Communications in Humanities Research
- The Open Access Proceedings Series for Conferences
Communications in Humanities Research
Vol. 17, 28 November 2023
Open
Access | Article
Can Copies Have More ‘Aura’ Than Originals? - From the Perspective of Paintings
* Author to whom correspondence should be addressed.
Abstract
From the day a work of art is created, its tangible carrier has the function of being used for reference and study, which means that the vast majority of works of art are inherently reproducible. This has led to the negative impact of people with superior skills who can reproduce identical works of art and confuse the public, resulting in the infringement of the rights to which the original author is entitled and the blinding of the ignorant masses. Especially in today’s technologically advanced world, the cost of making a simple copy is getting lower and lower, and the quality of a fine copy is getting higher and higher. Moreover, some copies can take away the “aura” of the original work. In fact, reproductions are only reproductions because the originality of the original work and the “here and now” of its creation cannot be reproduced. However, an exquisite copy, given the right environment, light, and other factors, may be able to replicate or even surpass the “aura” of the original work. This reproduction can prevent the original work from being destroyed for various reasons. Then, it will not be easy to reproduce it in the world, and a good quality reproduction can preserve the excellent original work as close to its original form as possible. In addition, a large number of copies can also increase the popularity of the original work. Therefore, the protection of reproductions is also necessary. The presence of perfect-quality copies is positive for the original work.
Keywords
copies, original work, aura
References
1. B. Latour and A. Lowe. The Migration of the Aura, or How to Explore the Original through Its Facsimiles’ in Thomas Bartscherer and Roderick Coover (eds), Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts (CUP, 2011) pp. 275-298.
2. W. Benjamin and M. W. Jennings. The Work of Art in the Age of Its Technological Reproducibility [First Version]. (2010) 39 Grey Room, pp. 11-37.
3. Infopaq International A/S v Danske Dagblades Forening (2009).
4. Walter v. Lane (“effort, skill and time”) [1900] AC539.
5. A. Rahmatian. Originality in UK Copyright Law: The Old ‘Skill and Labour’ Doctrine Under Pressure. IIC, 44(2013), pp. 4-34.
6. S. Clement. Jingna Zhang’s work appropriated and plagiarised in Luxembourg Art Show. (RTL, 04 June 2022) <https://today.rtl.lu/news/luxembourg/a/1922813.html> accessed 21 April 2023.
7. L. Bently and others, Intellectual Property Law (6th edn, OUP 2022), pp. 37-61.
8. ‘A facsimile of the Wedding at Cana by Paolo Veronese’ (Factum Arte) <https://www.factum-arte.com/pag/38/A-facsimile-of-the-Wedding-at-Cana-by-Paolo-Veronese> accessed 21 April 2023.
Data Availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
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- Volume Title
- Proceedings of the International Conference on Global Politics and Socio-Humanities
- ISBN (Print)
- 978-1-83558-167-4
- ISBN (Online)
- 978-1-83558-168-1
- Published Date
- 28 November 2023
- Series
- Communications in Humanities Research
- ISSN (Print)
- 2753-7064
- ISSN (Online)
- 2753-7072
- DOI
- 10.54254/2753-7064/17/20230837
- Copyright
- 28 November 2023
- Open Access
- This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited