A Quote by David Shields

Copies have been dethroned; the economic model built on them is collapsing. In a regime of superabundant free copies, copies are no longer the basis of wealth. Now relationships, links, connections, and sharing are. Value has shifted away from a copy toward the many ways to recall, annotate, personalize, edit, authenticate, display, mark, transfer, and engage a work. Art is a conversation, not a patent office. The citation of sources belongs to the realms of journalism and scholarship, not art. Reality can’t be copyrighted.
The theme of counterfeits, of those that produce and sell them, has always been part of the culture of M.I.A. When I was contacted by Versace, it seemed a great idea to invert the circle. Versace's designs have always been copied; now it's Versace that copies the copies, so those that copy must copy the copies. So this will continue.
Copyright law has got to give up its obsession with 'the copy.' The law should not regulate 'copies' or 'modern reproductions' on their own. It should instead regulate uses--like public distributions of copies of copyrighted work--that connect directly to the economic incentive copyright law was intended to foster.
At our theaters we only see feeble copies of the copies that have proceeded them, renounce that slavish routine which keeps your art in its infancy; examine everything relative to the development of talents; be original; form a style for yourselves based on your private studies; if you must copy, imitate nature, it is a noble model and never misleads those who follow it.
All my movies are copies of Hollywood, some of them pretty trashy copies. All filmmakers copy from Hollywood.
Make copies, young man, many copies. You can only become a good artist by copying the masters.
As man, as beast, as an ephemeral fly begets, Godhead begets Godhead, For things below are copies, the Great Smaragdine Tablet said. Yet all must copy copies, all increase their kind.
Ever heard of anyone executed for distributing copies of Grimm's fairy tales? Imagine people trying to smuggle copies of Hans Christian Andersen's works into China? The Bible, which has been called a mere collection of myths has suffered all of these fates: even today, copies of the Bible are banned and burned. There's something about this ancient book that threatens and frightens those in power.
There's a substantial difference between dumping 100 copies of the 'Telegraph' at a Connex South Central station and giving away copies of the 'Business' with the 'Mail on Sunday.' 'This kind of circulation is valuable and enhances the brand. Leaving them anywhere willy-nilly devalues the brand.
We sold 1.5 million copies of the 'Abracadabra' album and 26,000 copies of 'Italian X-Rays.'
I never appreciated 'positive heroes' in literature. They are almost always cliches, copies of copies, until the model is exhausted. I prefer perplexity, doubt, uncertainty, not just because it provides a more 'productive' literary raw material, but because that is the way we humans really are.
Not infrequently, we encounter copies of important human beings; and here, too, as in the case of paintings, most people prefer the copies to the originals.
Since the model he so faithfully copies is not going to be hung up next to the picture... it is of no interest whether it is an accurate copy of the model.
The masses are only to be regarded as one of three things: either as copies of great personalities, bad copies, clumsily produced in a poor material, or as foils to the great, or finally as their tools
A painter may be an abandoned mimic; at school he copies his teachers, which is only right, but he copies in turn every artist in town, which is not. He may do you that honour.
Distributed ledgers are inherently harder to attack because instead of a single database, there are multiple shared copies of the same database, so a cyber stack would have to attack all the copies simultaneously to be successful.
What I am trying to say is that it is not without any value. The value of copies is that they can direct us towards the original. I was recently at the Louvre Museum and I was filming people who were viewing the Mona Lisa. I noticed the number of ordinary people, astonished, mouths agape, standing still for long stretches looking at the work, and I wondered, "Where does this come from? Are these people all art connoisseurs?" They are like me; through the years, we've seen this work in our schoolbooks or art history books, but when we stand before the original, we hold our breath.
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