Saw spectre this week – Bond eyes up a fragment of his beloved vintage Aston Martin in Q’s workshop- ‘when I said bring it back in one piece, I didn’t mean bring back one piece’ quips Q.
Got me thinking on authenticity – I half remember an account of the ‘ship of Perseus (?)’ that deals with the conundrum of authenticity. The ship was rebuilt and refitted so many times that nothing original remained- was it still the same ship? Does it matter? Notions of worth attached to authenticity seem to vary with type.
Unrestored paintings, pottery, sculpture demand much higher price than restored ones – while with cars and buildings sympathetic restoration is a plus. Maybe it has to do with the implied presence of the hand of the author (rather than a builder)
This brings me back to the struggle of the ‘ displacement’ thesis I’m developing from the grains.
I find it difficult to project an outcome on actually moving buildings around (although I’m maintaining an open mind) the idea of a simulacrum or facsimile, especially seen through the lens of my hologram grain, is in my thoughts.
We are at a time when the sci-fi holy grail of teleporting is actually formally possible. I can send a copy of form to be constructed anywhere with a 3D printer in pretty much any material I can think of. If I can print a copy of S.Reditore why bother moving it or saving it from the waves? (I must reread FAT’s take on the copy)
This sort of musing applies itself (fairly) conveniently on some of the other grains. Brancusi’s sculptures take on an inauthenticity of purpose when they have to clear immigration described as ‘kitchen items ‘ Burlington collects representations and copies of fragments and drawings of Palladio (the ‘cast court’ frenzy of grand tourists testifies to this need for simulacra)
The decontextualisation inherent in the displacement thesis can be extended to the decon of the material itself – everything gets rendered in white plaster/ white marble. (Also maybe abstraction in classical sculpture?)
Goddard leads us on a forward/backward timeline through memory (memory in this case as inauthentic copy ) and sentiment through the teleportation red towel.
Is 2150 Venice to be saved or recorded?
Is Atlantis to be pulled from fiction and materialised as a fragment outside the context of Plato’s story?
The holo-copies of Modi continue to be projected across the terrain.