Notes: Walter BJ

Art works have always been reproduced, but the change in the method of production from hand produced to mechanically creates a change in the artistic medium.

Mechanical reproduction of a work of art, -represents something new. Historically, it advanced intermittently and in leaps at long intervals, but with accelerated intensity. This type of reproduction increased expotentially from its inception. but what is lacking when a work is reproduced, and reproduced with out the touch of the artist, but by machines? "Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be."

Does Benjamin believe it is the fact the the work is born in a machine which prevents it from being attached from space and time? Because it wasn't born using the time delegated to the artist to copy or produce it?

"The presence of the original is the prerequisite to the concept of authenticity."

"And photographic reproduction, with the aid of certain processes, such as enlargement or slow motion, can capture images which escape natural vision. Secondly, technical reproduction can put the copy of the original into situations which would be out of reach for the original itself. Above all, it enables the original to meet the beholder halfway, be it in the form of a photograph or a phonograph record. The cathedral leaves its locale to be received in the studio of a lover of art; the choral production, performed in an auditorium or in the open air, resounds in the drawing room." The photographic is an example where the work of art can gain more than the original. It can be viewed far from its creation, and it can be modified in a way that may differ from the original due to printing techniques.

a reproduced work of art: the most sensitive nucleus is its AUTHENTICITY. A natural object is not vulnerable to losing its authenticity, but "The authenticity of a thing is 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."

a work of art gives testimony to the duration of its life, and to the history that it has come through. but what happens to that story of history when the work is mechanically reproduced?

Reproduction jeopardises the historical testimony of the work, and the authority of the object. By Losing this authority, and history, the object loses its Aura. "And what is really jeopardised when the historical testimony is affected is the authority of the object. that which withers in the age of mechanical reproduction is the AURA of the work of art"

With the visibility that the work is not an original, there is a risk in changes in perception and ability to experience the aura or original

"During long periods of history, the mode of human sense perception changes with humanity's entire mode of existence."

the loss of an aura of a work can be an evaluation in the social changes that have taken place over the time between the works creation, and its long delayed review.

'And if changes in the medium of contemporary perception can be comprehended as decay of the aura, it is possible to show its social causes.'

increasing significance of the masses in contemporary life: a priority for a closeness to things, spatially and humanly, over uniqueness. meaning, the increase of things mechanically reproduced which may lack aura may be more appropiately suited for the current culture because socially, we are yearning for closeness, and relatedness and less of a need for historical context, and aura.

"This tradition itself is thoroughly alive and extremely changeable. An ancient statue of Venus, for example, stood in a different traditional context with the Greeks, who made it an object of veneration, than with the clerics of the Middle Ages, who viewed it as an ominous idol". Perception of certian works and objects evolve with the time and with the culture.

"An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual."

But if you take the ritual out of the work of art, or its religious use, or its symbolic intention, then the object can be perverted and used in a manor in which it was never intended