Quotes about copy
page 4

Koenraad Elst photo
Henry Moore photo
Arsène Wenger photo

“Fair play is an English word. It is not a French word, and it has been copied all over the world. Unfortunately, it does not function any more here.”

Arsène Wenger (1949) French footballer and manager

19 April 1997
Quotations from the Public Comments of Arsene Wenger: Manager, Arsenal Football Club (2005)

Håkon Wium Lie photo

“In the near future, the web is going to be the master copy of human knowledge. We need to figure out ways to use that knowledge.”

Håkon Wium Lie (1965) Norwegian software engineer

The Web Will Be the Master Copy of Human Knowledge http://gigaom.com/2010/05/21/web-will-be-the-master-copy-of-human-knowledge/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+OmMalik+(GigaOM), an interview with GigaOM, May 21, 2010.

Viktor Schauberger photo
Ernest Hemingway photo
Neil Gaiman photo
Gerhard Richter photo

“The idea that art copies nature is a fatal misconception. Art has always operated against nature and for reason.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

Georges Seurat photo
Mike Huckabee photo

“Let him make this challenge: "I'll release my tax returns when Barack Obama releases his college transcripts and the copy of his admission records to show whether he got any loans as a foreign student. When he releases that, talk to me about my tax returns."”

Mike Huckabee (1955) Arkansas politician

2012-01-20
The O'Reilly Factor
Fox News
TV, quoted in * 2012-01-20
Matt Gertz
Huckabee Wants To Know If Obama Got College Loans "As A Foreign Student"
Media Matters for America
http://mediamatters.org/blog/201201200016
2011-05-27
regarding criticism of presidential candidate Mitt Romney for refusing to release his tax returns

Roger Raveel photo

“The square is spiritually charged. It is the product of mankind, it is not copied from nature like the circle.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Het vierkant is een geestelijk geladen ding. Het is het product van de mens, het is niet afgekeken van de natuur zoals de cirkel.
Quote of Raveel, from his interview in the Dutch newspaper N.R.C., 1991; as cited by Din Pieters in 'Raveel: het vierkant als onbeschreven blad' https://www.nrc.nl/nieuws/1996/01/05/raveel-het-vierkant-als-onbeschreven-blad-7294323-a1018022, in N.R.C.-online, 5 Jan. 1996 (translation: Fons Heijnsbroek)
1990's

Walter Scott photo
Bart D. Ehrman photo
George Henry Lewes photo
W. Edwards Deming photo

“I think that people here expect miracles. American management thinks that they can just copy from Japan—but they don't know what to copy!”

W. Edwards Deming (1900–1993) American professor, author, and consultant

If Japan Can...Why Can't We? (1980)

Farhad Manjoo photo

“It's easy to rib Microsoft for copying Apple, and seeing the two stores side by side does make Team Redmond look a bit pathetic. But in business, losing face isn't as important as making money. And after visiting a couple Microsoft stores, I'm convinced they'll help Microsoft bring in more cash.”

Farhad Manjoo (1978) American journalist

Welcome to the Microsoft Store http://www.slate.com/articles/technology/technology/2012/04/microsoft_store_it_s_a_blatant_rip_off_of_the_apple_store_and_it_just_might_save_the_company_.html in Slate (25 April 2012)

Auguste Rodin photo
Jonathan Swift photo

“Here is laid the Body
of Jonathan Swift, Doctor of Sacred Theology,
Dean of this Cathedral Church,
where fierce Indignation
can no longer
injure the Heart.
Go forth, Voyager,
and copy, if you can,
this vigorous (to the best of his ability)
Champion of Liberty.”

Hic depositum est Corpus IONATHAN SWIFT S.T.D. Hujus Ecclesiæ Cathedralis Decani, Ubi sæva Indignatio Ulterius Cor lacerare nequit, Abi Viator Et imitare, si poteris, Strenuum pro virili Libertatis Vindicatorem.

