The Shape of Time

Prime Object vs. Replica. Akin to the ways in which language is formed solely through analogy. Copies of words and phrases – through time and culture – are generated until a system of meaning is understood. These copies cannot, inherently, replicate the original. There is no original. The system is constructed through relative perceptions rather than objectives. Indeterminateness.

Reminds of Warhol’s themes of repetition and the individuality of the copy. Each copy, even when produced through means of precise replication, has a unique existence.

The dead star is an index. A trace of what was what; an effectively literal example of the immediacy of remnant. **I like this subject matter.

Our interest therefore centers upon minute portions of things’ rather than upon the whole mosaic of traits that constitutes any object.

Yet the Parthenon is built upon an archaic formula surviving into Periclean time.

Prime-ness breaks down under consideration of its individual parts of construction.

These three examples, however, are extremely special ones illustrating the phenomenon of the climactic entrant<. Such entrances occur at moments when the combinations and permutations of a game are all in evidence to the artist; at a moment when enough of the game has been played for him to behold its full potential; at a moment before he is constrained by the exhaustion of the possibilities of the game to adopt any of its extreme terminal positions.

The prime object owns itself and its compositional sequencing

The manuscript draft by the puzzle-maker is a prime object (which no one conserves); all the solutions in ~ subways and on the desks of people who “kill time” compose ( the replica-mass.

An important question arises at once. If, in a given sequence an initial prime object begins the connected series, why are the subsequent prime objects of the series not to be regarded .. replica”

This pinpoints difficult in assuming ontological origin of any aspect of a thing.

Here the “new critics” held chat the poet’s intention does not extenuate his performance, and that all criticism must be within the poem itself regardless of its historical and biographical conditions.

Wow so post structuralist.

The name of art is itself close to technical cunning.  Referencing greek origin? No differentiation between art and technology. Consider the most basic definitions of technology, and especially the “tool.”

Technical deviation has high potential to generate new sequence in an object. Organizations, sequences, arrangements form hierarchical relationships in objecthood and visual culture.


Question the origin of the object itself.

Simulacrums exist everywhere. Take the banana for example, or any object with biology for that matter. Where its the beginning of its existence? What is a cast, of a preexisting object, besides a deviation from an existing replica. A new series of mimetic objects. A series might be made distinct by material means, processual means, formulaic means.

When error is introduced in the process of replication, one would likely continue to copy from the non-mutated version. If, then, one might generate replicas using the mutated form, and continue to do so when new variations emerge, conversations emerge surrounding integrity, principality of a thing. When do deviates disallow categorizations back into its original classification?

Axiological variation when considering the prime/replica relationship: elevation of the replica. IN DEFENSE OF THE POOR IMAGE BY HITO STEYERL. SUPER RELEVANT. Elevation by means of circulation, the commodity of the image suggested by technological accessibility.

Remnant collected on replica revealing of life and passage of time.

Repetition generates power, but of what? The actual object/concept being repeated/replicated, or the image of such? A thing cannot be copied exactly. Every physicality has differentiation. Is then, only the image, an abstracted idea of a thing, copied?

**Replication in the digital vs. the physical world


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