First Quote Added
April 10, 2026
Latest Quote Added
"Maybe you wanna quit when things fail but you can't just fail when things quit."
"OOOH!! 18!... 18!... 18, n***a!!"
"It's because, apparently, Neo-Nazi groups have been referencing me, have been praising me, for making these kinds of jokes and I was unaware of this, so I made a statement, as soon as I found out about this, saying, 'I do not support these hateful groups in any way,' but that's never going to be the title. That doesn't fit their personal agenda. That's not the story they want. This is not an article. This was a personal attack against me, It is so clear."
"Again, it's fine to not agree with someone's sense of humour, but calling me a fascist, how is that helping anyone?"
"I want to give the... [laughs] the warmest thanks, to everybody who supported me. It's been incredible. [gives two thumbs up] Thank you everybody in the YouTube community. Hey it means a lot, thank you, thank you. [Sarcastically] Now, the most appropriate way to end this, I think, is the tenth thing, the tenth secret Nazi thing that went right past Wall Street Journal. I can't believe they didn't notice it. [kisses fist] Our secret Nazi salute, the bro-fist. [sends fist towards the camera]"
"What a f****** n****r, jeez, oh my god, what the fuck?, what a f****** a**hole... sorry, but what the f***?"
"Hello, I wanted to make a statement on what I said in my previous livestream. You probably won't believe me when I say this, but whenever I go online and I hear other players use the same kind of language that I did, I always find it extremely immature and stupid, and I hate how I now personally fed into that part of gaming as well. It was something that I said in the heat of the moment. I said the worst word I could possibly think of, and it just sort of slipped out, and I'm not going to make any excuses to why it did, because there are no excuses for it."
"I'm disappointed in myself because it seems like I've learned nothing from all these past controversies, and it's not that I think I can say or do whatever I want and get away with it; that's not it at all! I'm just an idiot, but that doesn't make what I said, or how I said it, okay. It was not okay. I'm really sorry if I offended, hurt, or disappointed anyone with all of this."
"Being in the position I am, I should know better. I know I can't keep messing up like this, and I owe it to my audience and to myself to do better than this, because I know I'm better than this. I really want to improve myself and better myself, not just for me, but for anyone that looks up to me or anyone that's influenced by me, and that's how I want to move forward away from this. That's all I had to say. Thank you for watching. Bye."
"If John Lennon's so smart then why is he dead?"
"MEME REVIEW"
"Stop atack, eh, atack... atackonizing me!"
"Once your fans start noticing that your channel isn't doing as well as it used to be, they are quick to point out why: It is you. "It is not because I got tired of your content - it is because of you - you've changed man!""
"Okay, Grandpa. I don't care about your Vietnam stories! Have you ever tried going into Molten Core with only four healers?"
"Together, us gamers are strong. For too long we have been oppressed by all these groups; everyone is against us, but we are the toughest, most hard-working, most vigilant, most powerful group on the Internet! If we all together will rise up, we can defeat anything! We can take over the world! We can create the gaming utopia that we all wanted to live in! Cars are not cars - they are carmers; houses are not houses - they are gaming studios; roads are not roads - they are Candy Crush displays. Imagine it, just think of how good things would really be! Think about how bad we are now because we haven't risen up yet! The more we wait, the harder it will get, but now it is time for gamers to rise together!"
"Just like Twitter said themselves, unless Alex preaches ideas that goes against Twitter's community guidelines or rules, then he shouldn't be banned from Twitter. I found it almost dumbfounding how people will disagree with this statement."
"I've seen the argument saying, 'Well, these are private companies, Apple, Spotify, YouTube, and whatever. They have the right to ban whoever they want. They can set their own rules. They should just make up rules to get rid of Alex Jones.' It seems pretty fair, right? Their playground, their rules. I also, kind of disagree. I think that social media has grown so big that it's become an extension of your voice, that if you are not on social media, and you are taken off of social media in a way that isn't really specified why, then it can be seen as a way of censorship."
"Negligib... neglibij... Negligibible"
"What!? You've never played TUBER SIMULATOR ?!!?! You know it's fun, right? Now I'm not supposed to give my opinion, but give it a try , and THEN you can tell me if it's good or not. Not convinced yet? Okay, I'll cut you a deal. The game is available for FREE, and that's a GREAT price!"
"Ever since Marshall McLuhan has become a household name, people have become aware of the tremendous force, both actual and potential ; that TV is having and will have on their lives."
