art & quality 14: personal fabricator 2 (digital fabrication)

to continue with this line of thinking, a question relevant to the quality of an art work also seems: how difficult is it to make such an art work?

with nanomachinery, the time is nearing where we will be able to manufacture many things from a digital blueprint.

consider a van gogh. the oil paint has a certain age, the brush strokes are (say) thick and impasto-style. it is as much a 3dimensional work as a twodimensional one. which is part of the reason why photographic reproductions don't work, and why it is hard to forge a van gogh.

but now suppose we can create a nanomachinery-driven 3d copier, which replicates paintings down to the very essence of a brushstroke, down to the chemical components, say molecule by molecule (or very close).

suddenly, everyone can have a van gogh in her/his room IF the museum would allow the nanomachinery-driven blueprinting, and subsequent distribution. everyone can have brancusi's sleeping muse, in any wanted material too.

think about it.

what would it mean for art & quality? how would it change our perspective of forgery? and what does that say about the validity of our current perspective?

intermezzo: constantin brancusi in paris

illumination of this blog is necessary i think, or we will end up with words words words.

saw works of constantin brancusi in centre pompidou on my visit to paris. pictures can be taken freely in the museum -i will come back to this- so here three pictures i took:



sleeping muse, constantin brancusi



sleeping muse, constantin brancusi



sleeping muse, constantin brancusi

here is where you can see a webpanorama 360 degree view of brancusi's atelier in centre pompidou.