book…a fake designed to malign a whole group of people.
Publisher: I know, I know! …Ugly stuff, Graves.
Graves: Well, what are we to do about it?
Publisher: Your report exposed it as a foul fraud!
Publisher: Y’forget the power of the press, graves! “The Times” has tremendous worldwide influence.
This fraud will soon be well known everywhere…so, my boy, ‘’’what harm can the “protocols” possibly do now?”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), pp. 91-94

Norbert Wiener photo
Nina Paley photo

“♡ Copying is an act of love. Please copy & share.”

Nina Paley (1968) US animator, cartoonist and free culture activist

Copyheart.org home page (3 December 2010) http://copyheart.org

Johann Kaspar Lavater photo
Lawrence Lessig photo

“My experience of the original Edison phonograph goes back to the period when it was first introduced into this country. In fact, I have good reason to believe that I was among the very first persons in London to make a vocal record, though I never received a copy of it, and if I did it got lost long ago. It must have been in 1881 or 1882, and the place where the deed was done was on the first floor of a shop in Hatton Garden, where I had been invited to listen to the wonderful new invention. To begin with, I heard pieces both in song and speech produced by the friction of a needle against a revolving cylinder, or spool, fixed in what looked like a musical box. It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct.”

Herman Klein (1856–1934) British musical critic journalist and singing teacher

The Gramophone magazine, December 1933

Robert T. Kiyosaki photo

“Copying or emulating heroes is true power learning.”

Robert T. Kiyosaki (1947) American finance author , investor

Rich Dad Poor Dad: What the Rich Teach Their Kids About Money-That the Poor and the Middle Class Do Not!

Roger Waters photo
Pushyamitra Shunga photo
Ritchie Blackmore photo

“Listening to as many guitar solos as possible is the best method for someone in the early stages. But saxophone solos can be helpful. They're interesting because they're all single notes, and therefore can be repeated on the guitar. If you can copy a sax solo you're playing very well, because the average saxophonist can play much better than the average guitarist.”

Ritchie Blackmore (1945) British guitarist and songwriter

Ritchie Blackmore, in: Guitar Player. Vol. 7. (1973). p. 235:
Answer to the question Does listening to solos performed on other instruments than the guitar help the beginning guitarist develop a personal style?

Théodore Rousseau photo

“If my painting depicts faithfully and without over-refinement the simple and true character of the place you have frequented, if I succeed.... in giving its own life to that world of vegetation, then you will hear the trees moaning under the winter wind, the birds that call their young and cry after their dispersion; you will feel the old chateau tremble; it will tell you that, as the wife you loved, it too will.... disappear and be reborn in multiple forms.. One does not copy with mathematical precision what one sees, but one feels and interprets a real world, all of whose fatalities hold you fast bound.”

Théodore Rousseau (1812–1867) French painter (1812-1867)

Quote in a letter to M. Guizot, c. 1839-41; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye publisher, A. Wessels Company, New York, July 1902, pp. 172-173
The Duke de Broglie had ordered of Rousseau a painting of the 'Chateau de Broglie', for his friend M. Guizot. Madame Guizot had died there, and The Duke de Broglie urged Rousseau to make the painting grave and sad.. The quote presents Rousseau’s responding
1830 - 1850

Charles Babbage photo

“[M]ost of the pop music out today I consider to have become a homogenized product. It gets to the point that so much of what is going on is copying everything else that is out, because there is a businessman that knows what he has just sold millions of records with, and so he keeps trying to get every group that comes in to do it, you know. You know, you approach somebody who is well known as a booker or manager, and the first remark will be, "I love what you do, but you would have to change this to this, and that to that, and this to this, in order for me to be able to sell it." Well, by the time you've changed that, of course, it's like everything else that is out there. And when Prince first started sending me songs, I thought maybe that by the time I had done four arrangements that I would have started getting some sort of a repetitive something or other. I have been extremely surprised to find that each one is as different from the last as the next one is going to be different. Some of them are like little art songs. Some of them have dealt with heavy things like friendship and death. I mean, death of a friend. And yet, some of them are as baudy as…”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Radio interview, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT456 (1992, 2006, 2014)

Art Spiegelman photo

“I guess I don’t subscribe to the twee school. I remember trying to lose our copy of Thomas the Tank Engine before I had to read it again. Life is a more dimensional and interesting affair than vestigially Victorian notions of childhood. I was trying to make something substantial, something to be read and reread.”

Art Spiegelman (1948) cartoonist from the United States

On his book Jack and the Box, as quoted in "Smart Art : Spiegelman doesn’t dumb down for kids" by Alexandra Zissu in New York Magazine (16 November 2008) http://nymag.com/family/kids/52136/.