Jonathan Swift (1667–1745) Anglo-Irish satirist, essayist, and poet

Hic depositum est Corpus
IONATHAN SWIFT S.T.D.
Hujus Ecclesiæ Cathedralis
Decani,
Ubi sæva Indignatio
Ulterius
Cor lacerare nequit,
Abi Viator
Et imitare, si poteris,
Strenuum pro virili
Libertatis Vindicatorem.
Latin epitaph for himself (1740)
Variant translations:
Swift has sailed into his rest;
Savage indignation there
Cannot lacerate his Breast.
Imitate him if you dare,
World-Besotted Traveler; he
Served human liberty.
W. B. Yeats, in The Winding Stair (1933)
Here is laid the body of Jonathan Swift, Doctor of Divinity, Dean of this Cathedral Church, where savage indignation can no longer tear his heart. Go, traveller, and imitate if you can one who strove with all his might to champion liberty.
As translated in John Mullan's review of Jonathan Swift by Victoria Glendinning, in London Review of Books, Vol. 20 No. 21 (29 October 1998)
Epitaph (1740)

Joe Trohman photo
Marcel Duchamp photo
Richard Stallman photo
Douglas Coupland photo
Fernand Léger photo
Auguste Rodin photo

“In sculpture the projection of the fasciculi must be accentuated, the foreshortening forced, the hollows deepened; sculpture is the art of the hole and the lump, not of clear, well-smoothed, unmodelled figures. Ignorant people, when they see close-knitted true surfaces, say that 'it is not finished.' No notion is falser than that of finish unless it be that of elegance; by means of these two ideas people would kill our art. The way to obtain solidity and life is by work carried out to the fullest, not in the direction of achievement and of copying détails, but in that of truth in the successive schemes. The public, perverted by académie préjudices, confounds art with neatness. The simplicity of the 'École' is a painted cardboard ideal, A cast from life is a copy, the exactest possible copy, and yet it has neither motion nor eloquence. Art intervenes to exaggerate certain surfaces, and also to fine down others. In sculpture everything depends upon the way in which the modelling is carried out with a constant thought of the main line of the scheme, upon the rendering of the hollows, of the projections and of their connections; thus it is that one may get fine lights, and especially fine shadows that are not opaque. Everything should be emphasised according to the accent that it is desired to render, and the degree of amplification is personal, according to the tact and the temperament of each sculptor; and for this reason there is no transmissible process, no studio recipe, but only a true law. I see it in the antique and in Michael Angelo. To work by the profiles, in depth not by surfaces, always thinking of the few geometrical forms from which all nature proceeds, and to make these eternal forms perceptible in the individual case of the object studied, that is my criterion. That is not idealism, it is a part of the handicraft. My ideas have nothing to do with it but for that method; my Danaids and my Dante figures would be weak, bad things. From the large design that I get your mind deduces ideas.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 61-63

Richard Stallman photo
Jacob Bronowski photo

“Science, like art, is not a copy of nature but a re-creation of her.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

Part 1: "The Creative Mind", §9 (p. 20)
Science and Human Values (1956, 1965)

Andrew Sega photo
Edouard Manet photo
Sam Harris photo
Auguste Rodin photo

“I feel it, but I cannot express it,… I cannot analyse the Celtic genius to my own satisfaction. In the Middle Ages art came from groups, not from individuals. It was anonymous; the sculptors of cathedrals no more put their names to their works than our workmen put theirs on the pavement that they lay. Ah! what an admirable scorn of notoriety! The signature is what destroys us. We do portraits, but what we do is not so great. Thèse kings and queens, on the cathedrals, were not portraits. The fellow-workers stood for one another, and they interpreted; they did not copy. They made clothed figures; the nude and portraiture only date from the Renascence. And then those fellows cut with the tool's end into the block, that is why they were called sculptors. As for us, we are modellers. And what a disgraceful thing that casting from life is, which so many well-known sculptors do not blush to use! It is a mere swindling in art. Art was a vital function to the image-makers of the thirteenth century; they would hâve laughed at the idea of signing what they did, and never dreamed of honours and titles. When once their work was finished, they said no more about it, or else they talked among themselves. How curious it would hâve been to hear them, to be present at their gatherings, where they must hâve discussed in amusing phrases, and with simple, deep ideas!… Whenever the cathedrals disappear civilisation will go down one step. And even now we no longer understand them, we no longer know how to read their silent language. We need to make excavations not in the earth, but towards heaven…”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 63-64; About the genius of the Gothic sculptors.

Philip Schaff photo
Vladimir Lenin photo

“Materialism is the recognition of "objects in themselves", or outside the mind; ideas and sensations are copies of images of those objects.”

Vladimir Lenin (1870–1924) Russian politician, led the October Revolution

Materialism and Empirio-Criticism (1908)

Kent Hovind photo
Letitia Elizabeth Landon photo
Béla H. Bánáthy photo

“When it comes to the design of social and societal systems of all kinds, it is the users, the people in the system who are the experts. Nobody has the right to design social systems for someone else. It is unethical to do so. Design cannot be legislated, it should not be bought from the expert, and it should not be copied from the design of others. If the privilege of and responsibility for design is "given away," others will take charge of designing our lives and our systems. They will shape our future.”

