1. Angelica Spilis
Research Methods in Dance
Response week 9
Starting with Walter Benjamin’s article The Work of Art in the Age of Mechanical Reproduction
he attempts to mark something particular about the modern age and the effects on work of art. He
discusses the change and the effects of modernity in the twentieth century with the existence of
film, photography and the shifts within humanity with the way we perceive visual work of art.
Benjamin discusses the loss of aura through the mechanical reproduction of art and the aura
represents uniqueness and authenticity of a work of art that has not been reproduced. A painting
would be considered an aura, an original work of art, and a photograph would only mimic
something original; a mere duplication.
What does it mean when the aura is lost? The spirit, luminosity and spontaneity; the true essence
of the object and its function are lost within the work of art itself. Even though we don’t
necessarily notice or perceive that this is happening, it becomes universal and the removal of
authority within the original work of art intervenes with what we perceive. Through that we can
say this is radical and also totalitarian because this guides humanity to a specific side of the story
while leaving other parts out. Benjamin explains that “During long periods of history, the mode
of human sense perception changes with humanity’s entire mode of existence” (Benjamin: 222).
Simply put, the mode in which we view a work of art is influenced and restricted by our
everyday lives and access to art.
One example would be viewing movies or artwork in a gallery. We are limited to the perception
of the creator and do not have access to experience the original work of art because we are
viewing the art through a medium. The medium would be described as the artist’s point of view,
where we have no freedom to explore outside of what is set before us. However, as stated by
Benjamin “ If, while resting on a summer afternoon, you follow with your eyes a mountain range
on the horizon or a branch which casts its shadow over you, you experience the aura of those
mountains, of that branch” (Benjamin: 222-223). Here, the mountain range and shadows cast by
the branch are completely in your control, giving the art its aura; unfiltered and original.
Benjamin makes it apparent that the aura is dead and only exists within a mythological space and
now everyone can just go to a gallery, theater, museum or cinema. This new age of mechanical
reproduction changed in such a way that humanity can no longer reflect on the work of art
because it is always changing. How can we reflect back after the work of art aura is lost and what
does this mean for us? I strongly feel this means that humanity has to start perceiving a work of
art through our own eyes instead of through someone else’s transparent material such as camera
lenses.
2. In Ernst Bloch’s article Discussing Expressionism and Georg Lukcas’s Realism in the Balance
we discover that there is a conflict between Bloch and Lukas on “Expressionism.” Lukas on one
hand feels that expressionism is a movement with revolutionary power and radical political
movement which therefore Bloch strongly disagrees. Lukas believes that expressionism is a part
of fascism, which is a form of radical movement. In class we discussed how humanity is
surrounded by fascism and we don’t even recognize it and aren’t aware when it is happening. For
example, we disused that the Federal Government shutdown is a part of fascism even though the
government doesn’t come out and says that it is humanity should be able to realize this and that
we were in a capitalism crisis.
In this case I can agree with Lukas because could the government feel that they can express
themselves in any way they want because they are in control and cause the nation to suffer the
outrageous and unfair consequences. Will the government ever realize when they are being pro
fascist and being the main cause of fascism? Though we may live in a nation of democracy, it is
evident that humanity and the government are not treated like equals. Perhaps “Expressionism”
all comes down to power and how much power one has over everyone else.
Bloch discusses a fascinating point that throughout Lukas’s article he doesn’t once mention that
now where to be found is a single Expressionist painter. Bloch finds this tremendously surprising
because he states that “Expressionism” is an enormous part of linking paintings and literature.
Bloch states that “Reference to the painters, moreover, would have had the additional advantage
of making it harder to dismiss Expressionism, so categorically, for some of their pictures have a
lasting importance and greatness” (Bloch: 18). Therefore, Bloch doesn’t understand how Lukcas
could have forgotten such an important part of “Expressionism” and that painters during this
period made unforgettable works of art.
I became incredibly interested in what Bloch was saying about how important painters are to
“Expressionism” so I performed some research for myself. When I looked up “Expressionism”
many paintings appeared such as The Scream by Edvard Munch, Starry Night by Vincent van
Gogh and View of Toledo by El Greco just to name a few. I began to think o myself how could
Lukcas forget about this because not only are painting important to “Expressionism”, but they
are beautiful It seems rather abnormal to me that Lukcas did not recognize this or even discuss it
in his article.
In conclusion, I agree with Benjamin, Bloch and Lukas because they all make extraordinary,
compelling points that I can connect with as the reader. The aura of the work of art shouldn’t
slowly expire and the importance of “Expressionism” shouldn’t be forgotten, but everyone has
their own opinion that should be taken into consideration.