Norodom Sihanouk photo
John Byrne photo
Richard Rodríguez photo

“Something funny I have noticed—perhaps you have noticed it, too. You know what futurists and online-ists and cut-out-the-middle-man-ists and Davos-ists and deconstructionists of every stripe want for themselves? They want exactly what they tell you you no longer need, you pathetic, overweight, disembodied Kindle reader. They want white linen tablecloths on trestle tables in the middle of vineyards on soft blowy afternoons. (You can click your bottle of wine online. Cheaper.) They want to go shopping on Saturday afternoons on the Avenue Victor Hugo; they want the pages of their New York Times all kind of greasy from croissant crumbs and butter at a café table in Aspen; they want to see their names in hard copy in the “New Establishment” issue of Vanity Fair; they want a nineteenth-century bookshop; they want to see the plays in London; they want to float down the Nile in a felucca; they want five-star bricks and mortar and Do Not Disturb signs and views of the park. And in order to reserve these things for themselves they will plug up your eyes and your ears and your mouth, and if they can figure out a way to pump episodes of The Simpsons through the darkening corridors of your brain as you expire (ADD TO SHOPPING CART), they will do it.”

Richard Rodríguez (1944) American journalist and essayist

Darling: A Spiritual Autobiography (2013)
Variant: Something funny I have noticed—perhaps you have noticed it, too. You know what futurists and online-ists and cut-out-the-middle-man-ists and Davos-ists and deconstructionists of every stripe want for themselves? They want exactly what they tell you you no longer need, you pathetic, overweight, disembodied Kindle reader. They want white linen tablecloths on trestle tables in the middle of vineyards on soft blowy afternoons. (You can click your bottle of wine online. Cheaper.) They want to go shopping on Saturday afternoons on the Avenue Victor Hugo; they want the pages of their New York Times all kind of greasy from croissant crumbs and butter at a café table in Aspen; they want to see their names in hard copy in the “New Establishment” issue of Vanity Fair; they want a nineteenth-century bookshop; they want to see the plays in London; they want to float down the Nile in a felucca; they want five-star bricks and mortar and Do Not Disturb signs and views of the park. And in order to reserve these things for themselves they will plug up your eyes and your ears and your mouth, and if they can figure out a way to pump episodes of The Simpsons through the darkening corridors of your brain as you expire (ADD TO SHOPPING CART), they will do it.

Jean Metzinger photo

“Instead of copying Nature, we [ Cubists ] create a 'milieu', of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy of literature and music. Your [ Gelett Burgess is American] Edgar Poe did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in 'The Fall of the House of Ushur.”

Jean Metzinger (1883–1956) French painter

That subjective idea he translated into art. He made a composition of it.
Quote of Metzinger in 'The Wild Men of Paris', by Gelett Burgess https://monoskop.org/images/f/f3/Burgess_Gelett_1910_The_Wild_Men_of_Paris.pdf, in 'The Architectural Record, Vol XXVII, May 1910, p. 413

Joshua Reynolds photo
Gerhard Richter photo
Frederik Pohl photo
Geoff Dyer photo
Ingmar Bergman photo

“He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up, which I've seen many times, and the other is La Notte, also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido, and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade… He concentrated on single images, never realising that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don't feel anything for L'Avventura, for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress.”

Ingmar Bergman (1918–2007) Swedish filmmaker

On Michelangelo Antonioni
Variant translation: Antonioni has never properly learnt his craft. He's an aesthete. If, for example, he needs a certain kind of road for The Red Desert, then he gets the houses repainted on the damned street. That is the attitude of an aesthete. He took great care over a single shot, but didn't understand that a film is a rhythmic stream of images, a living, moving process; for him, on the contrary, it was such a shot, then another shot, then yet another. So, sure, there are some brilliant bits in his films... I can't understand why Antonioni is held in such high esteem.
Jan Aghed interview (2002)

Frederic G. Kenyon photo
Richard Dawkins photo
Ernst Ludwig Kirchner photo
Saki photo
Richard Stallman photo

“Friends share music with each other, they don't allow themselves to be divided by a system that says that nobody is supposed to have copies.”

Richard Stallman (1953) American software freedom activist, short story writer and computer programmer, founder of the GNU project

LibrePlanet Keynote Speech (2015) @20:45 https://media.libreplanet.org/u/libreplanet/m/richard-stallman-free-software-free-hardware/
2010s

Gabriele Münter photo

“.. the rejection of impressionistic copies of nature and a move towards sensing the content, abstraction, – expressing the extract..”

