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The Work of Art in The Age of Mechanical Reproduction Walter Benjamin (1936)
The Work of Art in The Age of Mechanical Reproduction Walter Benjamin (1936)
Reproduction
• significance of the masses in contemporary life and the desire of the masses to bring things
‘closer’ spatially and humanly and therefore overcoming the uniqueness of every reality by
accepting its reproduction (the railway mania, tourist snapshots)
• perception whose sense of the universal equality of things increased to such a degree that it
extracts it even from a unique object by means of reproduction is perception
• field of perception mirrors the field of organization of social life (cf. the increasing
importance of statistics)
IV. TRADITION
Tradition is an interpretive framework for an auratic object but tradition is alive and
changeable:
Example: Aura of an ancient statue of Venus in classical Greece and in medieval Europe,
Renaissance distinct historical interpretations of the object: ritual vs. art
History of the Aura:
• “authentic” work of art has its basis in ritual, its original use value
• Medieval interpretations also based in ritualistic interpretation
• Secular cult of beauty developed during the Renaissance and the three following centuries
(ritualistic basis in its decline but art remains auratic)
• 19th century: l’art pour l’art = theology of art (negative theology in the idea of “pure” art
denied social function of art or categorizing it by subject matter)
• 19th century: reproduced work of art designed for reproducibility; authenticity ceases to be
applicable to artistic production and the total function of art is reversed (instead of being
based on ritual it begins to be based on practice-politics
• 20th century:massification
V. CULT VALUE VS. EXHIBITION VALUE
Two polar types to value of the works of art and the ability to reproduce objects through
different methods of technical reproduction:
vestiges of cult value in early photography (cult of remembrance of loved ones, absent or
dead)
Atget (1900) Parisian cityscapes
picture magazines (captions are introduced as directives to looking at pictures)
explicit in film where the meaning of each single picture appears to be prescribed by the
sequence of the preceding ones
VI. EXHIBITION VALUE TO CULT OF
REMEMBRANCE
VI. EXHIBITION VALUE TO CULT OF
REMEMBRANCE
VII. NATURAL / ARTISTIC
(CONTRADICTIONS OF FILM AND ART)
19th century disputes about artistic value of painting vs. photography: Is photography art?
art has left the realm of the “beautiful semblance” which had been taken to be the only sphere
where art could thrive
X. THE AUTHOR, THE PUBLIC, & THE
MARKETPLACE
Resulting in loss of aura of the person:
Popular culture works with hegemonic forces because it is shaped by mass audience
response in a feedback loop (lack of appreciation of the truly innovative and
purposeful art)
Mass audience and collective simultaneous experience enabled by film, not possible even
in publicly displayed paintings in galleries and salons
Masses could not organize themselves and control themselves in their reception -- film
enables that
XIII. INCREASING OF OPTICAL /
ACOUSTICAL PERCEPTION // DEEPENING OF
APPERCEPTION
Film enriched our field of perception (~Freudian theory of psychoanalysis)
Analyzable things increased through the spectrum of optical and acoustical perception but also
distancing from reality (abstraction of perception)
Close-ups, hidden details, rapid movement of camera extends comprehension, unexpected field
of action (travelling)
“I can no longer think what I want to think. My thoughts have been replaced by moving
images.” (Duhamel 1930; in Benjamin, p. 238)
XV. RECEPTION IN THE STATE OF
DISTRACTION: ARCHITECTURE, THE EPIC
Distraction of spectacle (consumed by masses in a state of unreflection) vs. Concentration of art
(absorption and identification) but What about architecture?
First manifestations of the new mode of perception was spectacle which requires no
concentration and presupposes no intelligence (commonplace explanation: the masses seek
distraction whereas art seeks concentration from the spectator :: moral evaluation of film)
Film enables apperception (critical analysis, solving of tasks) if individuals choose to see it in
the state of awareness. Art will tackle such tasks if it is able to mobilize the masses. Today, it
does so in the film. Film is the true exercise of art today (in 1930s).
Epilogue: THE POLITICS AESTHETIC / THE
MORALITY OF ART
Proletarianization in modernity parallels increasing formation of masses (F / C response):
Fascism (uses to render politics aesthetic )
• organizes the newly created proletarian masses without affecting the property structure
• fascism gives the masses not their right but chance to express themselves
• increasing introduction of aesthetics into political life (the Führer cult, apparatus in the
service of production of ritual values)
• war engages movement of masses & technical resources while respecting traditional
property system
• Fascist apotheosis of war is the ultimate rendering of politics aesthetic & artistic
gratification of a sense perception changed by technology (Futurists celebrate war: see
excerpt, p. 241) :: l’art pour l’art (self-alienation of art through which it can elevate its own
destruction as aesthetic pleasure of the first order)
Communism (politicizes art)
• art has no purpose in totalitarian regimes except to organize rituals of public life