In the course of a career producing media works, I frequently encounter the horizon of obsolescence in media.
This happens, most frequently, in the digital realm. In spite of the claim to infinite and serial reproducibility, the digital artifact is determined not so much by its serial self sameness, but by its relations to the logic of capital under which it is promoted.
Its loss is inevitable. From nothingness to nothingness – the digital is the perfect anti-atifact that is has no existence as form – it cannot be discerned, communicated or used without specific invocation. In this sense, it has similarities to film, without film’s claim to materiality.