Decay of aura comes from a desire of masses to bring things closer both spatially and humanly new significance of the masses , b desire to overcome every reality by accepting its reproduction — original includes uniqueness and permanence, instant reproduction includes reproducibility and transitoriness; sense of the universal equality of things postmodern — image precedes the real.
Mechanical reproductions frees art from ritual cults. Cult: ritual function original — use value as basis of value of authenticity. So, instead of basing art on ritual, it is based on other forces, e.
Exhibition value differs from cult value. New functions, therefore, take over works, artistic function becomes incidental.
- The Work of Art in the Age of Mechanical Reproduction : Walter Benjamin : ?
- Signaling in high-performance memory systems;
- The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin.
Cult resistance fails. Has Art changed its nature?
Film: early film theorists Arnheim try to defend film as art, i. Film is a type optical testing. Shot - arranged reactions [e.
You are the event. The camera penetrates reality.
Sadaam Statue , then making a pure spectacle. Enjoyment is inseparable from criticism.
Summary of Walter Benjamin
German Expressionism. Film is analytical perception. London: Fontana. Ways of Seeing.
Walter Benjamin and the Political Practices of the Alt-right
Penguin Books, London, , pp. Categories : Social philosophy Aesthetics literature essays Essays in literary theory Works about avant-garde and experimental art Works by Walter Benjamin Contemporary philosophical literature Books in philosophy of technology. Hidden categories: All articles with dead external links Articles with dead external links from June Articles with permanently dead external links Articles with short description Articles with German-language external links.
Walter Benjamin: Art, Aura and Authenticity | Ceasefire Magazine
Philosophy portal Sociology portal. Each convolute is matched with a single art work, turning each piece into a kind of illustration of the concept Benjamin was exploring.
At times the three-room space feels like a clutter, and some of the smaller pieces on display—two delicate Walker Evans photos, for instance—feel smothered by the copious commentary. But this overload also feels appropriate to Benjamin—more text surrounds us than we can reasonably process. The most successful associations allow work and concept to illuminate one another.