Hegge: I note that many builders are not too fond of plastic products. What have you to say to this statement?
Clouser: The rejection of the hobbyists, unfortunately, is not really plastic. It is the sterile conditions of the dies and the manner in which many of the kits or models, of plastic are developed. You understand the dies for running (for instance) styrene models are sunk in a negative manner (cavity) into a block of steel. The diemaking is done by a person who knows little about a railroad car. He is concerned only with his own mechanical ability to make the necessary cavity.
Moore: I'm not in the habit of buying kits -- fact is I hate like hell to put a kit together. Friend Crosby sent me four -- I finally put the Haunted House together for him but sent him back the others -- to hell with them -- too much like work to suit me.
Benjamin: One might subsume that the eliminated element in the term "aura" and go on to say: that which withers in the age of mechanical reproduction is the aura of a work of art.
Clouser: On the other hand, an epoxy cast car has the advantage of the original master's being a piece made by a railroad-oriented modelbuilder. This would be comparable, if not exactly, to anything he would build for his own collection.
Benjamin: Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in ownership.
Moore: But does you good in that you try to make your own directions more logical and plain.
*Needless to say, this conversation never occurred, but was constructed from text appearing in Bob Hegge Interviews Bill Clouser that appeared in Model Railroader, March 1971; Walter Benjamin's essay The Work of Art in the Age of Mechanical Reproduction; and a letter E. L. Moore wrote to Hal Carstens dated 3 July 1967.