+++
title = "The new arises from the archive"
glassblowers = ["borisgroys.md"]
+++

> The demand for the new arises primarily when old values are archived and so protected from the destructive work of time. Where no archives exist, or where their physical existence is endangered, people prefer to transmit tradition intact rather than innovate, or else to appeal to principles and ideas which are regarded as independent of time and, in that sense, always immediately accessible and unchanging. Such ostensibly atemporal principles and ideas are posited as ‘true’ in hopes that they will subsist or be rediscovered even if their cultural anchorage is destroyed. Classical art obeys certain canonical rules or else appeals to the mimetic representation of nature in order to reflect, as faithfully as possible, a nature whose essential aspects are regarded as immutable. Thinking is, accordingly, expected to respect a mythical tradition or the invariable laws of logic. Only when the social and technical means for preserving the old appear to have been secured does interest in the new arise, for it then seems superfluous to produce tautological, derivative works that merely repeat what has long been contained in archives. Thus the new ceases to represent a danger and becomes a positive demand only after the identity of tradition has been preserved – not by the putatively ideal permanence of truth, but by technical arrangements and media – and after it has been made accessible to all.

From Boris Groys, ![On the New](bib:bbec33e7-3d8d-46de-88fd-029531f79763), Verso, 2014.