One cannot keep Benjamin out of this. Groys reminds us that when we move the digital image from its original status of non-image to its status as visualized image, we engage in a "massive loss of aura" in the Benjaminian sense. This is because Benjamin maintained that nothing has more aura than the invisible. Groys explains that "in the world of digital images, we are only dealing with originals." Each visualization of the image file has its own story, perils, and site-specific contexts and abnormalities. This then leads to the near requirement that the curator bring it back into musealized space. When we exhibit these, we reverse the copying: it transforms a copy back into a performed original. And it is here, where, Groys says, we can contemplate both the superstructure that is at work on the image, but also its material base—the hardware/ software used to perform the image data.


AuthorMike Pepi