[ExI] THE MIGHTY ORIGINAL
Damien Broderick
thespike at satx.rr.com
Mon Nov 1 18:21:20 UTC 2010
On 11/1/2010 11:48 AM, John Clark wrote:
> This universal obsession with the original makes me wonder if it could
> be the result of an innate flaw in our mental wiring; otherwise it's
> difficult to explain something like the persistent irrationality in the
> art market.
It's very easy to understand, in a culture that fetishizes individual
ownership. Once, only the wealthy could afford to pay an excellent
painter to handmake a likeness of the family, the residence, the dog or
the god. These were unique and occasionally were even prized for their
aesthetic value.
With what is called by scholars The Age of Mechanical Reproduction,
suddenly a thousand or a million pleasing or useful indistinguishable
objects could be turned out like chair legs. Art-as-index-of-wealth and
art-as-index-of-superior taste had to adjust, valorizing the individual
work, and especially the item that could not be a copy.
When nanotech arrives, capable of replicating the most distinctive and
rare items, this upheaval will happen again. Have you ever seen a real
van Gogh? The thick raised edges of the paint, catching the light
differently from different angles? Next to that, printed reproductions
are dull, faithless traitors. If nano makes it possible to compile an
exact copy in three dimensions, only the fourth will be lost--and that
irretrievably, except to the most extreme tests. We'll see increasingly
what we have seen as avant-garde for a century: evanescent art,
performance, destruction of an art work after its creation. And in
addition, a widespread downward revaluation of originals *of the
art-work kind*.
All of this might have some bearing on how individuals regard
*themselves* as "originals", but we have no experiences of nearly exact
human copies other than the near resemblance of twins, triplets, etc.
Certainly monozygotic "copies" of people usually have a marked fondness
for each other, but they don't consider each other as mutually fungible.
Damien Broderick
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