Age of Mechanical Reproduction
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prognostic value. exploit the proletariat with increasing intensity, ultimately to create conditions to abolish capitalism itself.
» （2）Superstructure----substructure: Their dialectic is no less noticeable in the superstructure
» Innovations――－technique of the arts――artistic invention――our very notion of art.
Preface
» （1）Capitalism: Marx directed his efforts in such a way as to give them
The Work of Art in the Age of Mechanical Reproduction
Walter Benjamin (1892-1940)
Quotation
» Paul Valery (1871～1945) » the amazing growth of our techniques » profound changes are impending in the ancient craft of
（3）Different manifestations A: reproduction of works of art B: the art of the film
Ⅱ Authenticity & Aura
» Authenticity
§One element: Art work’s presence in time and space, its unique existence at the place where it happens to be.
another practice - politics.
V the cult value &
the exhibition value
» （1）Two polar types, the value
» Works of art are received and valued on different planes. Two polar types stand out; with one, the accent is on the cult value; with the other, on the exhibition value of the work.
which would be out of reach for the original itself. (3) The essence of all that is transmissible from its beginning, ranging
from its substantive duration to its testimony to the history which it has experienced.
Bronzes青铜器, terra cottas陶器, coins硬币 Middle Age: woodcut, engraving and etching蚀刻 19C: lithography平版印刷术----( implied the illustrated
newspaper) 1839: photography-----( foreshadow the sound film) (free the hand, only upon the eye looking into a lens.)
Ⅲ Aura
§The mode of human sense perception changes with humanity's entire mode of existence. E.g. the late Roman art industry and the Vienna Genesis?? So, show the social transformations expressed by these changes of perception. §The concept of "aura" The aura of the natural ones: the unique phenomenon of a distance, however close it may be.
its parasitical dependence on ritual. » The criterion of authenticity ceases to be applicable to
artistic production; the total function of art is reversed. » Instead of being based on ritual, it begins to be based on
ritual, the location of its original use value. l'art pour l'art (4) From ritual to politics » mechanical reproduction emancipates the work of art from
» Aura
» §The term "aura": that which withers in the age of mechanical reproduction is the aura of the work of art.
» Reasons: (1) The technique of reproduction detaches the reproduced object from the domain of tradition.
than in the economy (substructure).
» （3）The value: Be useful for the formulation of revolutionary demands in
the politics of art.
Ⅰ Reproduction
（1）replica: (a work of art has always been reproducible) Man-made artifacts could always be imitated by men. Ancient Greece: founding铸造 stamping制模.
Includes: physical condition over the years & various changes in its ownership
§ The concept of authenticity （1）The presence of the original is the prerequisite. （2） The whole sphere of authenticity is outside technical,
the Beautiful » neither matter nor space nor time has been what it
was from time immemorial.
» We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.
»
(2) By making many reproductions it substitutes
a plurality of copies for a unique existence.
» §Connected with the contemporary mass movements, the most powerful agent is the film, the far reaching liquidation.
reproducibility. A: process reproduction is more independent of the original than manual
reproduction. B: technical reproduction can put the copy of the original into situations
» E.G., Elk, an instrument of magic Madonnas remain covered Sculptures on medieval cathedrals are invisible to the spectator on ground level.
» §The exhibition increased
§The desire of contemporary masses Bring things "closer" spatially and humanly, Overcome the uniqueness of reality by accepting its reproduction.
§Extracts the aura » A--Original: Uniqueness and permanence » B--Reproduction: Transitoriness and reproducibility » B extracts the aura even from A (unique object) by means of
（2）Art flee from the ritual
» With the emancipation of the various art practices from ritual go increasing opportunities for the exhibition of their products.
（2）The standard of technical reproduction had reached, A: reproduce all transmitted works B: capture a place of its own among the artistic processes
» Around 1900 technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public; it also had captured a place of its own among the artistic processes.
reproduction.
