User:Pleun/rwrs/de Mul and Plato: Difference between revisions
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The work of art in the age of digital recombination | == The work of art in the age of digital recombination == | ||
Jos de Mul (2008)<br /> | ''Jos de Mul (2008)''<br /> | ||
→ Walter Benjamin (1936)<br /> | → ''Walter Benjamin (1936)''<br /> | ||
“... mechanical reproduction.”<br /><br /> | “... mechanical reproduction.”<br /><br /> | ||
''Describes three ages with all three different ways of valuing art.'' <br /><br /> | |||
== Cult Value == | === Cult Value === | ||
Age of historical authenticity<br /> | Age of historical authenticity<br /> | ||
first artworks originated in service of (religious) ritual function <br /><br /> | first artworks originated in service of (religious) ritual function <br /><br /> | ||
aura: auratic work serves as interface between physical materiality and it’s meaningful history. <br /> | ''aura:'' auratic work serves as interface between physical materiality and it’s meaningful history. <br /> | ||
uniqueness in time and place<br /> | uniqueness in time and place<br /> | ||
unique phenomenon of distance no matter how close the work may be | unique phenomenon of distance no matter how close the work may be | ||
== Exhibition Value == | === Exhibition Value === | ||
Age of mechanical reproduction <br /> | Age of mechanical reproduction <br /> | ||
loss of aura<br /> | loss of aura<br /> | ||
| Line 26: | Line 25: | ||
== Manipulation Value == | === Manipulation Value === | ||
Age of digital recombination<br /> | Age of digital recombination<br /> | ||
what is art<br /> | what is art<br /> | ||
| Line 34: | Line 33: | ||
political but also reflective. reflect on the politics of manipulation. <br /><br /> | political but also reflective. reflect on the politics of manipulation. <br /><br /> | ||
databases: any collection of ordered items | ''databases:'' any collection of ordered items | ||
all media artworks share some basic <br /><br /> | all media artworks share some basic <br /><br /> | ||
characteristics: | ''characteristics:'' add, browse, change, destroy <br /><br /> | ||
add, browse, change, destroy <br /><br /> | |||
as soon as database play becomes a goal in itself, it becomes an autonomous work of art <br /><br /> | as soon as database play becomes a goal in itself, it becomes an autonomous work of art <br /><br /> | ||
| Line 48: | Line 46: | ||
Nostalgia of Walter Benjamin to aura isn’t necessary <br /><br /> | Nostalgia of Walter Benjamin to aura isn’t necessary <br /><br /> | ||
Notes: <br /> | ''Notes:'' <br /> | ||
Al discourse networks are control mechanisms <br /> | Al discourse networks are control mechanisms <br /> | ||
produce different forms of subjectivity<br /><br /> | produce different forms of subjectivity<br /><br /> | ||
discourse: | ''discourse:'' seperation <br /><br /> | ||
seperation <br /><br /> | |||
Nietzsches relation to the typewriter <br /> | Nietzsches relation to the typewriter <br /> | ||
Latest revision as of 21:15, 8 November 2015
The work of art in the age of digital recombination
Jos de Mul (2008)
→ Walter Benjamin (1936)
“... mechanical reproduction.”
Describes three ages with all three different ways of valuing art.
Cult Value
Age of historical authenticity
first artworks originated in service of (religious) ritual function
aura: auratic work serves as interface between physical materiality and it’s meaningful history.
uniqueness in time and place
unique phenomenon of distance no matter how close the work may be
Exhibition Value
Age of mechanical reproduction
loss of aura
identical copies
easy acces
neither can be hailed as cultural progress
nor doomed as cultural decline: simply a new way
Manipulation Value
Age of digital recombination
what is art
return of aura
versions of the work
political power in extend of openness for manipulation not only ditigitally recombined to be
political but also reflective. reflect on the politics of manipulation.
databases: any collection of ordered items
all media artworks share some basic
characteristics: add, browse, change, destroy
as soon as database play becomes a goal in itself, it becomes an autonomous work of art
Non-human character of the new medium we invented
Human beings might be first species that creates its own succesors in the evolutions of life and by doing so making itself redundant.
Alienation: seperation between medium and body
inaccesablity
Nostalgia of Walter Benjamin to aura isn’t necessary
Notes:
Al discourse networks are control mechanisms
produce different forms of subjectivity
discourse: seperation
Nietzsches relation to the typewriter
program or be programmed
production of knowledge is at stake