Toward a Genealogy of Certification

Andrew Hurle
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Abstract

For about 25 years now, I’ve been researching the shape, style and function of graphic signs connected with the production and reproduction of printed money. The research grew out of my visual arts practice and despite being consolidated as a university doctorate, it has mostly been pursued outside or across established academic disciplines, never having found easy accommodation in any one of them. Among other things this has resulted in a hybrid terminology defining its aims and scope. What began as an etymology of monetary signification (an early attempt to tie it to the field of linguistics and semiotics) now seems better expressed as a genealogy of certification, which represents a much broader field of investigation and reduces the risk of it being seen as a strictly numismatic study. The following paper summarises this genealogy and describes how monetary designs are adapted for different purposes and contexts, while showing some examples of their foundation in experimental and creative invention. I should firstly mention that the designs themselves communicate all kinds of meanings beyond the monetary: not just claims of authority and authenticity usually associated with banknotes, but also declarations of contractual certainty, social obligation, affection, prestige, satire, accreditation and so on. Even so, printed money remains at the heart of this research as an exemplary graphic statement articulated from within the nexus of mechanisation, global economics and modernist abstraction.
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迈向认证谱系
25 年来,我一直在研究与印刷货币的生产和复制有关的图形标志的形状、风格和功能。这项研究源于我的视觉艺术实践,尽管已被合并为大学博士学位,但它大多是在既定学科之外或跨学科进行的,从未在其中任何一个学科中找到合适的位置。除其他外,这也导致了界定其目标和范围的混合术语。最初的货币符号学(早期试图将其与语言学和符号学领域联系起来)现在似乎更适合表述为认证谱系学,这代表了更广泛的研究领域,并降低了将其视为严格意义上的钱币学研究的风险。下文将对这一谱系进行总结,并描述货币设计是如何根据不同目的和背景进行调整的,同时举例说明其在实验性和创造性发明中的基础。我首先要提到的是,这些图案本身传达着货币之外的各种意义:不仅仅是通常与钞票相关的权威性和真实性的诉求,还包括契约确定性、社会义务、感情、声望、讽刺、认证等方面的声明。即便如此,印刷钞票仍然是本研究的核心内容,因为它是在机械化、全球经济和现代主义抽象主义的联系中阐明的一种典范图形声明。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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