The practice of reproducing a divergent work, based on a previously produced work, using various tactics—both intended and incidental—in reframing it. Versioning, within curation, is often an incidental outcome of the need to display works without being able to reproduce their original ‘aura’. Versioning does not produce copies but new versions of works. ¶ By negating the perception of the copy, the version breaks the binary preoccupation of the ‘original’ and the ‘copy’, instead enriching a work through a prismatic effect that allows for a multiplicity of readings. ¶ As Silvio Lorusso explains—the move away from copying to versioning, “produces an uncertainty about the original, because every reframing adds a certain ‘charge’ to the work and therefore makes something new out of it.” ¶ Oliver Laric goes further in framing versioning as a curatorial tactic in his work ‘Versions [2010]’ in which he gives the example, “Five people interpret an action and each interpretation in different because in the telling and the re-telling, the people reveal not the actions but themselves.” ¶ Within publishing, it can be argued that the act of creating multiples will always generate versions, therefore all published material uses versioning as a tool that masks or diffuses any allusion to the source material. ¶ Indeed, using the print publication as an example, sub editors create versions by ‘correcting’ raw text; editorial designers create versions by type-setting said text and printers create versions by transmogrifying digital files into ink.
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