The Instrument and Becoming": applying Lavoisier's…
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The Instrument and Becoming": applying Lavoisier's conservation of mass to art, the original does not exist. Originality is a function of the instrument, not a property of the object.
This paper argues that if we take Lavoisier seriously (nothing is created, nothing is destroyed, everything is transformed), then no artwork has ever been an "original." Every work is a node in a chain of transformations, and what specifies each node is the instrument.
Four empirical regimes from my practice support this: a dichroic prism that generates chromatic configurations no eye has seen; expired Polaroid Green 600 film whose colorimetric analysis (6,237 data points) shows no two shots overlap; a Python simulator carrying the film's chromatic DNA in a form that never existed physically; and model-making from recycled electronics operating the inverse vector.
The paper engages Benjamin (aura), Pinto (clone as generative act), Simondon (ontology of technical objects), and Barad (new materialism), with external validation through Richter, Man Ray, Marclay, and Kentridge.
One key consequence: thermodynamic uniqueness is universal, so everything is unique. The myth of originality collapses not because uniqueness doesn't exist, but because it's too abundant to discriminate. Value is the system's decision, not a physical fact.
#science
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This paper argues that if we take Lavoisier seriously (nothing is created, nothing is destroyed, everything is transformed), then no artwork has ever been an "original." Every work is a node in a chain of transformations, and what specifies each node is the instrument.
Four empirical regimes from my practice support this: a dichroic prism that generates chromatic configurations no eye has seen; expired Polaroid Green 600 film whose colorimetric analysis (6,237 data points) shows no two shots overlap; a Python simulator carrying the film's chromatic DNA in a form that never existed physically; and model-making from recycled electronics operating the inverse vector.
The paper engages Benjamin (aura), Pinto (clone as generative act), Simondon (ontology of technical objects), and Barad (new materialism), with external validation through Richter, Man Ray, Marclay, and Kentridge.
One key consequence: thermodynamic uniqueness is universal, so everything is unique. The myth of originality collapses not because uniqueness doesn't exist, but because it's too abundant to discriminate. Value is the system's decision, not a physical fact.
#science
source
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