"In an effort to put different video artworks into separate categories, authors have come up with various solutions. Already in 1976 Ira Schneider and Beryl Korot observed three basic approaches to the video image: video in which the artist/performer is subject; video in which the environment is subject; and video in which the abstract synthesized image is subject."
"Since the early 1970s, Beryl Korot has been recognized as a pioneer of video art and of multiple channel work in particular. She was co-editor of ', the first publication to discuss the possibilities of the new video medium in 1970, and co-edited Video Art: An Anthology with Ira Schneider in 1976. Her study of the technology of the loom, in 1974, marks a critical shift in her own investigations and played a significant role as a thinking tool in her subsequent video work. Her first multiple-channel works, “Text and Commentary” and “Dachau 74”, are groundbreaking efforts that moved the video medium beyond the television’s frame and into a vocabulary of installation. By 1980, these and earlier works were featured at Dokumenta 6, The Kitchen, Leo Castelli Gallery, The Everson Museum, The , among others and was featured in Video Viewpoints at the ."
"Just as the spinning and gathering of wool serve as the raw material for a weave, so the artist working with video selects images to serve as the basic substance of the work. All technology, in its capacity to instantly reproduce, store, and retrieve information, has moved continually in a direction that seeks to free us from laboring with our hands by giving us greater conceptual freedom to organize, select, and judge."
"In making the four-channel video work Dachau, my experience as a weaver directly influenced the basic structuring of the work. The content itself was taped in 1974 at the former concentration camp Dachau. The symmetry of the architecture and the present ambience of the space were the focus of the recordings. The past was recorded only insofar as the sounds of the voices of the present commingled with the feeling absorbed in the wood and revealed in the structure of forms which has no amount of time can erase."
"Germany at that time was synonymous with the Holocaust to me and as a Jew it was necessary to face that."
"I was attracted to video art because it allowed me to combine a strong sense of content with formal innovation. The field was wide open and allowed for a great deal of experimentation for creating new forms."
"There have always been two aspects to my work: formal innovation and strong content. That goes for Steve’s tape pieces as well. To make a work together, we had to be engaged by the subject matter, and we shared an interest in technology as it has advanced. Looking back at the Hindenburg and , and forward in “Dolly” to new technologies, was a way of rethinking and understanding the soup in which we swim. We call this a theater of ideas, but its success as a work depends on the strength of the video and the music."
"The spatial forms of TV sets were already used by Fluxus artists such as Wolf Vostell before the birth of video art. In his first TV De-coll/age, created in 1958, Vostell placed six television monitors in a wooden box behind a white canvas, which was slashed open with a knife. Tellingly, he declared the TV set to be "the sculpture of the twentieth century."... Rush concludes that both Vostell and Paik recontextualized the monitor, thus inaugurating a new way of viewing this small screen divorced from the familiar, commercial locus of the home..."
"The boundaries between the reflection and that which is reflected no longer exist: "art is life, life is art" said Wolf Vostell. Men's physical action, the handling of things is already considered to be art. What happens, the "happening", is already art if only one wants it to be and one affirms it. If art is life, life is art, the work of art no longer needs an envelope or frame. Art steps out of its frame, melts immediately into the life stream and only the subjective will of the individual tries to suggest or arrange that anything pertaining to this life stream becomes art, if one fixes it simply and one detaches it from its customary connections and relations."
"I declare peace the greatest work of art."
"Events are weapons for politicization of art."
"Art is Life, Life is Art."
"Merging a rich visual sensibility with an almost scientific engagement with taxonomy and ecological systems, Frank Gillette is a video pioneer whose multi-channel installations and tapes focus on empirical observations of natural phenomena. An early theorist of video's formal and aesthetic parameters, in 1969 he was a founding member and president of the influential video collective Raindance. With influences ranging from cybernetics to painting, Gillette was an innovator of the multi-channel installation form, experimenting with image feedback, time-delay and closed-circuit systems. His seminal installation Wipe Cycle (1969), produced in collaboration with Ira Schneider, was included in the landmark 1969 exhibition TV As A Creative Medium at the Howard Wise Gallery in New York."
"The antithesis of 10th St. Howard was, at first, like a pariah uptown. He was very midwestern and his gallery had wall-to-wall carpeting."
"Howard Wise is one of the people who is responsible for the idea of an alternative television."
"Ira Schneider was a pioneer of video in the late 1960s and early 1970s. In his work with video installation and single-channel tapes, he explored the manipulation of time, interactivity and simultaneity as formal and conceptual devices. A participant in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in 1969, he created several important early multi-channel video installations, including Manhattan is an Island and, with Frank Gillette..."