Gabriele Münter (1877–1962) German painter

as quoted in the exposition-text 'Alexej von Jawlensky', Museum Boymans-van-Beuningen Rotterdam; 25/9 – 27/ 11-1994, p. 21
this quote of Gabriele Münter was the leading idea for her early painting during the period she worked with Kandinsky in and around Murnau..

Roger Fry photo
Will Rogers photo
Auguste Rodin photo

“I obey nature, I never presume to command her. The first principal in art is to copy what one sees.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Jane Roberts photo

“The … false ideal … [that is] tokenism—which is commonly guised as Equal Rights, and which yields token victories—deflects and shortcircuits gynergy, so that female power, galvanized under deceptive slogans of sisterhood, is swallowed by The Fraternity. This method of vampirizing the Female Self saps women by giving illusions of partial success while at the same time making Success appear to be a far-distant, extremely difficult to obtain "elusive objective." When the oppressed are worn out in the game of chasing the elusive shadow of Success, some "successes" are permitted to occur—"victories" which can easily be withdrawn when the victim's energies have been restored. Subsequently, women are lured into repeating efforts to regain the hard-won apparent gains…. [¶] Thus tokenism is insidiously destructive of sisterhood, for it distorts the warrior aspect of Amazon bonding both by magnifying it and by minimizing it. It magnifies the importance of "fighting back" to the extent of making it devour the transcendent be-ing of sisterhood, reducing it to a copy of comradeship. At the same time, it minimizes the Amazon warrior aspect by containing it, misdirecting and shortcircuiting the struggle. [¶] This is a demonically double-sided trap, for of course reforms, such as legalization of abortion, aid many women in desperate situations. However, because the "changes" that are achieved are victories in a vacuum, that is, in a totally oppressive social context, they do not essentially free the Female Self but instead function to hide both the fact of continuing oppression and the possibilities for better options and for more radical freedom…. The Labrys of the A-mazing Female Mind must cut through the coverings of these double-sided/multiple-sided situations, dis-covering the context, identifying the more radical problems, yet neglecting none.”

Mary Daly (1928–2010) American radical feminist philosopher and theologian

Source: Gyn/Ecology: The Metaethics of Radical Feminism (1978–1990), pp. 375–376 (fnn. omitted, fn. at "apparent gains." giving as examples the Equal Rights Amendment, affirmative action, and abortion & fn. at "more radical freedom." stating "the fact that Lesbians/Spinsters have no need of abortions, unless forcibly raped").

Jani Allan photo

“That night I made copies of all the documents with shaking hands and gave them to a friend with contacts in the British secret services. I had a bitter taste in my mouth.”

Jani Allan (1952) South African columnist and broadcaster

Writing in her column about how she reacted after she realised she had been recruited as an 'unwitting' spy by Cliff Saunders in London in the early 1990s. http://www.int.iol.co.za/index.php?set_id=1&click_id=13&art_id=ct20000227222234900S1258
Other

Will Eisner photo

“Reporter: The “Protocols” trial is on today. I’ve been assigned to report on it for my paper.
Reporter 2: What’s your hurry Carl? The Jewish community’s lawyer is trying to show the damage done by the “Protocols of Zion” book.
Lawyer: Your honor, we have demonstrated that the “Protocols” is ‘’’smut…’’’ I would conclude by exhibiting evidence of its influence on public opinion as a fraud.
Judge: You may proceed!
Lawyer: Since its first publication in Russia by Dr. Nilus in 1905, four printings have been distributed there!
In 1919, type script copies were distributed to delegated at the Versailles peace conference by white Russians.
In England Victor Marsden translated the “protocols” into English in 1922.
In 1920, the first polish language edition was brought into the United States and South America by Polish immigrants.
In 1921, the first Arabic and the first Italian copies appeared!
In 1921, “The Times” of London published its famous expose of this false document!
And because of his fame, Henry Ford’s work deserves recounting.
Lawyer: In 1920, Henry ford the American auto magnate, bought a small newspaper, the “Dearborn Independent.” He began a series, “The International Jew,” made up of borrowings from the “Protocols of the Elders on Zion.”
Later, in 1922, it was published in sxteen language for a world-wide distribution. It sold over a ‘’’half million’’’ copies in America alone!
Reporter: Actually, Ford recanted in 1926 when he was threatened with a libel suit.

