Abstract
Heritage’s ephemeral nature has posed problems for a Western tradition which, from Quatremère de Quincy to Hannah Arendt, has seen in the permanence and conservation of works of art the guarantee of cohesion in the human world. This problem arises with new acuteness in the contemporary era, for artworks are today conserved in digital formats that fail to avoid the wearing of time. In order to grasp which procedures allow digital heritages to be transmitted all the same, the concept of process defined by Hannah Arendt is analyzed for its applicability to the work of Christian Boltanski, whose interest in the conservation of digital archives extends only so far as they are also instruments of action and interaction.
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