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seem to dictated in the sense that they wouldn't exist but without advertising's backing, so that most of our communication, somehow or other, is governed by advertising, and they're not to careful about how they tend to instruct us. And I think that may or may not have a deadening effect of the minds of people. I'm really not sure; I really don't know. One would think that it would, but at the same time almost everybody seems to see through it and not really care what the message is; sort of laugh at it, but still buy the product regardless of [[strikethrough]] th [[/strikethrough]] what you think of the advertising. But it has made in a way partially a new landscape for us, in the way of billboards and neon signs and all this stuff we're very familiar with; and also literature and television, radio. So that almost all of the...landscape, all of our environments seems to be made up partially of a desire to sell products. This is the landscape that I'm interested in portraying and...it's, I'm not alone in doing this. I mean many artists have tried to do this before; Stuart Davis and so forth, Legere, I think there have been other people in history who have...who have been preoccupied with the commercial landscape. 

Ques: You and the other people we call Pop artists have brought a certain kind of sensibility to this, not only [[strikethrough]] th [[/strikethrough]] in the way which you talked about before but as people who care and...have a certain,sort of socialized... I don't know how you'd describe it. How would you describe it? 

Roy: No, I don't think that we really... I mean I personally care about the society, but I don't think my art is involved in the society. and The social consequences of the society....are important to me, but I don't think my art deals with