Opener
Clip and paste your responses to the Benjamin essay from "Benjamin.respond" here.
After others' responses have begun to appear, read a few and comment on their thinking.
. .
Jason Booth:
Benjamin is usually associated with the Marxist critical tradition; what does "Marxist"
mean and where do you see that affiliation surfacing in the essay?
A Marxist critical tradition for me means a history of critical thought which centers
around the framing of social movements in terms of economic stratifications. Whew,
I don't like the form of what I just wrote, but it's the best I can do on such short
notice.
Do you find that this particular attitude or turn of mind (Marxism) appears elsewhere
in the essay? Could this pattern of moves be called a "motif," and if so, what is
the upshot of this pattern?
Benjamin seems to be examining the shift of art production from the sphere of the
bourgesis (misspelled, I know) to the proletariat, "The growing proletarianization
of the modern man and the increasing formation of masses are two aspects of the same
process" (243). His focus on art, however, is simply a means of understanding a broader
system of politics at work in organizing the masses.
What does Benjamin mean by a work's "aura"?
I believe he is using "aura" to refer to that effervescent quality of originality
(which implies worth, location, tradition, uniqueness, and others) which is commonly
associated with "good" art. In the age of easy reproduction, this "aura" is challenged
by a system which at once depends on maintaining the worth of an object (it's value
per uniqueness) while at the same time demanding that such objects be produced in
mass to satisfy demand, "that which withers in the age of mechanical reproduction
is the aura of the work of art" (223).
Why does Benjamin think that everyone has a "right" to be reproduced, and what does
he mean by "reproduced"?
I think Benjamin perceives a threat in the kind of social/economic stratification
which attempts to maintain the quality of uniqueness (a work's aura) while at the
same time producing these objects on a mass scale to satisfy the public (proletariat).
What connections do you see between this "right to be reproduced" and our course idea
of "speculation"?
The "right to be reproduced" is an attempt to challenge entrenched notions of uniqueness,
copyright, patents, etc. which have been established or imposed, I should say, by
an economic system which must create demand for goods by fermenting scarcity and
yet supply the public to maintain stability.
Jenn Lindberg:
Benjamin is usually associated with the Marxist critical tradition; what does "Marxist"
mean and where do you see that affiliation surfacing in the essay?
Oh boy. Well, I'll enjoy flailing about trying to answer this question. I associate
the Marxist critical tradition with economy, or with economical
essays. That is, the tradition that labour is key to development. From there is a
link to the capatalist tradition that I don't fully understand. I would have to
say the most blatant reference to the Marxist affiliation being in the first few
pages. He shows affiliation with this thought of labour key to developing in the concept that
a work looses its 'aura' when reproduced; that is, there is less work involved, and
a declination of the creative process.
Do you find that this particular attitude or turn of mind (Marxism) appears elsewhere
in the essay? Could this pattern of moves be called a "motif," and if so, what is
the upshot of this pattern?
If I understand Marxism correctly, Benjamin does seem to be using the attitude of
Marxism throughout the essay. In area three we can see Benjamin state 'the mode
of human sense perception changes with humanity's entire mode of existance." From
this sentence, I propose to try and evolve a parallel between Marxism and Benjamin. Marxism is
the thought of development through labor and work, with a handy dose of science thrown
in. Benjamin seems to be saying in this particular spot that our perceptions evolve
with time, with existance. Three hundred years ago we would not have been able to understand
the concept of writing on a computer, and yet now -- it is almost a granted item
of existance.
What does Benjamin mean by a work's "aura"?
An aura is something intangible, and yet perceptual. It can be viewed as the life
force of the inanimate, and all orginal pieces, whether visual, written or composed
have it, just as all humans alive have their own life force.
How has Freud changed the way we respond to everyday speech, in Benjamin's estimation,
and why does Benjamin bring this up?
Because of modern psychology, we have become more aware of slips of tongue; of hidden
meanings and of imagery. Film can more readily focus on such actions but homing in
on a certain item, or the way a phase is said. On stage acting does not lend itself
to such analyzation. Benjamin brings this up because it is a valid issue of our analysis
of film, and has shaped our thought processes. Example : Many look at the film cover
of The Little Mermaid and automatically sees the Phallic imagery within the castle.
Len Hatfield:
Benjamin is usually associated with the Marxist critical tradition; what does "Marxist"
mean and where do you see that affiliation surfacing in the essay?
Benjamin works to place his discussion of responses to works of art in the era of
mechanical repro in social, political, and economic contexts.
Do you find that this particular attitude or turn of mind (Marxism) appears elsewhere
in the essay? Could this pattern of moves be called a "motif," and if so, what is
the upshot of this pattern?
