scholarly journals Aura dalam Reproduksi Digital: Membaca Ulang Walter Benjamin

2020 ◽  
Vol 19 (2) ◽  
pp. 115
Author(s):  
Fransisco Budi Hardiman
Keyword(s):  
Key Words ◽  
New Technologies ◽  
Walter Benjamin ◽  
The Internet ◽  
Work Of Art ◽  
Mass Consumption ◽  
Mechanical Reproduction ◽  
Political Function ◽  
Digital Reproduction ◽  
Modern Work

<p><em>Walter Benjamin’s essay, The Work of Art in the Age of Mechanical Reproduction (1939), has revealed the fundamental changes of modern work of art affected by its mechanical reproduction. Camera, tape recorder, print machine have turned the work of art to be mass consumption, autonomous from tradition and ritual, and it has now a political function. According to Benjamin all of those new technologies have faded up the aura since the work of art lost its authenticity and its uniqueness. We are in the different era than Benjamin’s because nowadays digital reproduction by means of the internet ends the need of medium for the work of art, multiply and spread it very rapidly. The author comments on Benjamin’s analysis and applies it to discuss the ontological, epistemological, and axiological issues of the work of art in the age of digital reproduction. He argues that in the digital age the work of art will be still auratic if it reveals ‘the extraordinary’ in the experience of our humanity.</em></p><p><em> </em></p><p><strong>Key words</strong>:<em> aura, hyperpolitization, work of art, medium, attention, digital reproduction </em></p>

MacSong: Karaoke and the Academy

Prospects ◽  
2004 ◽  
Vol 28 ◽  
pp. 627-638
Author(s):  
Jeffrey Gray
Keyword(s):  
Original Work ◽  
New Technologies ◽  
Walter Benjamin ◽  
The Other ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
Other Hand ◽  
The Press ◽  
New Directions ◽  
Movie Star

When Walter Benjamin wrote this sentence in the 1930s, he had in mind both the new directions of the press, which was opening more and more spaces in which its readers could write, and the new films and newsreels, where “any man today can lay claim to being filmed” (“Work of Art,” 233) and where, rather than actors, “people … portray themselves” (234; emphasis Benjamin's). Benjamin's attitude toward this collapse of the distinction between author and public was ambivalent. Phrases such as “the phony spell of a commodity” (233), to describe the cult of the movie star, suggest his nostalgia for a time when the aura of the “original” work of art had not yet begun to decay. On the other hand, his idea that “mechanical reproduction emancipates the work of art from its parasitical dependence on ritual” (226) pointed enthusiastically to the new technologies as part of a liberationist meta-narrative.

The Work of Art in the Age of Mechanical Production

2009 ◽  
pp. 2325-2336
Author(s):  
Thomas B. Cavanaugh
Keyword(s):  
General Population ◽  
Walter Benjamin ◽  
Work Of Art ◽  
Cultural Changes ◽  
Mechanical Reproduction ◽  
Artistic Collaboration ◽  
Electronic Distribution ◽  
Low Threshold

When Walter Benjamin wrote his famous essay The Work of Art in the Age of Mechanical Reproduction, he shone a light on the cultural changes inherent in technology’s ability to infinitely reproduce and distribute art. One of the important consequences of this development was the democratization of art’s availability, allowing the general population to experience artwork that they would otherwise be unable to access. Now technology has advanced to a point where not only is art’s reproduction available to anyone who wants it, its very production is now accessible to almost everyone, even if the prospective artist is utterly devoid of training, expertise, or even talent. With software-based artistic assistance and low-threshold electronic distribution mechanisms, we have achieved the promise of Benjamin’s blurred distinction between artist and audience. As a result, the process by which art is produced has now been democratized, resulting in legitimate questions regarding quality, taste, and the legitimacy of authorship in a human-technological artistic collaboration.

scholarly journals Walter Benjamin at the City Library of Berlin: The New Library as Incident Room

