• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content




For ARIN6903, Exploring Digital Cultures, MDCC, The University of Sydney.

For ARIN6903, Exploring Digital Cultures, MDCC, The University of Sydney.



Total Views
Views on SlideShare
Embed Views



1 Embed 1

http://www.whiycmedia.com 1



Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
Post Comment
Edit your comment

    Arin6903(walterbenjamin) Arin6903(walterbenjamin) Presentation Transcript

    • The Work of Art in the Age of Mechanical Reproduction (1935)Walter Benjamin
      César Albarrán Torres
    • Works of art have always been reproducible (replicas for training, diffusing work and monetary gain), but mechanical reproduction is new.
      Lithography: new stage as it enabled graphic art to illustrate everyday life.
      Reproduction acquires place of its own in artistic process. Warhol, Posadas and others understood this.
    • The many faces of Monalisa
    • What a reproduction lacks…
      Presence in time and space (how do we define these in the 21st century)?
      History of ownership and physical condition.
      Authenticity: “The whole sphere of authenticity is outside technical– and of course, not only technical.” (Benjamin, 1935: 214)
      The quality of the presence and the historical testimony of a work of art is depreciated.
    • Where does digital reproduction fit?
      “Process reproduction is more independent of the original than manual reproduction.” (Ibidem)
      “[…] technical reproduction can put the copy of the original into situations which would be out of reach for the original itself.” (Ibidem)
    • Did Michelangelo intend this?
    • Aura
      “[…] that which withers in the age of mechanical reproduction is the aura of the work of art.” (Benjamin, 1935: 215)
      Aura: “uniqueness of a work of art”, “inseparable from its being imbedded in the fabric of tradition”.
      A work of art is never separated from its “ritual function”.
    • Aura: a psychotic example
    • Resonance in the digital age
      “It is easier to exhibit a portrait bust that can be sent here and there than to exhibit a statue of a divinity that has its fixed place in the interior of a temple.” (219)
      “In photography, exhibition value begins to displace cult value all along the line.”(Ibidem)
      Film actor: “His creation is by no means all of a piece, it is composed of many different performances.” (Ibidem)
    • Resonance in the digital age
      “Thus, the distinction between author and public is about to lose its basic character […] the reader gains access to authorship.” (Benjamin, 1935)
      Produsage(2008): “Users who participate in […] processes of massively parallelized and decentralized creativity and innovation in myriads of enthusiast communities do no longer produce content, ideas, and knowledge in a way that resembles traditional, industrial modes of production” (Bruns, 2008) For extended, updated information visit: www.produsage.org
    • Massive simultaneous reception
      “Simultaneous collective experience” Benjamin identified in film, multiplied by X factor in the Internet.
      www.fat-pie.comFlash animations by David Firth, reproduction part of aura.
    • Original?
      What is the original work of art in digital creations? Does the aura still exist?