The essay moves overall toward a critique of Fascism and a quiet approval of Communist
alternatives to capitalist exploitations
What does Benjamin mean by a work's "aura"?
The feeling we attach to the work when we view it in certain circumstances....it's
history, provenance, authenticity, uniqueness etc.
Why does Benjamin think that everyone has a "right" to be reproduced, and what does
he mean by "reproduced"?
Film and photography help us move, culturally, from cult value to exhibition value;
they also democratize representation.
What connections do you see between this "right to be reproduced" and our course idea
of "speculation"?
Reproduction is representation
How has Freud changed the way we respond to everyday speech, in Benjamin's estimation,
and why does Benjamin bring this up?
Nothing is accidental anymore, even the mechanization of artistic reproduction
How do film and its effects upon perception connect with Dadaism?
Dadaism enacted the kind of attack representation that film makes possible
In section XV, Benjamin discusses architecture and proposes a pair of polar opposites
(concentration <> distraction) for describing how the viewer approaches a work of
art or a building. How does one traverse this opposition (or how have we done so
historically)?
Hollywood leads to distraction...
Why bring architecture into the essay at this point?
It's a great public art, like photography, but more like paintings.
In the Epilogue, Benjamin turns to Futurism and Fascism. What are these and why end
the essay there?
Political ramifications of Aestheticization of War
Amanda Kathleen Pedersen:
Benjamin is usually associated with the Marxist critical tradition; what does "Marxist"
mean and where do you see that affiliation surfacing in the essay?
"Marxist" means those ideas that are affilliated with those of Carl Marx. In the
preface of Benjamin's essay, he referrs to Marx's critique of capitalism.
Do you find that this particular attitude or turn of mind (Marxism) appears elsewhere
in the essay? Could this pattern of moves be called a "motif," and if so, what is
the upshot of this pattern?
What does Benjamin mean by a work's "aura"?
He means several things. He referrs to a work's aura by describing that a perfect
reproduction of a work lacks its aura. In one case, he describes an aura as the
unique existence of a work. In another case, he writes that the reproduced objects
lacks a "domain of tradition."
When I think of the difference between the emotions I feel at a music concert, and
the emotions I feel when I listen to that recorded concert in my home, I understand
that the "aura" of the work is missing in my home. One of the main reasons it is
missing is because the music loses my complete attention at home. When I am at a concert,
I am attentive to the music, as well as are hundreds of other spectators.
Why does Benjamin think that everyone has a "right" to be reproduced, and what does
he mean by "reproduced"?
What connections do you see between this "right to be reproduced" and our course idea
of "speculation"?
How has Freud changed the way we respond to everyday speech, in Benjamin's estimation,
and why does Benjamin bring this up?
How do film and its effects upon perception connect with Dadaism?
He says this: "Dadaism attempted to create by pictoral-and literary-means the effects
which the public today seeks in the film."
Dadaists valued their work as important for "contemplative immersion."
Benjamin then writes "What they intended and achieved was a relentless destruction
of the aura of their creations, which they branded as the reproductions with the
very means of production."
The difference between Dadaistic works and the film is that the film sort of controls
the things you are to think. Dadaistic works invite you to think what you'd like
- hoping that it will be outrageous. Benjamin notes that a movie spectator doesn't
have to pay attention to absorb the movie. In some ways, I can understand his point.
But, some movies make me think for months on end. I rethink the plot, search for
inconsistencies, expand the plot and characters into other settings and other times...
I would consider that "contemplative immersion," even though I am thinking of the things
that the movie gave to me to ponder.
But, I guess that movies are not the "center of scandal" too often, as Dadistic activities
tend to be. And they do not often cause a physical "shock effect." (Although the
mind and the emotions can cause changes in the physical.)
In section XV, Benjamin discusses architecture and proposes a pair of polar opposites
(concentration <> distraction) for describing how the viewer approaches a work of
art or a building. How does one traverse this opposition (or how have we done so
historically)?
Why bring architecture into the essay at this point?
In the Epilogue, Benjamin turns to Futurism and Fascism. What are these and why end
the essay there?
Drew Zwicke:
Benjamin is usually associated with the Marxist critical tradition; what does "Marxist"
mean and where do you see that affiliation surfacing in the essay?
Marx focused on the concept of dialectic materialism. By analyzing past
trends he attempted to predict the future course of both nations and individuals
which espoused capitalism. Benjamin also concerns himself with the dialectic by
studying trends in the arts, and predicting their consequences or impacts upon the future. Independantly
of this, though, Benjamin concerns himself with the effects greatly-reproducable
art will have on a changing society.
