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'''The Work of Art in the Age of Mechanical Reproduction (1936) by Walter Benjamin''' | '''The Work of Art in the Age of Mechanical Reproduction (1936) by Walter Benjamin'''<br> | ||
'''The work of art in the age of digital recombination (2008) by Jos de Mul''' | '''The work of art in the age of digital recombination (2008) by Jos de Mul'''<br> | ||
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In | In Walter Benjamin's text, he puts forward that '''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'''; like for example, 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. <br> <br> | ||
So as to say, '''the value being produced in different phase of technology development varies'''. Benjamin applies the concept of aura to cult images as well as natural objects. A major quality of the cult image is its unapproachability. We might say that the auratic work of art acts as an interface between the sensible and the supersensible and the material signifier and the spiritual meaning are inseparably linked with on another. In the media of mechanical reproduction the whole distinction between original and copy loses its meaning. The value in photography and film, contradictory to cult works, is precisely situated in the endless reproduction of the copies. In this epochal essay Benjamin investigates how mechanical reproduction transforms the work of art, claiming that in this ontological transformation the cult value, which once characterized the classical work of art, has been replaced by exhibition value. Jos de Mul points our in his assay that in the age of digital recombination, in this transformation the exhibition value is being replaced by what we might call manipulation value.<br> | |||
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Revision as of 12:19, 18 February 2015
The Work of Art in the Age of Mechanical Reproduction (1936) by Walter Benjamin
The work of art in the age of digital recombination (2008) by Jos de Mul
In Walter Benjamin's text, he puts forward that 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; like for example, 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.
So as to say, the value being produced in different phase of technology development varies. Benjamin applies the concept of aura to cult images as well as natural objects. A major quality of the cult image is its unapproachability. We might say that the auratic work of art acts as an interface between the sensible and the supersensible and the material signifier and the spiritual meaning are inseparably linked with on another. In the media of mechanical reproduction the whole distinction between original and copy loses its meaning. The value in photography and film, contradictory to cult works, is precisely situated in the endless reproduction of the copies. In this epochal essay Benjamin investigates how mechanical reproduction transforms the work of art, claiming that in this ontological transformation the cult value, which once characterized the classical work of art, has been replaced by exhibition value. Jos de Mul points our in his assay that in the age of digital recombination, in this transformation the exhibition value is being replaced by what we might call manipulation value.