Images ◽  
2019 ◽  
Vol 12 (1) ◽  
pp. 97-121 ◽  
Author(s):  
Jonathan Bordo
Keyword(s):  
Walter Benjamin ◽  
The Internet ◽  
Short Term ◽  
Rational Justification ◽  
Wim Wenders ◽  
Works Of Art ◽  
Digital Reproduction ◽  
The City

Abstract This article pairs Bibliothek, a memorial in Berlin against the Nazi book-burning of May 10, 1933, with the library in Wim Wenders’ film Der Himmel über Berlin (1987) as sites to reflect on loss with the disappearance of material books from the library and the conversion of libraries into information centers in the era of the internet and digital reproduction. It explores loss by taking up arguments of Walter Benjamin concerning artworks and by applying his theory of loss to books that exist, unlike works of art, only because of mass technical reproduction. It then examines how to argue for loss in ontological and even civilizational terms, especially when the rational justification for the massive clearance of books is justified by the short-term utilitarian calculus of benefit and gain that determines that there is no loss at all. By way of conclusion, it offers a sketch of the new library as having heightened responsibilities in the pursuit of truth as a center for documentation akin to an incident room at the scene of a crime. In this regard, the Topography of Terror Documentation Center on Wilhelmstrasse in Berlin on the site of the former Gestapo Headquarters is both a paradigm and a beacon.

Having the sceptre: Wu-Tang Clan and the aura of music in the age of digital reproduction

Popular Music ◽  
2017 ◽  
Vol 36 (3) ◽  
pp. 427-440 ◽  
Author(s):  
Ben Green
Keyword(s):  
Popular Music ◽  
Digital Technology ◽  
Hip Hop ◽  
Walter Benjamin ◽  
Mechanical Reproduction ◽  
Mass Reproduction ◽  
Digital Reproduction ◽  
Mixed Responses ◽  
Commodity Form

AbstractHip hop group Wu-Tang Clan sold only one, expensive copy of their album, Once Upon A Time in Shaolin. This exemplifies recent strategies by popular music artists to establish their work as art, with what Walter Benjamin calls ‘aura’, in response to the accessibility and dematerialisation enabled by digital technology as well as longstanding cultural condescension. Critics argue that popular music should not be restricted but shared, with digital technology increasing opportunities for shared consumption. This article considers the fate of music's aura in the age of mechanical reproduction, arguing that it does not disappear but is dispersed and diversified. The digital acceleration of mass reproduction has drawn mixed responses from artists, fans and commentators, and Shaolin and similar projects show how the separation of music from its physical commodity form has brought renewed attention to perennial tensions between the popular, artistic and commercial aspects of popular music.

scholarly journals Always the real the thing?

Bulletin KNOB ◽  
2020 ◽  
pp. 26-31
Author(s):  
Lara Schrijver
Keyword(s):  
Urban Planning ◽  
Digital Age ◽  
Work Of Art ◽  
New Techniques ◽  
Algorithmic Approach ◽  
Image Reproduction ◽  
Mechanical Reproduction ◽  
Artistic Production ◽  
Digital Reproduction ◽  
Tools And Techniques

Walter Benjamin’s famous 1935 essay ‘The Work of Art in the Age of Mechanical Reproduction’ addresses the authenticity of a work of art as something beyond the merely material and technical. Benjamin constructs a broader notion of authenticity that includes ‘the life of things’ and is related to new techniques in artistic production. This broader sense of authenticity is used here to explore how it may help us to understand architecture in the age of digital reproduction. Two aspects of authenticity in Benjamin’s article are discussed: process reproduction and image  reproduction. In process reproduction, authenticity is transformed through the mediation of technical procedures. Benjamin’s analysis of photography and film is a seminal version of how the digital age raises new questions through tools and techniques such as programs, coding and algorithms. The work of Kees Christiaanse in collaboration with Ludger Hovestadt provides an example of an increasingly algorithmic approach to urban planning. In image reproduction, the question of authenticity revolves around the increasing proliferation of images. In this context, the Wangjing soho complex by Zaha Hadid and its apparent imitation by a Chinese developer proves illuminating. These projects show aspects of the changing conditions of the digital age, in which new techniques of realization may transform current notions of authenticity.