Reporter 2: Really?
Reporter 3: What did he say?
Reporter: He said in part, “…To my great regret I learn that in the ‘Dearborn Independent’ there appeared articles which induced the Jews to regard me as their enemy promoting anti-Semitism!”
HE WENT ON TO SAY, “…I am…mortified that this Journal…is giving currency to ‘The Protocols of the wise men of Zion,’ which I learn to be gross forgeries…I deem it my duty…to make amends for the wrong done to the Jews as fellow men and brothers by asking their forgiveness.
HE GOES ON BY RECITING SOME OF THE MORE “evil ingredients” in the “Protocols” AND HE REFERS TO IT AS AN “infamous forgery.”
Reporter 3: DID HIS APOLOGY CHANGE ANYTHING?? HENRY FORD WAS FAMOUS the world over…his apology must have had influence!
Reporter: Not very much. In fact publication increased all over the globe.
Reporter 3: Look! Here I have two French translations of the “Protocols of the Elders of Zion” that were published in ‘’’France,’’’ dated 1934. Later they had many printings!
Judge: …I hope to see the day when nobody will be able to understand why otherwise sane and reasonable men should torment their brains for fourteen days over the authenticity or fabrication of the “Protocols of Zion”’’’…I regard the “protocols” as ridiculous nonsense!
Reporter: Good news! …judge Meyer found against the Nazis and imposed a fine on them…

Publisher: We will publish the judge’s decision!
Reporter: This should put an end to the “Protocols” at last!”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), pp. 102-107

Ellsworth Kelly photo

“Life is pretty simple: You do some stuff. Most fails. Some works. You do more of what works. If it works big, others quickly copy it. Then you do something else. The trick is the doing something else.”

Tom Peters (1942) American writer on business management practices

Tom Peters in: " The Best Corporate Strategy? None, Of Course http://articles.chicagotribune.com/1994-07-11/business/9407110026_1_silicon-graphics-customers-richard-branson." Chicago Tribune, July 11, 1994.

Marc Chagall photo
Fredrik Reinfeldt photo

“If everyone appears similar to Carl it confirms the misconceptions about the Moderate Party. It becomes a party for Carl Bildt-copies.”

Fredrik Reinfeldt (1965) 32nd Prime Minister of Sweden

Vägen mot toppen kantad av bråk, Sveriges Television, 2006-10-17, 2006-11-23 http://svt.se/svt/jsp/Crosslink.jsp?d=55838&a=657073,

Rebecca West photo
Charles Lamb photo
Will Eisner photo

“Graves: Here, we can clearly see how an idea is copied!”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.79

Kent Hovind photo
George Dantzig photo
Aldo Leopold photo

“Engineers did not discover insulation: they copied it from these old soldiers of the prairie war.”

“April: Bur Oak”, p. 27.
A Sand County Almanac, 1949, "April: Come High Water," "April: Draba," "April: Bur Oak," & "April:Sky Dance"

Ernest Hemingway photo

“Singing is something I’ve always wanted to do but I just want to be my own person, not to copy anyone else. I’d just like to be really famous.”

Taylor Horn (1992) American musician and actor

On becoming her own person as a professional musician.
Malvern Gaz http://www.webcitation.org/query?id=1256525759902277&url=www.geocities.com/thecoolchip03/malverngaz.htm article, unidentified issue

Frank Bunker Gilbreth, Sr. photo

“Process-chart notes and information should be collected and set down in sketch form by a highly intelligent man, preferably with an engineering training and experience, but who need not necessarily have been previously familiar with the actual details of the processes. In fact, the unbiased eye of an intelligent and experienced process-chart maker usually brings better results than does the study of a less keen man with more special information regarding present practices of the processes. The mere act of investigating sufficiently to make the notes in good enough condition for the draftsman to copy invariably results in many ideas and suggestions for improvement, and all of these suggestions, good and bad, should be retained and filed together with the description of the process chart. These suggestions and proposed improvements must be later explained to others, such as boards of directors, managers and foremen, and for best results also to certain workmen and clerks who have special craft or process knowledge. To overcome the obstacles due to habit, worship of tradition and prejudice, the more intelligence shown by the process-chart recorder, the sooner hearty cooperation of all concerned will be secured. Anyone can make this form of process chart with no previous experience in making such charts, but the more experience one has in making them, the more certain standard combinations of operations, inspection and transporting can be transferred bodily to advantage to the charts of proposed processes.”

Frank Bunker Gilbreth, Sr. (1868–1924) American industrial engineer

Source: Process charts (1921), p. 5-6.

