Developments triggered by the advent of what are termed "social media" are in full swing, and no-one can yet foresee the ramifications this will have in a whole host of very different areas. The offshoots of Facebook, Instagram, Twitter etc. have long encroached upon the art sphere, and have started to significantly influence not only reception but also production and circulation of art. That is more than reason enough to engage with the "sociality" and the networking reality occasioned by these media. Is the promise of democratisation inherent to these channels and outlets actually being fulfilled on the social level? Do these media help to generate a multi-perspective, and indeed critical, public sphere? Or do they contribute to increasingly pronounced fragmentation and segregation of incompatible public spheres? All these topics are explored in the "Asocial Media?" edition in the light of contemporary artistic practices.
Date of publication: 15th January 2018
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.
Date of publication: 16th April 2018