IV CULT
(1) Uniqueness--- tradition The uniqueness of a work of art is inseparable from its being
imbedded in the fabric of tradition. (2) Art---cult Art in tradition found its expression in the cult. first the magical, then the religious kind. (3) Authentic---ritual The unique value of the 'authentic' work of art has its basis in
» （2）Superstructure----substructure: Their dialectic is no less noticeable in the superstructure
» Innovations――－technique of the arts――artistic invention――our very notion of art.
Preface
» （1）Capitalism: Marx directed his efforts in such a way as to give them
The Work of Art in the Age of Mechanical Reproduction
Walter Benjamin (1892-1940)
Quotation
» Paul Valery (1871～1945) » the amazing growth of our techniques » profound changes are impending in the ancient craft of
（3）Different manifestations A: reproduction of works of art B: the art of the film
Ⅱ Authenticity & Aura
» Authenticity
§One element: Art work’s presence in time and space, its unique existence at the place where it happens to be.
another practice - politics.
V the cult value &
the exhibition value
» （1）Two polar types, the value
» Works of art are received and valued on different planes. Two polar types stand out; with one, the accent is on the cult value; with the other, on the exhibition value of the work.
which would be out of reach for the original itself. (3) The essence of all that is transmissible from its beginning, ranging
from its substantive duration to its testimony to the history which it has experienced.
Bronzes青铜器, terra cottas陶器, coins硬币 Middle Age: woodcut, engraving and etching蚀刻 19C: lithography平版印刷术----( implied the illustrated
newspaper) 1839: photography-----( foreshadow the sound film) (free the hand, only upon the eye looking into a lens.)
Ⅲ Aura
§The mode of human sense perception changes with humanity's entire mode of existence. E.g. the late Roman art industry and the Vienna Genesis?? So, show the social transformations expressed by these changes of perception. §The concept of "aura" The aura of the natural ones: the unique phenomenon of a distance, however close it may be.
its parasitical dependence on ritual. » The criterion of authenticity ceases to be applicable to
artistic production; the total function of art is reversed. » Instead of being based on ritual, it begins to be based on
ritual, the location of its original use value. l'art pour l'art (4) From ritual to politics » mechanical reproduction emancipates the work of art from
» Aura
» §The term "aura": that which withers in the age of mechanical reproduction is the aura of the work of art.
» Reasons: (1) The technique of reproduction detaches the reproduced object from the domain of tradition.
than in the economy (substructure).
» （3）The value: Be useful for the formulation of revolutionary demands in
the politics of art.
Ⅰ Reproduction
（1）replica: (a work of art has always been reproducible) Man-made artifacts could always be imitated by men. Ancient Greece: founding铸造 stamping制模.
Includes: physical condition over the years & various changes in its ownership
§ The concept of authenticity （1）The presence of the original is the prerequisite. （2） The whole sphere of authenticity is outside technical,
the Beautiful » neither matter nor space nor time has been what it
was from time immemorial.
» We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.
»
(2) By making many reproductions it substitutes
a plurality of copies for a unique existence.
» §Connected with the contemporary mass movements, the most powerful agent is the film, the far reaching liquidation.
reproducibility. A: process reproduction is more independent of the original than manual
reproduction. B: technical reproduction can put the copy of the original into situations
» E.G., Elk, an instrument of magic Madonnas remain covered Sculptures on medieval cathedrals are invisible to the spectator on ground level.
» §The exhibition increased
§The desire of contemporary masses Bring things "closer" spatially and humanly, Overcome the uniqueness of reality by accepting its reproduction.
§Extracts the aura » A--Original: Uniqueness and permanence » B--Reproduction: Transitoriness and reproducibility » B extracts the aura even from A (unique object) by means of
（2）Art flee from the ritual
» With the emancipation of the various art practices from ritual go increasing opportunities for the exhibition of their products.
（2）The standard of technical reproduction had reached, A: reproduce all transmitted works B: capture a place of its own among the artistic processes
» Around 1900 technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public; it also had captured a place of its own among the artistic processes.
reproduction.
IV CULT
(1) Uniqueness--- tradition The uniqueness of a work of art is inseparable from its being
imbedded in the fabric of tradition. (2) Art---cult Art in tradition found its expression in the cult. first the magical, then the religious kind. (3) Authentic---ritual The unique value of the 'authentic' work of art has its basis in