By making art accessible to the general public, the "politics" of art become
muddled. The balance of social positioning is tilted and the middle class/proletariat
is granted access to a luxury which previously it could not afford to indulge in.
Do you find that this particular attitude or turn of mind (Marxism) appears elsewhere
in the essay? Could this pattern of moves be called a "motif," and if so, what is
the upshot of this pattern?
Benjamin states that art holds both cult and exhibition values. Since the
value of art is increased by its transportability, it seems like a reproduction of
an artwork would be able to reach more people, and thus generate greater revenues
for the artist.
What does Benjamin mean by a work's "aura"?
An aura can be defined by a person's distance between his or herself and the
work. The distance applies to both space and time, and context, I believe. Thus,
the same work can have a different aura under a variety of circumstances.
Why does Benjamin think that everyone has a "right" to be reproduced, and what does
he mean by "reproduced"?
What connections do you see between this "right to be reproduced" and our course idea
of "speculation"?
How has Freud changed the way we respond to everyday speech, in Benjamin's estimation,
and why does Benjamin bring this up?
Psychonanalysis forced people to view subtle, commonplace gestures and statements
in a vastly more critical way. Benjamin makes an example of the camera's ability
to break down things in a similar fashion. "The camera introduces us to unconscious
optics..."
Stacey Dittmar:
Benjamin is usually associated with the Marxist critical tradition; what does "Marxist"
mean and where do you see that affiliation surfacing in the essay?
Well, Benjamin begins his essay with a discussion of Marx. Through this, I would
assume that "Marxist" refers to capitalism, and the politics surrounding the readiness
of mechanical reproduction. This idea is surfaced throughout the essay, although
it is most prevalant in the concluding paragraphs. The last two sentences, "This is the
situation of politics which Fascism is rendering aesthetic. Communism responds by
politicizing art" seem to exhibit this well.
Do you find that this particular attitude or turn of mind (Marxism) appears elsewhere
in the essay? Could this pattern of moves be called a "motif," and if so, what is
the upshot of this pattern?
The idea of Marxism is most definately a motif throughout Benjamin's essay. Still,
he exhibits this subtley. Through his references to the art world, he is able to
draw connections between the politics that most certainly surround it. He seems
to be disguising his ideas concerning this political idea throughout the essay, refering to
it most directly in the beginning and the end.
What does Benjamin mean by a work's "aura"?
Benjamin states that a work's "aura" is "the unique phenomenon of a distance, however
close it may be." He goes on to say that "everyday the urge grows stronger to get
hold of an object at very close range by way of its reproduction, its likeness."
A work's aura, I would assume, means its uniqueness, setting it apart from its counter
reproductions or likenesses.
Why does Benjamin think that everyone has a "right" to be reproduced, and what does
he mean by "reproduced"?
Benjamin would appear to be referring to the idea of reproduction with the intent
of broadening rather than prohibiting. I think this is why he finds the film industry
so objectionable. "Art for art's sake" - film does not seem to, at least to Benjamin,
to play by this rule. The financial expenses prohibit the everyday man to appreciate
the advantages of reproduction.
What connections do you see between this "right to be reproduced" and our course idea
of "speculation"?
With the idea of reproduction, pieces of art work will forever be, well, reproducible.
People will be able to reflect or speculate upon such pieces of art work for years
and years to come. Such is also the case of the written word. Language, like art,
is simply a reproduction of changing times, attitudes, and peoples. With this in mind,
it is easy to see why Benjamin states that "in principle a work of art has always
been reproducible."
How has Freud changed the way we respond to everyday speech, in Benjamin's estimation,
and why does Benjamin bring this up?
How do film and its effects upon perception connect with Dadaism?
In section XV, Benjamin discusses architecture and proposes a pair of polar opposites
(concentration <> distraction) for describing how the viewer approaches a work of
art or a building. How does one traverse this opposition (or how have we done so
historically)?
Why bring architecture into the essay at this point?
In the Epilogue, Benjamin turns to Futurism and Fascism. What are these and why end
the essay there?
Len Hatfield:
Drew: good insight into Benjamin's attention to dialectic; do you suppose this might
have something to do with his focusing repeatedly on binary oppositions ("polar opposites")
and working through their relationships??
Jenn Lindberg:
Len: I don't quite follow your thought pattern with the query on reproduction and
speculation. Yes, reproduction is representation, but how does that link to speculation?
Drew Zwicke:
Amanda, I think location is critical to defining an aura. What about viewing an
artwork in its original time of creation, three hundred years later? Has the aura
changed?
Jason Booth:
Drew-I agree that Benjamin is examining the way reproduction destabilizes notions
of art, but I'm not convinced that he would agree that the middle class has gained
access to a luxury. If, indeed, the middle class had free access to a luxury, wouldn't
that deform our notions of luxury?
