Abstract
I will start with a truism even though, like all truisms, it reduces and conflates distinctions and nuances to which I will need to revert: in the sense of painting as an has been a classic analog mode of representation, whether or not every painter in the history of art has used it this way. It cannot be a surprise, then, that it might be specifically in in its specifically painterly and pictorial achievements and reversions that we might best be able to gauge the depth and direction of digital technologies of image production, as well as notions of phenomena, appearance, and representation associated with them in their theoretical foundation and recent history.
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