User:Emily/RW&RM/Trimester 02/02: Difference between revisions

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why would you do a digital photo book
'''Annotation'''
why photo book
official / typical in Holland
help to get to text/news/events
tell story in different way
coffee table book
specific character of photo book
 
the experience of going through a book
flip the page - different interaction
book - linear
generate their own book via keyword
digital generated book with physical outcome
physical manifestation
 
Anymeric Man; digital information presented in material form
Codex 
archive digital content
make a photo book with just metadata
 
Martin Brink (animated gif)
Grass
 
can a website be a book
books:  borders
 
worm last year book
greyscalepress.com
Chinese Hackers—- data hemmer
 
p-dpa.net
boem
sebastianschmieg,com
 
any books with photos are photo books?
 
travel book without really travelling with only found images
 
on the sunset strip by Edward Ruscha
 
search by image
 
Agrippa (a book of the dead)
 
james patteron’s  self-destruct after 24 hours
 
factory records sandpaper
 
 
 
digital book idea:
page hyperlink to another (unstable) page
keywords as hyperlink
once a keywords being clicked then they are deleted
 
narrative
etherpath
 
 
 


''''The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin 1936''''


I PAGE ONE <br>
I PAGE ONE <br>

Revision as of 23:41, 25 January 2015

Annotation

'The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin 1936'

I PAGE ONE

A work of art has always been reproduced in order to help practice, diffuse, pursuit of gain etc. Mechanical reproduction of a work of art represents something new. When lithography began to keep pace with printing, it surpassed by photography, the same situation being revealed, when the pictorial reproduction could keep pace with speech, it foreshadowed the sound film. The technical reproduction had reached a standard that not only permitted it to produce all transmitted works of art and thus cause the most profound change in their impact upon the public.

II PAGE TWO
History and authenticity demands for presence of the original, because even the most perfect reproduction of a work of art lacks of its presence in time and space, what’s more, the authenticity of a thing is the essence of all that is transmissible and historical testimony rests on the authenticity. However, technical reproduction is more independent and can make copies out of its own context but enables the original to meet the beholder halfway. Making many reproductions leads to a circle shattering the tradition, within which a plurality of copies substitute for a unique existence by making reproductions, and then it reactivates reproductions after permitting reproduction to meet audiences in its own particular situation. Film is the most representative agent, liquidating of the traditional value of the cultural heritage.

III PAGE THREE
Human sense perception changes by nature and more historical circumstances. Social transformations are expressed by these changes of perception. the aura decays in the contemporary bases. It is revealed in two circumstances, the desire of contemporary masses to bring things closer spatially and humanly; overcoming the uniqueness of every reality by accepting its reproduction.

IV PAGE FOUR
The aura of art works as its uniqueness has its basis in ritual, the location of its original use value. Whereas, art reacted with a theology, it gave rise to pure art.
to be continue