Art in the Mechanical Age of Reproduction
Outline
What could be expected of capitalism in the future
I. In principle a work of art has always been reproducible; Mechanical reproduction of a work of art, however, represents something new.
A. lithography–>photography–>film
B. New standard of mechanical reproduction has 1. profound impact on public and 2. makes reproduction itself an artistic process.
II. Reproductions lack presence in time and space–unique existence which determines its history
A. originals require authenticity, which is outside the technical and outside reproducibility. Originals preserve authority (vs. forgery)
B. Reproduction does not preserve authority
1. The process of reproduction is more independent of the original than the manual reproduction
2. technical reproduction can put the original into new situations.
Authenticity –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.
Aura — that which withers in the age of mechanical reproduction
C. The technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced.
III. Changes in the medium of contemporary perception can be comprehended as decay of the aura, it is possible to show its social causes.
A. Contemporary social masses desire to bring things “closer” spatially and humanly,
B. Contemporary social masses desire to overcoming the uniqueness of every reality by accepting its reproduction.
C. (statistics is an example; how to reproduce and draw closer a huge social experience)
IV. Art for art’s sake vs. art within a socio-historical context has been an issue in the philosophy of art.
Once art is removed from its ritual dependence through mechanical reproduction, art becomes art for reproduction’s sake. This eliminates the criterion of authenticity and makes art a function of politics.
For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant 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 another practice–politics.
V. Mechanical reproduction increases the exhibition value of art and reproducibility rather than its original ritual purpose becomes the reason for producing art
Cult value — the original magical use of a piece of art, for instance worshipping a madonna
Vs. exhibition value — Art on display.
VI Exhibition value replaces cult value — example, photography and film
VII – XI — Discusses film and compares film and the stage
XII Mechanical reproduction ushers in an age of mass consumption of art
A. In high art (art for art’s sake), the conventional is uncritically enjoyed; the new is criticized with aversion.
B. In movies (low art), enjoyment and criticism coincide.
The decisive reason for this is that individual reactions are predetermined by the mass audience response they are about to produce, and this is nowhere more pronounced than in the film. The moment these responses become manifest they control each other. Again, the comparison with painting is fruitful. A painting has always had an excellent chance to be viewed by one person or by a few. The simultaneous contemplation of paintings by a large public, such as developed in the nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means occasioned exclusively by photography but rather in a relatively independent manner by the appeal of art works to the masses.
XII. Further discussion of film as an example
XIV. Example of Dadaism in art.
XV. Quantity replaces quality
We are distracted by mass art (absorbed by it) instead of contemplating it.
example–architecture
We need to learn to be critical of reproduced art
Reading Questions
Brief summary of the essay:
From KISS of the Panopticon:
http://mirror.tranquileye.com/panop/author_B.htm#BENJAMIN
Here he argues that because of mechanical reproduction, art loses its authenticity. But this is good, because it democratizes and politicizes art. He also noted that with every stage of reproduction of an original work of art, that work loses some of its “aura.” He argued that art might help free people, not enslave them in a capitalist culture industry.
i) Culture itself transformed an into industry; art therefore commodified.
ii) Art was “successful” only when it allowed critical contemplation.
iii) Contemporary culture is how oppressive ideologies are reproduced and disseminated.
iv) New media technologies such as phonographs, epic theatre, and especially film and photography, not only destroy art’s “aura”
but demystifies the process of creating art, making available radical new access and roles for art in mass culture.
v.) The spectator becomes a participant, joins the author in the production; a collaborator.
Reading Questions:
Using Benjamin’s essay, define the following terms
authenticity (sec II) –
aura (sec II) –
cult value (sec V) –
exhibition value (sec V) –
What is the main point of each of the following sections?
I.
II.
III.
IV.
V.
VI.
XII.
XV.
In section II, Benjamin writes:
The technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced.
What does this quote mean?
In section IV, Benjamin writes:
“For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant 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 another practice–politics.”
What does this quote mean?
Benjamin argues that mass mediated art (like movies) turn off our critical thinking because we focus too much on enjoying the entertainment instead of concentrating on its quality. Do you agree or disagree? Why?