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  • 2 weeks later...

PRETTY SURE CAN2 DIDN'T "BITE" THAT,

THE SKETCH ON PAPER PRODY HAS BEEN DONE SEVERAL TIMES,

ALL WITH DIFFERENT TWISTS.

THAT'S LIKE SAYING ONLY 1 CREW/PERSON CAN DO AN UNDER-WATER PRODY,

THEN ANYMORE UNDER-WATER PRODY'S ARE A BITE.

 

THIS ONES FUNNY BUT I GOTTA PUT IT OUT THERE FOR LOL-VALUE:

 

A "CONCEPT/THEME" CAN'T BE CONSIDERED "SWAG" SO NO BITE CALLED ON THE FIELD OF PLAY.

 

LETTERS/EFFECTS, NOW THATS SWAG AND IS AN INFRIDGMMENT ON ONES TAKE ON LETTER FORM.

 

4600908292_ce797475bd_z.jpg

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I put it in here for discussion. I like your comments, makes sense. The sketch style had been done a lot... although the Sub Emit has a half fill technique with sketchy lines that was an original twist at the time...(and it's not on a piece of paper) I would like to see some of this style production before 2000.

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LETTERS/EFFECTS, NOW THATS SWAG AND IS AN INFRIDGMMENT ON ONES TAKE ON LETTER FORM.

 

 

now "effects"... that the most bitten thing in graffiti today. Everyone bites all the popular effects

If I could give gaze a dollar for every faded out end of a letter or blurr. He could retire.

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tumblr_lhwtk0yIAH1qeypamo1_500.jpg

IM SICK OF PEOPLE using the "Picasso card" to validate biting...... So, here is the paragraph from the essay which contains the language which Bill Hammick has bastardized to make a statement that neither T.S. Eliot nor Picasso ever made:

 

One of the surest tests [of the superiority or inferiority of a poet] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.

 

Eliot, T.S., “Philip Massinger,” The Sacred Wood, New York: Bartleby.com, 2000.

 

In his essay on Philip Massinger, T.S. Eliot makes an argument that mature, strong poets use other people’s works in a transformative manner that contributes something new to society and culture. He does not argue that “stealing” someone elses works is appropriate or justified as a means to the end. He seems to argue that poets and authors can use other people’s writings as a base for their works as long as the reuse takes the work to a new place, and introduces it to a new audience.

 

Only two quotes using the word copy are attributed to Picasso, none with steal or borrow. Bartletts and Columbia, available online.

 

Paraphrasing is fine, but attributing a paraphrase as a quote is intellectually and academically dishonest. Both versions of the quote have been adopted and implemented into culture by people justifying broad fair use arguments or their own habits. Significantly, it is unfair that either of the great artists have been affiliated with a quote that does not reflect them, or their work.

found here:

http://mr-ewokone.com/

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