5 Matching Annotations
  1. Oct 2018
    1. Appendix. The process used to create an accurate facsimile of Le Nozze di Cana by Paolo Caliari (called Veronese)

      Technical details of the reproduction

    2. “original location”

      The original location is seen as the historical provenance of the artistic work. Latour and Lowe state under the defiantion of Benjamin's 'Aura' that a reproduction should be displayed in its original location, where it belongs historically. It should be possible to be close to the painting without tourists disturbing the environment. Finally the reproduction technique should enhance surface features (like brushstrokes etc) and have a 3D aesthetic feel of the painting.. Therefore a good reproduction should have a good 'aura under these principles.

    3. ethereal design that could be lifted out of its materiality and downloaded into any reproduction without any loss of substance.

      The movability of the 'aura' from the original and how it can move from one material manifestation to another. The 'copy' is its own and should be valued.

    4. reproduction of the Holbein instead of the Holbein itself to the visitors of the National Gallery-“the Ambassadors” remains behind all successive restorations

      Reproductions can be valued more than the original, or at least ensures that its original value is maintained by those that appreciate it.

  2. Mar 2018
    1. It is repetitive and redundant to a fault

      I think the "lifelessness" of recordings is maybe too extreme. It makes sense, but it overly simplifies original and recordings, possibly by neglecting agency of the audience? What would we call a reproduction of a song only ever heard live, and only ever performed live? Is that live performance of another's live song then dead, because it is attempting to reproduce an ephemeral moment, but is also itself an ephemeral moment? I think this complicates the binary, but I'm not sure lol