There is no doubt that a sequence of zeros and ones on digital data carriers is insensitive to changes in time, while the possibility to randomly copy the code without losing quality renders the issue of its ownership or holding irrelevant (of course symbolically and historically, not legally). Electronic form of works has no history or aura, and always comes through the go-between of the binary code. Its exclusively virtual existence prevents physical contact between the artist and the work, which is never and has never been a direct trace or index of the action of the human hand.

In a digital painting any changes made during creation (evidence of artist’s fight with the form) will remain hidden from the viewer for ever and with time the artist himself will forget about them. In deciding on such a radical change of type of means of expression, Rysiński had to realize that in case of his new works, the unique connection with the place and time of their creation and the context of their existence does not so much – according to Benjamin’s words relative to classical reproduction – looses history, as does not acquire such history at all.