Avant-garde methods to blur the borderline between original and copy seem to have grown obsolete now that lossless duplication of data material is possible at the flick of a switch. Omnipresent copying techniques in a whole host of different forms confirm that this phenomenon has become established as an artistic practice and within everyday culture. Its modes of functioning and the logic shaping it however frequently remain concealed and are growing increasingly immaterial, giving rise to a pressing need to investigate this phenomenon. The “originalcopy” issue explores the question of how the formerly value-laden distinction between original and copy begins to disintegrate in the process of copying, and looks at how these changes—which also emerge in a broader context beyond the digital realm—are inscribed in artistic production processes. A key question is the tension between the purported immateriality of digital technologies and the material forms in which these technologies are manifested. The essays in this issue open up the question of the dichotomy between original and copy for reconsideration from a post-digital perspective.