Béla H. Bánáthy (1919–2003) Hungarian linguist and systems scientist

Source: Designing Social Systems in a Changing World (1996), p. 128; Cited in: Roberto Joseph et al. (2002) " Banathy's Influence on the Guidance System for Transforming Education http://www.indiana.edu/~syschang/decatur/reigeluth_pubs/documents/95_banathy_influence_on_gste.pdf". World Futures: The Journal of General Evolution, 58(5/6) 379-394

Edgar Degas photo

“It is all well and good to copy what one sees, but it is much better to draw only what remains in one's memory. This is a transformation in which imagination and memory collaborate.”

Edgar Degas (1834–1917) French artist

Quote of Degas in 1883, as cited by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 30 note 10
Degas confided this to Pierre-George Jeanniot
1876 - 1895

Arnobius photo
Tristan Tzara photo
Marc Maron photo
Philip Schaff photo
Marie-Louise von Franz photo
William John Macquorn Rankine photo
Elliott Smith photo

“There's some records that sell millions of copies, that it's really unclear if anybody liked it who was making it, y'know?”

Elliott Smith (1969–2003) American singer-songwriter

http://www.youtube.com/watch?v=t_XNghTKvq8.

Richard Stallman photo
James Comey photo
Ogden Nash photo
Ray Bradbury photo
John Dryden photo

“But Shakespeare's magic could not copied be;
Within that circle none durst walk but he.”

The Tempest, Prologue.
Bartlett's Familiar Quotations, 10th ed. (1919)

William McFee photo
James Mattis photo
Steve Jobs photo

“They are shamelessly copying us.”

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

About Microsoft and the operating system which would be released as Vista, as quoted in "Apple's Jobs swipes at Longhorn" om cNet News (21 April 2005)
2000s

Steve Jobs photo

“It wasn't that Microsoft was so brilliant or clever in copying the Mac, it's that the Mac was a sitting duck for 10 years. That's Apple's problem: Their differentiation evaporated.”

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

As quoted in Apple Confidential 2.0: The Definitive History of the World's Most Colorful Company (2004) by Owen W. Linzmayer
2000s

Dinesh D'Souza photo
David Pogue photo

“For the last 15 years, Microsoft’s master business plan seems to have been, "Wait until somebody else has a hit. Then copy it."”

David Pogue (1963) Technology writer, journalist and commentator

" State of the Art: Bing, the Imitator, Often Goes Google One Better http://www.nytimes.com/2009/07/09/technology/personaltech/09pogue.html?emc=eta1," The New York Times, July 09, 2009.

Nathanael Greene photo

“I forwarded your Excellency a return of troops at this post, and a copy of a plan for establishing magazines. I could wish to know your pleasure as to the magazines, as soon as possible.”

Nathanael Greene (1742–1786) American general in the American Revolutionary War

Letter to George Washington (31 October 1776)

Auguste Rodin photo

“I admit, of course, that the artist does not see nature as the vulgar do. His emotion reveals to him the inner truths that underlie appearance. But the only principle In art is to copy what one sees. Every other method is ruinous. No one can embellish Nature. It is simply and solely a question of seeing. Doubtless a mediocre man, when he copies will never produce a work of art. He looks without seeing. No matter how minutely he observes, the result will be flat and without character. But the artist's trade is not for mediocre men, and no amount of training can supply them with talent. The artist sees - he sees with his heart. He sees deep into the heart of Nature. To the artist everything in Nature is beautiful.
The vulgarian imagines that what looks to him ugly In Nature is not material for the artist. He would forbid us to represent what displeases and offends him. He makes a grave mistake. What is commonly called ugliness in Nature may become a great beauty in art.
In the realm of realities, people regard as ugly everything that is deformed and diseased and that suggests sickness, weakness and suffering. They regard as ugly everything that defies regularity, which is to them the symbol and condition of health and strength. A hump is ugly, bow-legs are ugly, misery in rags is ugly. Ugly, again, are the soul and conduct of the immoral, the vicious, the criminal man, the abnormal man who is an enemy of society; ugly is the soul of the parricide, the traitor, the unscrupulous slave of ambition. And it is right that the lives and the of which we can expect only evil should be given an odious epithet.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

William Burges photo

“If we copy, the thing never looks right [and] the same occurs with regard to those buildings which do not profess to be copies; both they and the copies want spirit. They are dead bodies… We are at our wits.”