"Ira Schneider's 1974/2006 Manhattan is an Island was one example (of the surprises)... On 23 monitors mounted on unusually tall pedestals of varying heights, suggesting skyscrapers and evoking Manhattan, Schneider presented black-and-white video footage of people moving about he city, capturing the ceaseless intensity of life on the sidewalks and streets."
"Eventually, I'd like one monitor at the North Pole, one at the South, and two at the equator, big monitors switching images back and forth."
"The most important thing was the notion of information presentation and the notion of the integration of the audience into the information. One sees oneself exiting form the elevator. If one stands there for 8 seconds, one sees oneself entering the gallery from the elevator again. Now at the same time one is apt to be seeing oneself standing there watching Wipe Cycle. You can watch yourself live watching yourself 8 seconds ago, watching yourself 16 seconds ago, eventually feeling free enough to interact with this matrix realizing one's own potential as an actor."
"You are sitting in a curtained booth on a stool, a TV aperture hangs before you like a surrealistic picture frame, beyond which the portable video camera sits and observes, as you are prodded ever so gently by calculatedly stimulating questions: "React to the following people : Nixon, your mother, Eldridge Cleaver, Teddy Kennedy, you... for the next ten seconds, do what you want... now let your face be sad..." You watch yourself in full audio-picture recap of your "interview," erasing all but the fewest frames of the previous tape as your tape will be obliterated by the next."
"Paul Ryan, a research assistant with Marshall McLuhan at Fordham University, lent Fordham's equipment to Frank Gillette, a painter; filmmaker Ira Schneider met Gillette at a party and later taught a video workshop at Antioch College with Gillette... Completing the variety of work in "TV as a Creative Medium" was Everyman's MobiusStrip, by Paul Ryan (who, along with Gillette, was soon to become the theoretical mover in the video collective Raindance). Working with McLuhan, Ryan was exploring video as a psychological mirror, asocial tool, and a communications device."
"The arrangement I worked out with Fordham was that I would do my alternate service there as a conscientious objector, working with McLuhan directly during the 1967–1968 academic year and then experimenting with video for 1968–1969. It was terrific. I had an office two doors away from his. McLuhan would stop me in the hall and with great excitement tell me about a book he read the night before on the sense ratio of Russian peasants. Once he invited me into his office to talk about a paper I had written about war. He sat on this couch, spun around, lay on his back, held the paper up, read a bit from it, put it down, and continued to lie on the couch for a good hour, free-associating."
"Traditional guerrilla activity such as bombings, snipings and kidnappings complete with printed manifestos seem like so many ecologically risky short change feedback devices compared with the real possibilities of portable video, maverick data banks, acid metaprogramming, Cable TV, satellites, cybernetic craft industries, and alternative lifestyles. Yet the guerrilla tradition is highly relevant in the current information environment. Guerrilla warfare is by nature irregular and non-repetitive. Like information theory, it recognizes that redundancy can easily become reactionary and result in entropy and defeat."
"Howard Wise, [was] an art patron and a former dealer who gave important early support to the technology in art movement in the United States... In 1964 his Howard Wise Gallery in Manhattan presented On the Move, the first survey in the United States of contemporary kinetic art. The gallery's exhibition Lights in Orbit three years later was the first comprehensive survey in this country of kinetic light art. Mr. Wise also organized the first exhibition of the budding video art movement, TV as a Creative Medium, in 1969, and two years later he founded , a nonprofit organization that distributes artists' videotapes and provides editing and post-production facilities for independent videomakers."
"Howard was very important because he went against the mainstream in his gallery."
"The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others . It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art."
"I thought I would combine my artistic experience with my business experience and start a gallery in Cleveland because there really was no gallery of any stature there. I felt that Cleveland was artistically avery closed and ingrown community. The only real modern work that was shown was local work . My objective in opening a gallery in Cleveland was to bring the art from various centers in Europe and America."
"My father resigned during the Depression, so I had that responsibility at an early age. Like any other business, the Depression had hurt us a lot and we had a lot of labor unrest among the 300-400 employees. I decided that I had better take a good look at the situation, and I got in touch with a labor consultant . He suggested that since we were a relatively small business we could keep an intimate relationship with the employees, so I did that. We had 10-year and 25-year clubs, and when it came my turn to get the gold insignia, or whatever it was, for my 25 years with the company I realized, "My God, 25 years," and I decided to quit."