Originality and Artistic Displacements. The Copy’s Artifact and the Abominable of the Original

The heterogeneity and complexity of symbolic production and the current artistic creation, invites the scrutiny and review of inherited parameters in the cultural field. The various crises traversed by the field and those that still serve as the discussion centers, generate conceptual depletions about the axioms that distance themselves from the generation of contemporary knowledge. In this sense, this paper analyzes the ideal of originality –disseminated especially from the romantic perspective– to understand and limit its tentacles, inserting them into the current discipline’s selfreflection, in the new artistic structuring that comes unfolding since the sixties, and the digitalization and virtualization scenarios that we live in today. All this determines not only different strategies in the relations between the areas of production, reception and consumption, but also connections between concepts such as original and copy that had not been visited until this time. What follows is therefore a theoretical approach to the necessary reformulation of monolithic standards in the arts, a critique of originality.