{"id":6407,"date":"2005-09-13T22:00:00","date_gmt":"2005-09-13T22:00:00","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2005\/09\/13\/benjamin-the-wo-1\/"},"modified":"2005-09-13T22:00:00","modified_gmt":"2005-09-13T22:00:00","slug":"benjamin-the-wo-1","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2005\/09\/13\/benjamin-the-wo-1\/","title":{"rendered":"Benjamin – The Work of Art in the Age of Mechanical Reproduction (1936)"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>

Then came film and burst this prison-world asunder by the dynamite of the
\ntenth of a second, so that now, in the midst of its far-flung ruins and debris,
\nwe calmly and adventurously go traveling (236)<\/i>.<\/p>\n

The possibility of multiple copies–an indistinguishable hoard of
\nduplicates–is central among concerns covered in Benjamin’s time-worn essay <\/a>on
\nart and mechanical reproduction.  The essay reads almost episodically; it
\nis broken into a preface, fifteen chunks and an epilogue.  I first read
\nthis essay ten or twelve years ago, again (if skimmingly)
\nsixteen months
\nago<\/a>, and most recently, today.  As explicitly concerned as Benjamin is
\nwith shift in mass consciousness with the advent of the camera (for photography
\nor for film), he’s also tacitly concerned with the propaganda-subjected mass
\nconsciousness that would foment under the conditions of so easily produced and
\ncirculated materials.  In this sense, reproducibility qua image\/art and
\nphoto\/film is but one symptom of more general massification (234), spectacle
\n(232), the blend and fade of author\/public distinctions (232), changing "modes
\nof participation" (239), the degradation of human aura (presence-force) (229),
\nand distraction’s weakening of concentration on the art object (240).  <\/p>\n

<\/p>\n

But are we<\/i> yet in an age of mechanical reproduction?  How have
\ndigital productions–the internet’s hearty copycopia–slanted and refigured
\nBenjamin’s predictive insights?<\/p>\n

\"The<\/a><\/p>\n

Benjamin makes a few claims dependent on the distinction between cult value
\nand exhibition value.  As I re-read today, the cult value persistently
\nstruck a chord with me as the art object’s situatedness in a kind of local,
\ninertial aesthetic–originality, tradition, religiosity and the magical. 
\nIn the cult value (223), a "ritual function."  But in the age of mechanical
\nreproduction, the art object is freed from these constraints; it enjoys a
\nrelease to multiplicity (twenty-four screens; Technorati, etc.). Bust out of the
\nmuseum case, Art; go out and play (although everyone’s not comfortable with
\nthis).  <\/p>\n

Finally, returnables (5cME)<\/font>:
\n(-1-) This notion of aura (presence) (229) tends toward essentialism?
\n(-2-) Atget’s photos of the barren Paris streets in 1900 (226); the photo as
\nevidence; people, no people?  Barthes (where, in RB<\/i>?) says that
\npeople<\/i> must be present for him to feel the sting…yes?
\n(-3-) On the "pioneering" Dadaists (237): How far-reaching or well established
\nis Benjamin’s contempt for them?<\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 2<\/span> mins<\/span><\/span>Then came film and burst this prison-world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go traveling (236). The possibility of multiple copies–an indistinguishable hoard of duplicates–is central among concerns covered in Benjamin’s time-worn essay on art…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[167],"tags":[294,460,457,458,1985,459],"class_list":["post-6407","post","type-post","status-publish","format-standard","hentry","category-reading_notes","tag-art","tag-aura","tag-benjamin","tag-copies","tag-mechanical-reproduction","tag-reproduction"],"yoast_head":"\nBenjamin - The Work of Art in the Age of Mechanical Reproduction (1936) - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2005\/09\/13\/benjamin-the-wo-1\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Benjamin - The Work of Art in the Age of Mechanical Reproduction (1936) - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 2 minsThen came film and burst this prison-world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go traveling (236). 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