Dua Aura Pada Karya Seni: Pembacaan Awal Konsep Aura Karya Seni Menurut Walter Benjamin

2018 ◽  
Vol 5 (2) ◽  
Author(s):  
Berto Tukan
Keyword(s):  
Walter Benjamin ◽  
Work Of Art

Pemikiran Walter Benjamin tentang “Karya Seni di Masa Kemungkinan Reproduksi Teknisnya” (“The Work of Art in the Age of Its Technological Reproducibility” merupakan pemikirannya di periode kedua. Kemunculan “Karya Seni” berlandaskan pada dua hal yakni pertama, perubahan material dari karya seni itu sendiri dan kedua, keadaan politik Eropa di zaman itu. Dua hal ini memicu perdebatan Benjamin dengan Adorno serta mewarnai perubahan-perubahan atas tulisan itu sendiri yang terdiri dari tiga versi yang perubahannya dipicu oleh polemik dan perdebatan Benjamin dengan para koleganya kala itu serta perkembangan politik. ‘Aura’, merupakan konsep penting Benjamin dalam hal seni dan budaya. Media baru yang dibawa oleh perkembangan teknologi berkemampuan mengubah aparatus kognisi manusia persis karena ia punya kemampuan menghilangkan ‘aura’ tersebut. Aura adalah medium sehingga ia tidak melekat pada sebuah presentasi karya tertentu tetapi terletak pada ada subyek (pemirsa) dan obyek (karya seni). Aura, tidak terletak terutama pada tradisi tetapi hantu masa lalu yang terproyeksikan ke masa kini. Dengan demikian tentulah tidak serta merta karya seni reproduksi mekanis, yang menghilangkan batas-batas presentasinya yang kaku, menghilangkan unsur historis yang bisa digali dari sebuah karya seni. Disimpulkan bahwa ada dua jenis aura; katakanlah aura singular dan aura partikular.

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.

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.

Racial Aura: Walter Benjamin and the Work of Art in a Biotechnological Age

2007 ◽  
Vol 26 (1) ◽  
pp. 207-239 ◽  
Author(s):  
Alys Eve Weinbaum
Keyword(s):  
Walter Benjamin ◽  
Work Of Art

Allegory at the Limits of Classicism: EUGENIO MONTALE'S LA BUFERA E ALTRO

2009 ◽  
Vol 43 (2) ◽  
pp. 405-417
Author(s):  
Elias Polizoes
Keyword(s):  
James Joyce ◽  
Walter Benjamin ◽  
The Other ◽  
Work Of Art ◽  
The World ◽  
The One

This article offers a reading of the “Conclusioni provvisorie,” the last section of Eugenio Montale's La bufera e altro. It takes its lead from notion of Classicism outlined by T.S. Eliot in his 1923 review of Ulysses and argues that the recourse Montale makes to Dante in particular, and to Christian symbolism in general, is structurally akin to the parallel James Joyce draws between Homer's Odyssey and the world of the early 1920s. In Eliot's view, it is by invoking the coherence of ancient myth that a writer can lend shape and significance to the chaos of the modernity. In Montale's case, however, rather than work to organize the chaotic present according to the idealized image of form and order Classicism promises, the structural use the poet makes of Christianity serves a demythologizing function. On the one hand, it exposes how Classicism is unable to marshal the chaos of the present beyond transforming it into a work of art; on the other, it shows that ideas of order are in fact allegories of the kind elaborated by Walter Benjamin, that is to say, provisional, makeshift, and ultimately empty.

Soviet Film: The Giant Laboratory of Technological Innervation

2020 ◽  
Author(s):  
Daniel Mourenza
Keyword(s):  
Soviet Union ◽  
Walter Benjamin ◽  
Present Situation ◽  
Work Of Art ◽  
Soviet Film ◽  
Soviet Art ◽  
The Soviet Union ◽  
Art Scene ◽  
Russian Film

This chapter analyses the two articles on Soviet film that Walter Benjamin wrote after his stay in Moscow: ‘On the Present Situation of Russian Film’ (1927) and ‘Reply to Oscar A. H. Schmitz’ (1927). These early texts on film are discussed in connection with ‘The Author as Producer’ (1934) and ‘The Work of Art in the Age of Its Technological Reproducibility’ (1935–1939), for they anticipate the debate about film and the politicization of art discussed in the latter texts. This chapter also discusses Benjamin’s insights about the use and conception of technology in the Soviet Union, the different political groupings in the Soviet art scene, and his position in these debates.

scholarly journals Binding logics in art

2017 ◽  
Vol 31 ◽  
pp. 271-286
Author(s):  
Sílvia Pinto ◽  
Moisés de Lemos Martins
Keyword(s):  
Historical Perspective ◽  
Walter Benjamin ◽  
Media Images ◽  
Work Of Art ◽  
Media Image ◽  
Multiple Realities ◽  
Art Objects ◽  
The Future ◽  
Present Context ◽  
Artistic Function

The work of art produced in its origins was only much later recognized as such. Similarly, the artistic function of current art objects in the future may become accidental again. In fact, at no time has art ever answered exclusively to aesthetic demands. From these assumptions by Walter Benjamin (1936-1939/1992), we will attempt to apply to art the concepts of “binding” (original of ethology) and of “linking networks” (used in neuroscience) to explain distinctive aspects of image metaphysics, shared by art and religion. From a historical perspective, we will attempt to show the evolution of art in three main binding logics: art as a magical activity (also in relation to index logic); art as mimesis; and art as language. The image, or rather the multiple realities we call “image”, takes each one of these links, in an exchanging or simultaneous way, since image is their heiress. Taking into account the present context of media images hypervisibility, we aim, with this study, to show the importance of art and its mythical-religious ascendance in what concerns media image redefinition.

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>

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