Francisco De Goya photo
Halldór Laxness photo
Barend Cornelis Koekkoek photo

“Fortunately however, is that [painting] school where Mother Nature is placed in the foreground, and where only she is consulted to representate 'truth' on the canvas or panel. Only he knows the secrets of the manifold diversity of nature. His painting is a faithful copy of nature - which is the highest praise for a painter..”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Gelukkig echter de [schilder]school, waar moeder Natuur op den voorgrond staat, en zij alleen geraadpleegd wordt om 'waarheid' op het doek of paneel voor te stellen. – Hij kent de geheimen van de veelvuldige schakeringen der natuur, zijne schilderij is ene getrouwe kopij der natuur, ziedaar den hoogsten lof, die een schilder kan toegezwaaid worden..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 27-28

Martin Harris photo
Thomas Eakins photo
Derren Brown photo

“Russian Roulette should not, under any circumstances, be copied. It is extremely dangerous.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Derren Brown Plays Russian Roulette Live (2003)

John Wallis photo
Will Eisner photo
Bill Bryson photo
A. R. Rahman photo

“Half the campus was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe; Benton had been endowed with one to begin with, and had smiled and sweated and and spoken for the other. A visitor looked under black beams, through leaded casements (past apple boughs, past box, past chairs like bath-tubs on broomsticks) to a lawn ornamented with one of the statues of David Smith; in the months since the figure had been put in its place a shrike had deserted for it a neighboring thorn tree, and an archer had skinned her leg against its farthest spike. On the table in the President’s waiting-room there were copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that had no name. One walked by a mahogany hat-rack, glanced at the coat of arms on an umbrella-stand, and brushed with one’s sleeve something that gave a ghostly tinkle—four or five black and orange ellipsoids, set on grey wires, trembled in the faint breeze of the air-conditioning unit: a mobile. A cloud passed over the sun, and there came trailing from the gymnasium, in maillots and blue jeans, a melancholy procession, four dancers helping to the infirmary a friend who had dislocated her shoulder in the final variation of The Eye of Anguish.”

Source: Pictures from an Institution (1954) [novel], Chapter 1: “The President, Mrs., and Derek Robbins”, p. 3; opening paragraph of novel

William Jones photo
James A. Michener photo
Steve Jobs photo

“Our friends up north spend over five billion dollars on research and development and all they seem to do is copy Google and Apple.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

On Microsoft, at the Worldwide Developer's Conference (August 2006)
2000s

Kazimir Malevich photo

“I recommend [the students] that you should work actively at the Hermitage and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote in a letter of Malevich to his student Yudin, summer of 1924; as quoted in Marc Chagall – the Russian years 1906 – 1922, ed. By Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 66
1921 - 1930

Kate Clinton photo
Wendy Doniger photo
Douglas Coupland photo
Gerhard Richter photo
Edgar Degas photo
Joseph Warton photo
Frédéric Bazille photo

“I do hope, that if I ever do anything, at least to have the merit of not copying anyone.”

Frédéric Bazille (1841–1870) French painter

Quote in Bazille's letter to his father, 1864; as cited in: article: Frédéric Bazille and the Birth of Impressionism, Corrinne Chong, PhD -independent scholar http://www.19thc-artworldwide.org/autumn17/chong-reviews-frederic-bazille-and-the-birth-of-impressionism
1861 - 1865

Jack Valenti photo

“You've already got a DVD. It lasts forever. It never wears out. In the digital world, we don't need back-ups, because a digital copy never wears out. It is timeless.”

Jack Valenti (1921–2007) President of the MPAA

Responding to a question on breaking encryption to make a back-up copy of a DVD.
Interview in Harvard Political Review (2002)

Paul Sloane photo

“Implementing best practice is copying yesterday; innovation is inventing tomorrow.”

Paul Sloane (1950) British author and puzzle designer

Source: Quoted in "Paul Sloane Quotes on Goodreads https://www.goodreads.com/quotes/770591-implementing-best-practice-is-copying-yesterday-innovation-is-inventing-tomorrow/ (1 April 2013)

Richard Dawkins photo

“You contain a trillion copies of a large, textual document written in a highly accurate, digital code, each copy as voluminous as a substantial book. I'm talking, of course, of the DNA in your cells.”

Richard Dawkins (1941) English ethologist, evolutionary biologist and author

The Richard Dimbleby Lecture: Science, Delusion and the Appetite for Wonder (1996)

Louis Kronenberger photo

“The trouble with us in America isn't that the poetry of life has turned to prose, but that it has turned to advertising copy.”

Louis Kronenberger (1904–1980) American critic and writer

"The Spirit of the Age", p. 18.
Company Manners: A Cultural Inquiry into American Life (1954)

Richard Stallman photo
James Russell Lowell photo
Jennifer Shahade photo
Roy Lichtenstein photo
Joseph Addison photo
Eric S. Raymond photo
Betty Friedan photo

“…there is in this world no line so bad that someone won’t someday copy it.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Profession of Poetry”, p. 165
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)