scholarly journals Formation of Space, Experience and Thought: A Critical Study of Ambedkar’s Biopic Bhim Garjana

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Sudhir Mehra ◽  
Keyword(s):  
Walter Benjamin ◽  
Cultural Discourse ◽  
Critical Study ◽  
National Discourse ◽  
Work Of Art ◽  
Visual Texts ◽  
Mechanical Reproduction ◽  
Ideological Discourse ◽  
Visual Text ◽  
Definition Of

In his 1936 essay “The Work of Art in the Age of Mechanical Reproduction”, Walter Benjamin establishes that it is the ‘aestheticization of politics’ or ‘politicization of art’ which streamlines the cultural discourse of a nation at a given moment. The present paper attempts to critically analyze the ‘politics of visuality’ vis-à-vis ‘visuality of politics’ as an elemental framework in the making of Indian national discourse. To understand or rationalize this elemental framework, the paper postulates its hypothesis, that the politicization of art is a valid inquiry into how a certain ideological discourse is pre-selected and pre-programmed with a certain grid of features and structures of perception. It is this ideological discourse that needs to be exposed through a visual text namely, Vijay Pawar’s Bhim Garjana. This visual text broadly represents what Kancha Illaiah terms the Ambedkarite phase of Dalit history spanning over two decades – 1936-1956[i]. Bhim Garjana is an aesthetic artifact directed by a Dalit himself – an ‘insider’s’[ii] document on Ambedkar’s life and philosophy. There have so far been three films on Ambedkar including Bhim Garjana, one directed by Jabbar Patel titled Dr. Babasaheb Ambedkar (2000) and second by Anand Patwardha titled Jai Bhim Comrade (2011). All the visual texts though do not follow the definition of biopic strictly, but more or less, the paper places them in the category of biopics. Each text focuses on the life and struggle, both in historical and ideological terms, of Ambedkar.

scholarly journals A reprodutibilidade técnica da obra cinematográfica – representação ou clonagem: uma análise crítica de um conceito básico de Walter Benjamin

2018 ◽  
Vol 8 ◽  
pp. 285-298
Author(s):  
Georg Otte
Keyword(s):  
Infinite Number ◽  
Walter Benjamin ◽  
Work Of Art ◽  
Mechanical Reproduction ◽  
Aesthetic Distance ◽  
Aesthetic Concepts

Resumo: A reprodução técnica da obra de arte, um dos conceitos estéticos mais citados de Walter Benjamin, evidencia-se como um conceito ambíguo quando submetido a uma análise mais meticulosa. Este artigo visa mostrar que, para Benjamin, a “reprodução técnica” de uma fotografia ou de um filme significa duas coisas ao mesmo tempo: em primeiro lugar, a eliminação de qualquer distância estética entre o objeto e sua representação e, em segundo lugar, a multiplicação (clonagem) dessa representação na forma de um número infinito de cópias. A não-diferenciação entre os dois processos e sua fundição no termo reprodução corre o risco de resultar em alguns mal-entendidos.Palavras-chave: Walter Benjamin; reprodução; representação; arte.Abstract: The mechanical reproduction of the work of art, one of the most quoted aesthetic concepts of Walter Benjamin, turns out to be ambiguous when submitted to a closer analysis. The following article aims to show that for Benjamin the “mechanical reproduction” of a photograph or a film means two things at the same time: first, the elimination of any aesthetic distance between the object and its representation and, second, the multiplication (“cloning”) of this representation in an infinite number of identical copies. The non-differentiation between the two processes and their fusion in the term of reproduction may result in some misunderstandings.Keywords: Walter Benjamin, reproduction, representation, art.

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