William Burges (1827–1881) English architect

William Burges "Art and Religion", in: The Church and the World: Essays on Questions of the Day, Orby Shipley ed., London, 1868, pp. 574-98; As cited in: John Pemble. Venice rediscovered. Clarendon Press, 16 mrt. 1995. p. 133

William Godwin photo
Stanisław Lem photo
Charles, Prince of Wales photo
John Fante photo
Francisco De Goya photo
James Bradley photo
Philip Schaff photo

“Progress of his Version. Luther was gradually prepared for this work. He found for the first time a complete copy of the Latin Bible in the University Library at Erfurt, to his great delight, and made it his chief study. He derived from it his theology and spiritual nourishment; he lectured and preached on it as professor at Wittenberg day after day. He acquired the knowledge of the original languages for the purpose of its better understanding. He liked to call himself a "Doctor of the Sacred Scriptures."
He made his first attempt as translator with the seven Penitential Psalms, which he published in March, 1517, six months before the outbreak of the Reformation. Then followed several other sections of the Old and New Testaments,—the Ten Commandments, the Lord's Prayer, the Prayer of King Manasseh, the Magnificat of the Virgin Mary, etc., with popular comments. He was urged by his friends, especially by Melanchthon, as well as by his own sense of duty, to translate the whole Bible.
He began with the New Testament in November or December, 1521, and completed it in the following March, before he left the Wartburg. He thoroughly revised it on his return to Wittenberg, with the effectual help of Melanchthon, who was a much better Greek scholar. Sturz at Erfurt was consulted about coins and measures; Spalatin furnished from the Electoral treasury names for the precious stones of the New Jerusalem (Rev. 21). The translation was then hurried through three presses, and appeared already Sept. 21, 1522, but without his name.
In December a second edition was required, which contained many corrections and improvements.
He at once proceeded to the more difficult task of translating the Old Testament, and published it in parts as they were ready. The Pentateuch appeared in 1523; the Psalter, 1524.”

Philip Schaff (1819–1893) American Calvinist theologian

Luther's competence as a Bible translator

Clay Shirky photo

“Gutenberg’s press flooded the market. In the early 1500s John Tetzel, the head pardoner for German territories, would sweep into a town with a collection of already printed indulgences, hawking them with a phrase usually translated as “When a coin a coffer rings / A soul for heaven springs.” The nakedly commercial aspects of indulgences, among other things, enraged Martin Luther, who in 1517 launched an attack on the Church in the form of his famous Ninety-five Theses. He first nailed the theses to a church door in Wittenberg, but copies were soon printed up and disseminated widely. Luther’s critique, along with the spread of Bibles translated into local languages, drove the Protestant Reformation, plunging the Church (and Europe) into crisis. The tool that looked like it would strengthen the social structure of the age instead upended it. From the vantage point of 1450, the new technology seemed to do nothing more than offer the existing society a faster and cheaper way to do what it was already doing. By 1550 it had become apparent that the volume of indulgences had debauched their value, creating “indulgence inflation”—further evidence that abundance can be harder for a society to deal with than scarcity. Similarly, the spread of Bibles wasn’t a case of more of the same, but rather of more is different—the number of Bibles produced increased the range of Bibles produced, with cheap Bibles translated into local languages undermining the interpretative monopoly of the clergy, since churchgoers could now hear what the Bible said in their own language, and literate citizens could read it for themselves, with no priest anywhere near. By the middle of the century, Luther’s Protestant Reformation had taken hold, and the Church’s role as the pan-European economic, cultural, intellectual, and religious force was ending.”

Clay Shirky (1964) American technology writer

Cognitive Surplus : Creativity and Generosity in a Connected Age (2010)

Tom Petty photo
Steve Jobs photo
Rex Stout photo

“ Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)”

Colin Cherry (1914–1979) British scientist

See Gombrich in reference 348
On Human Communication (1957), Language: Science and Aesthetics

Gary Gygax photo
Richard Stallman photo
Clive Staples Lewis photo
Hayley Williams photo
Charles Lindbergh photo
Edgar Degas photo

“It is very good to copy what one sees; it is much better to draw what you can't see any more but is in your memory. It is a transformation in which imagination and memory work together. You only reproduce what struck you, that is to say the necessary.”

