Definitions by Jeanine Griffin



#Analogue

‘Strictly speaking, all apparently analogue forms are smoothed accumulations of digital, that is, discontinuous forms, like the illusion of movement formed from the multiple images on the filmstrip.’
'The Dust That Measures All Our Time', Steven Connor

by Jeanine Griffin, Saturday, 11 May, 2019

#Aura

“What is aura actually? A strange weave of time and space: the unique appearance or semblance of a distance no matter how close it may be.”
Walter Benjamin, ‘A Little History of Photography’

by Jeanine Griffin, Tuesday, 14 May, 2019

#Authenticity

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. … The presence of the original is the prerequisite to the concept of authenticity.’
Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’

by Jeanine Griffin, Tuesday, 14 May, 2019

#Authenticity

'A desire for authenticity has emerged as a reaction to shifts with new media technologies at their core.'
Erika Balsom: ‘Against the Novelty of New Media: the Resuscitation of the Authentic’

by Jeanine Griffin, Tuesday, 14 May, 2019

#Object

'Every object is a thing but not every thing is an object […]

Objects are not reducible to the material, perceptible and consumable goods we commonly refer to as ‘objects’. The world of objects, however ‘ordinary’ is a trove of disguises, concealments, subterfuges, procations and triggers that no singular, embodied and knowledgable subject can exhaust. This is precisely why artists have a say in any discussion of the object’s plurivocality - since the artwork is prime example of the object’s capacity to evade the knowing grasp.'
Antony Hudek, 'The Object'

by Jeanine Griffin, Tuesday, 14 May, 2019

#Reproduction

'The technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced.'
Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’

by Jeanine Griffin, Tuesday, 14 May, 2019

#Data

‘Every act of visualisation of digital data remains uncertain in its relationship to the original; one could even say that every such performance itself becomes an original. [...] every digital copy has its own here and now – an aura of originality – that a mechanical copy does not have.' Boris Groys, 'In the Flow' and 'Monday Begins On Saturday'

by Jeanine Griffin, Tuesday, 14 May, 2019

#Ghosts

'To address the past (and future), to speak with ghosts, is not to entertain or reconstruct some narrative of the way it was, but to respond, to be responsible, to take responsibility for that which we inherit (from the past and the future), for the entangled relationalities of inheritance.'
Karen Barad

by Jeanine Griffin, Tuesday, 14 May, 2019

#Exhibition

'There is no such thing as a copy. In the world of digitalized images, we are dealing only with originals—only with original presentations of the absent, invisible digital original. The exhibition makes copying reversible: It transforms a copy into an original'
Boris Groys, ‘From Image to Image File and Back: Art in the Age of Digitalization’

by Jeanine Griffin, Tuesday, 14 May, 2019

#Copy

‘This aura is no longer based on the permanence of the “original,” but on the transience of the copy.’ ‘By losing its visual substance it recovers some of its political punch and creates a new aura around it. This aura is no longer based on the permanence of the “original,” but on the transience of the copy.’
Hito Steyerl ‘ In Defense of the Poor Image’

by Jeanine Griffin, Tuesday, 14 May, 2019

#Archive

‘The archive is a record of the past, at the same time it points to the future. The grammatical tense of the archive is thus the future perfect, ‘when it will have been’.
Carolyn Steedman, Dust

by Jeanine Griffin, Tuesday, 14 May, 2019

#Artefact

‘Singular objects inextricable from their respective material histories, absolutely incompatible with the compress and copy life of a jpeg” Erika Balsom

by Jeanine Griffin, Tuesday, 14 May, 2019

#Digital

‘The analogue and the digital must be thought together, asymmetrically.'
Brian Massumi, Parables of the Virtual

by Jeanine Griffin, Tuesday, 14 May, 2019

#Hand-made

'Against the promiscuous circulation of proliferating copies, the singular event of performance or the uniqueness of the handmade object both emerge as sites of intense cathexis.'
Erika Balsom, "Against the Novelty of New Media: The Resuscitation of the Authentic"

by Jeanine Griffin, Wednesday, 15 May, 2019

#Immateriality

'I would associate the immaterial with the immediate, in the sense that mastery over time implies the abolition of any delay, and the capacity to intervene here and now.'

Jean Francois Lyotard 'After six months of work'

by Jeanine Griffin, Wednesday, 15 May, 2019

#Cast

'One could therefore say .. that in the case of both photo and cast the element of contact remains a guarantee of uniqueness, authenticity and power – and therefore of aura [...] Mechanical reproduction, then, does not forcibly destroy aura, as Walter Benjamin claimed.'
Sven Lutticken “The Imaginary Museum of Plaster Casts”

by Jeanine Griffin, Wednesday, 15 May, 2019

#Post-digital

'Post-digital, once understood as a critical reflection of “digital” aesthetic immaterialism, now describes the messy and paradoxical condition of art and media after digital technology revolutions. “Post-digital” neither recognizes the distinction between “old” and “new” media, nor ideological affirmation of the one or the other. It merges “old” and “new”, often applying network cultural experimentation to analog technologies which it re-investigates and re-uses.'
http://www.aprja.net/post-digital-research/

by Jeanine Griffin, Wednesday, 15 May, 2019

#Authorship

The exhibition raises ”new questions for our time about aura, authenticity, originality, and authorship. [...] and […] what the real and its replication can mean to us in a post-digital age.'
Elena Filipovic on 'Mark Leckey, "UniAddDumThs"'

by Jeanine Griffin, Wednesday, 15 May, 2019

#Replica

'Three memory structures for ‘remembering exhibitions’ – the replica, the riff, and the reprise. They range from materialised memory to memory morph and to immaterial memory referent; from haptic re-enactment to the manipulated and manipulable manifestation; from exhibitions within exhibitions to exhibitions about exhibitions to exhibitions re-presented online.' Reesa Grenberg, 'Remembering Exhibitions’: From Point to Line to Web'

by Jeanine Griffin, Wednesday, 15 May, 2019

#Materiality

'It's not about naturalising the contingent and political side of media but showing its materiality, that materiality has politics and politics also has natural history to it.'
Jussi Parikka, interview with Jeanine Griffin

by Jeanine Griffin, Wednesday, 15 May, 2019

#Dissemination

“ In the Post Internet climate, it is assumed that the work of art lies equally in the version of the object one would encounter at a gallery or museum, the images and other representations disseminated through the Internet and print publications, bootleg images of the object or its representations, and variations on any of these as edited and recontextualized by any other author. [...] This marks a denigration of objects and our relationship to space – if an object before us in the gallery is only one of an infinite multitude of possible forms that object can take, it’s value to the viewer becomes little more than a curiosity’
Artie Vierkant, 'The Image Object Post Internet'

by Jeanine Griffin, Wednesday, 15 May, 2019

#Original

'a certain promiscuous relationship to originality and an endless desire, as it were, to reproduce.'
Elena Filipovic ‘Mark Leckey,  UniAddDumThs'

by Jeanine Griffin, Wednesday, 15 May, 2019

Jeanine Griffin (Jeanine)
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