David Baird:
I like when AKP says "the film sort of controls the things you are to think."
This is why films aren't as good as books.
But the sound, or music, kind of does this too, by imposing harmonious (or dissonant)
rythmic structures over our consciousness.
We don't have to "pay attention" to "get something out of art", because our subconscious
is processing all of our sensory input, whether we like it or not. So Dada works,
which juxtapose psychic objects not "normally" related, can have a nice affect by
"connecting" us in ways that might be new.
Marc C. Hutcheson:
Benjamin is usually associated with the Marxist critical tradition; what does "Marxist"
mean and where do you see that affiliation surfacing in the essay?
First of all, Benjamin says that Karl Marx believed that in the future, capitalism
would be almost impossible to do away with. What does this have to do with postmodernism?
It seems that since capitalism is impossible to do away with, then it would most certainly have an effect on the arts.
I see "Marxist" as a new trend in social, economical, and technological principles.
Postmodernism also has the tendency to set new trends in the arts, especially during
the age of mechanical reproduction. For example, now that society has mechanical means of reproducing art, this reproduction of art and film has changed the very
tradition of art, just as Marxism has changed the nature of government. Benjamin
says "one might generalize by saying: the technique of reproduction detaches the
reproduced object from the domain of tradition". Tradition in the sense of art has usually meant
"uniqueness". Now that mechanical reproduction has allowed us to create almost exact
replicas, uniqueness no longer holds any merit. The tradition must change to accomodate this new tradition.
Do you find that this particular attitude or turn of mind (Marxism) appears elsewhere
in the essay? Could this pattern of moves be called a "motif," and if so, what is
the upshot of this pattern?
What does Benjamin mean by a work's "aura"?
Benjamin says quite bluntly that a work's aura is its "uniqueness", but surely
it encompasses more than that. I guess the term "aura" has to replace the term "uniqueness"
because uniqueness is no longer a factor in this age. Although due to reproduction, uniqueness is no longer a factor, but, the work is essentially still the same,
so therefore its aura has not changed. It is still the same piece of work. Reproductions
of the original may not be unique because they are similar to the original, however they have a different aura because they are not viewed in the same way.
For example: let's use the Mona Lisa. The original is quite valuable because
its aura presents it as being such. Reproductions are no less beautiful, but because
they are viewed as being merely worthless copies, then they have a different aura.
Yes, it is nice to have a copy to look at, but it does not compare to the real thing
even though for all intents and purposes, it is the same.
Why does Benjamin think that everyone has a "right" to be reproduced, and what does
he mean by "reproduced"?
What connections do you see between this "right to be reproduced" and our course idea
of "speculation"?
How has Freud changed the way we respond to everyday speech, in Benjamin's estimation,
and why does Benjamin bring this up?
How do film and its effects upon perception connect with Dadaism?
"Dadaism attempted to create by pictoral-and literary-means the effects which
the public today seeks in the film". BY being known as "the theater of the absurd",
dadaism set new trends in the way theater was presented. It attempted to show the
audience new ideas and images that had never been seen before. The film acts in a similar
manner, although not as absurd. The film allows for an audience to see what normally
is not possible on stage. With the stage, the audience gets one perception. Everything they see is from one angle, one point of view, and no surprises can be used
because the audience can see what is happening, even offstage.
In the Epilogue, Benjamin turns to Futurism and Fascism. What are these and why end
the essay there?
Amanda,
I come to the same conclusion regarding a work's aura. A reproduction lacks
the "special feeling" of the original although it is no less beautiful or artistic.
Where is the "tradition" in a reproduction? There isn't any. Something that is
merely a copy of something else can have no tradition.
Ashley Downs:
Amanda, I think the aura you refer to marks a different type of experience. Granted,
music is art and reproducible, yet it seems that seeing a concert inherently involves
differing experiences which are physical and visceral as opposed to a movie or a
painting which are more firmly rooted in mental experience.
Amanda Kathleen Pedersen:
Drew: Distance does explain the entire concept of the definition of aura. That word
could encompass all that is an experience - as you say, the space the time and the
context. A work's aura, then, is different to all people. Their distance to the
work is based on all that is within them.
Marc Petersen:
Jenn:
I see reproduction's link with representation fairly clearly. Remember the "speculum"?
Reflection, multiple reflections especially, constitutes a solid act of reproduction
and representation.
Lauren Moore:
Drew: (on Marxist affiliations with art)- However, art sometimes has no monetary
value (a rock) or the value is placed on it by the so-called social positioning originally.
At this point, the balance has always been tilted, and not necessarily resulting
in "rewards" for middle class.