Edgar Degas (1834–1917) French artist

C'est très bien de copier ce qu'on voit, c'est beaucoup mieux de dessiner ce que l'on ne voit plus que dans son mémoire. C'est une transformation pendant laquelle l'ingéniosité collabore avec la mémoire. Vous ne reproduisez que ce qui vous a frappé, c'est-à-dire le nécessaire.
Quoted in Maurice Sérullaz, L'univers de Degas (H. Scrépel, 1979), p. 13
quotes, undated

Ernst Gombrich photo

“Like art, science is born of itself, not of nature. There is no neutral naturalism. The artist, no less than the writer, needs a vocabulary before he can embark on a 'copy' of reality.”

Ernst Gombrich (1909–2001) art historian

E. H. Gombrich (1962), quoted in: Robert Maxwell Young. Mind, Brain, and Adaptation in the Nineteenth Century, 1970. p. 101.

William Henry Smyth photo

“Admiral Smyth says that no family is quite civilized unless it possesses a copy of some encyclopaedia and a telescope.”

William Henry Smyth (1788–1865) English naval officer and hydrographer

Quoted by Maria Mitchell http://pinetreeweb.com/bp-admiral.htm

Sören Kierkegaard photo

“There are many people who reach their conclusions about life like schoolboys; they cheat their master by copying the answer out of a book without having worked out the sum for themselves.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

17 January 1837 http://books.google.com/books?id=2iwmAQAAMAAJ&q=%22There+are+many+people+who+reach+their+conclusions+about+life+like+schoolboys+they+cheat+their+master+by+copying+the+answer+out+of+a+book+without+having+worked+out+the+sum+for+themselves%22&pg=PA53#v=onepage
1830s, The Journals of Søren Kierkegaard, 1830s

John Palfrey photo
Hugh Laurie photo
Richard Stallman photo

“I see nothing unethical in the job it does. Why shouldn't you send a copy of some music to a friend?”

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

Comment on Napster
2000s, Thus Spake Stallman (2000)

Alan Grayson photo
Will Eisner photo
Jack Valenti photo

“If you buy a DVD you have a copy. If you want a backup copy you buy another one.”

Jack Valenti (1921–2007) President of the MPAA

Statement to the Associated Press (November 2003), as quoted in "DVD-copy program tweaked after court order" at CNN.com (23 February 2004) http://www.cnn.com/2004/TECH/ptech/02/23/dvd.suit.ap/

Leo Tolstoy photo

“This divergence and perversion of the essential question is most striking in what goes today by the name of philosophy. There would seem to be only one question for philosophy to resolve: What must I do? Despite being combined with an enormous amount of unnecessary confusion, answers to the question have at any rate been given within the philosophical tradition on the Christian nations. For example, in Kant´s Critique of Practical Reason, or in Spinoza, Schopenhauer and specially Rousseau.

But in more recent times, since Hegel´s assertion that all that exists is reasonable, the question of what one must do has been pushed to the background and philosophy has directed its whole attention to the investigation of things as they are, and to fitting them into a prearranged theory. This was the first step backwards.

The second step, degrading human thought yet further, was the acceptance of the struggle for existence as a basic law, simply because that struggle can be observed among animals and plants. According to this theory the destruction of the weakest is a law which should not be opposed. And finally, the third step was taken when the childish originality of Nietzsche´s half-crazed thought, presenting nothing complete or coherent, but only various drafts of immoral and completely unsubstantiated ideas, was accepted by the leading figures as the final word in philosophical science. In reply to the question: what must we do? the answer is now put straightforwardly as: live as you like, without paying attention to the lives of others.

If anyone doubted that the Christian world of today has reached a frightful state of torpor and brutalization (not forgetting the recent crimes committed in the Boers and in China, which were defended by the clergy and acclaimed as heroic feats by all the world powers), the extraordinary success of Nietzsche´s works is enough to provide irrefutable proof of this.

Some disjointed writings, striving after effect in a most sordid manner, appear, written by a daring, but limited and abnormal German, suffering from power mania. Neither in talent nor in their basic argument to these writings justify public attention. In the days of Kant, Leibniz, or Hume, or even fifty years ago, such writings would not only have received no attention, but they would not even have appeared. But today all the so called educated people are praising the ravings of Mr. N, arguing about him, elucidating him, and countless copies of his works are printed in all languages.”

Leo Tolstoy (1828–1910) Russian writer

Source: What is Religion, of What does its Essence Consist? (1902), Chapter 11

Ted Williams photo
John McAfee photo