from Adjusted Margin: Xerography, Art, and Activism in the Late 20th Century. MIT Press, 2016.
pp 82–95 (more if you like …)
Jonathan Safran Foer
Playboy, Jan 2004
in Paper Knowledge, Durham: Duke University Press, 2014
from Uncreative Writing, New York: Columbia University Press, 2011
from All the Whiskey in Heaven, Farrar, Straus, Giroux, 2011.
How Not To Be Seen
Second Version, 1936
Locate an original object with design characteristics. Think about what constitutes the object as an original. What is unique about it, materially, aesthetically, but also in terms of its content. Bring it to class. Make five different copies of the original, each of which utilizes a different means of reproduction, or utilizes a means of reproduction differently. Each copy should be printed on a letter sized sheet of paper.
Jorge Luis Borges
“Borges, we know, excelled in recounting imaginary books. But he goes further when he considers a real book, such as Don Quixote, as though it were an imaginary book, itself reproduced by an imaginary author, Pierre Menard, who in turn he considers to be real. In this case, the most exact, the most strict repetition has as its correlate the maximum of difference (‘The text of Cervantes and that of Menard are verbally identical, but the second is almost infinitely richer…).”
Gilles Deleuze, Difference and Repetition, p XXII