The Work of Art in the Age of Mechanical Reproduction
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| - | [http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [May 2007] | + | '''''The Work of Art in the Age of Mechanical Reproduction''''' is a [[1936]] essay by German cultural critic [[Walter Benjamin]], which has been influential in the fields of [[cultural studies]] and [[media influence|media theory]]. It was produced, Benjamin wrote, in the effort to describe a theory of art that would be "useful for the formulation of revolutionary demands in the politics of art". In the absence of any traditional, ritualistic value, art in the age of mechanical reproduction would inherently be based on the practice of politics. It is the most frequently cited of Benjamin's essays. [http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [May 2007] |
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| + | ==Translation of title== | ||
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| + | Although the essay is commonly referred to as "The Work of Art in the Age of Mechanical Reproduction", a better translation of the original German title might be "The Work of Art in the Age of Its Technological Reproducibility" (Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit). | ||
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| + | ==Aura == | ||
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| + | Benjamin used the word "aura" to refer to the sense of awe and reverence one presumably experienced in the presence of unique works of art. According to Benjamin, this aura inheres not in the object itself but rather in external attributes such as its known line of ownership, its restricted exhibition, its publicized authenticity, or its cultural value. Aura is thus indicative of art's traditional association with primitive, feudal, or bourgeois structures of power and its further association with magic and (religious or secular) ritual. With the advent of art's mechanical reproducibility, and the development of forms of art (such as film) in which there is no actual original, the experience of art could be freed from place and ritual and instead brought under the gaze and control of a mass audience, leading to a shattering of the aura. "For the first time in world history," Benjamin wrote, "mechanical reproduction emancipates the work of art from its parasitical dependence on ritual."[http://bid.berkeley.edu/bidclass/readings/benjamin.html] | ||
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| + | ==Politics of Art== | ||
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| + | Other [[Frankfurt School]] writers, most notably Benjamin's friend [[Theodor Adorno]], worried about the resulting "distracted" relation to art characteristic of mass consumption, and argued that in losing the aura, we had also lost a space for potentially revolutionary reflection and imagination. In contrast, Benjamin argued that the withering of the aura was a more complicated historical development, an ambiguous force that also had the potential for democratizing both access to cultural objects and a critical attitude toward them. "Instead of being based on ritual, [art] begins to be based on another practice - politics." For Benjamin, the politicization of art should be the goal of [[Communism]]; in contrast to [[Fascism]] which aestheticized politics for the purpose of social control. | ||
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| + | == See also == | ||
| + | *[[Mass production]] | ||
| + | *[[Theodor Adorno]] | ||
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The Work of Art in the Age of Mechanical Reproduction is a 1936 essay by German cultural critic Walter Benjamin, which has been influential in the fields of cultural studies and media theory. It was produced, Benjamin wrote, in the effort to describe a theory of art that would be "useful for the formulation of revolutionary demands in the politics of art". In the absence of any traditional, ritualistic value, art in the age of mechanical reproduction would inherently be based on the practice of politics. It is the most frequently cited of Benjamin's essays. [1] [May 2007]
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Translation of title
Although the essay is commonly referred to as "The Work of Art in the Age of Mechanical Reproduction", a better translation of the original German title might be "The Work of Art in the Age of Its Technological Reproducibility" (Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit).
Aura
Benjamin used the word "aura" to refer to the sense of awe and reverence one presumably experienced in the presence of unique works of art. According to Benjamin, this aura inheres not in the object itself but rather in external attributes such as its known line of ownership, its restricted exhibition, its publicized authenticity, or its cultural value. Aura is thus indicative of art's traditional association with primitive, feudal, or bourgeois structures of power and its further association with magic and (religious or secular) ritual. With the advent of art's mechanical reproducibility, and the development of forms of art (such as film) in which there is no actual original, the experience of art could be freed from place and ritual and instead brought under the gaze and control of a mass audience, leading to a shattering of the aura. "For the first time in world history," Benjamin wrote, "mechanical reproduction emancipates the work of art from its parasitical dependence on ritual."[2]
Politics of Art
Other Frankfurt School writers, most notably Benjamin's friend Theodor Adorno, worried about the resulting "distracted" relation to art characteristic of mass consumption, and argued that in losing the aura, we had also lost a space for potentially revolutionary reflection and imagination. In contrast, Benjamin argued that the withering of the aura was a more complicated historical development, an ambiguous force that also had the potential for democratizing both access to cultural objects and a critical attitude toward them. "Instead of being based on ritual, [art] begins to be based on another practice - politics." For Benjamin, the politicization of art should be the goal of Communism; in contrast to Fascism which aestheticized politics for the purpose of social control.
