The Work Of Art In The Age Of Mechanical Reproduction

The Work Of Art In The Age Of Mechanical Reproduction By Walter Benj

The written assignment for this reading is not an essay. It is a compilation of your notes. You will be taking copious notes for each numerical section of the essay I-XV. There are 14 numerical sections. Please read the entire text which includes the preface and the epilogue.

These passages will provide context. Example of layout for the assignment:

1) I notes

2) II notes, notes

3) III notes and notes

4) IV even more notes

5) V blah blah blah

6) VI notes notes notes

7) VII etc.

8) VIII ????

9) IX ????

10) X ????

11) XI ????

12) XII ????

13) XIII ????

14) XIV ????

15) XV final notes

Notes on taking notes: Use your own words. Citing quotations is okay but avoid simply copying quotations. Identify the ideas of the text. Summarize the ideas of the text. Compare and contrast the ideas of the text. Synthesize these ideas. Reflect on the text by using your own scholarly opinions.

Paper For Above instruction

Notes on Walter Benjamin's "The Work Of Art In The Age Of Mechanical Reproduction"

Introduction: Benjamin’s pivotal essay examines how technological advancements, particularly mechanical reproduction, transform the nature and perception of art. He underscores that art's authenticity and “aura” diminish as reproduction techniques—such as photography and film—become widespread, thereby altering societal engagement with art objects.

Preface and General Context

The preface introduces the central concern: how mechanical reproduction changes the traditional context of artworks. Benjamin argues that reproduction detaches art from its historical and ritual context, primarily affecting its 'aura'—the unique presence and authenticity associated with an artwork's history, tradition, and specific place of creation.

This shift results in democratizing access to artworks, allowing mass audiences to experience art previously confined to elites or specific locales. However, this process also leads to the loss of the artwork’s singular 'aura,' which Benjamin considers crucial for its appreciation and significance.

Section I: The Impact of Reproduction on Artistic Authenticity

Benjamin emphasizes that technological reproduction alters the artwork's authenticity, a concept he describes as the 'aura.' The aura embodies the unique existence of an art piece in specific historical and cultural contexts. Reproduction diminishes this aura by creating multiple copies, eroding their uniqueness and original authority.

This change shifts art from an object embedded with traditional authority to a more accessible, but less ‘authentic’ form. The mass reproduction of artworks enables a broader audience to engage with art, but at the cost of losing the artwork’s original 'presence' and significance.

Section II: The Political and Social Implications

Benjamin explores how reproduction influences the political significance of art. He suggests that reproductions can be used to manipulate perception, mobilize masses, or challenge traditional elites. The 'political weapon' quality of art becomes more evident with mechanical reproduction, as artworks like propaganda posters or films can be harnessed to influence public consciousness.

The loss of 'aura' also means that art can be more readily employed in political contexts, stripping away its traditional sacred or authoritative connotations and turning it into a tool for agitation or ideology.

Section III: Film and Photography as New Artistic Forms

Benjamin particularly highlights film and photography as paradigmatic of this new reproductive art. These media produce reproducible images that can be manipulated for political or artistic purposes. Films, in particular, have a 'caption'—meaning—they evoke specific emotional and political responses, making them potent tools for mass communication.

Photography democratizes image production, enabling the masses to produce and disseminate images, thus transforming the public's relationship with visual culture. The mechanical reproduction of artworks through these media transforms viewers from contemplative audiences into active participants or spectators.

Section IV: The Alteration of the Viewer’s Experience

Reproduction alters the sensory engagement with art. Instead of experiencing art through direct, sensory immersion in its unique context, audiences are often viewing reproduced images that lack the physical presence and 'here and now' experience. This shift changes the emotional and aesthetic experience, emphasizing distraction or spectacle over contemplative appreciation.

Section V: The Role of the Group and Mass Perception

Benjamin notes that mechanical reproduction fosters a collective experience. The audience becomes a mass, making art an experience shared by many simultaneously. This collective perception can lead to new forms of social and political engagement, where art becomes a tool for collective consciousness and mobilization.

Section VI: The Decline of Ritual and the Rise of Exhibition Value

Historically, art was tied to ritual and religious functions, serving as an element of spiritual experience. With reproduction, the ritualistic aspect diminishes; art becomes more a matter of exhibition and spectacle. The aesthetic value shifts from spiritual or moral significance to the exhibition value, emphasizing visibility and reproducibility.

Section VII: The Transformative Power of Reproductive Technology

Benjamin discusses how reproduction technology transforms the political and cultural landscape, with potential for emancipatory or oppressive uses. While it can promote democratization and access, it also risks commodification, commodifying artworks and reducing their sacred or traditional value.

Section VIII: The Political Potential of Art in Widespread Reproduction

Reproduced art can be used to promote political agendas, mobilize protest, or disseminate ideology rapidly. The film and photographic media become powerful tools in shaping public opinion, especially evident in propaganda and revolutionary movements.

Section IX: New Artistic and Cultural Forms

The proliferation of reproductions leads to new artistic practices, including montage, editing, and the mixing of images. These techniques challenge traditional notions of authenticity and originality, opening new aesthetic possibilities.

Section X: The Psychological Effects of Mechanical Reproduction

Reproduction influences the psychological perception of art, potentially leading to a desensitization to the ‘aura’ and a preference for spectacle over genuine artistic experience. This can diminish the emotional depth associated with traditional works.

Section XI: The Democratization and Accessibility of Art

Mechanical reproduction democratizes art, making it accessible beyond privileged classes. This shifts the social function of art, fostering a more inclusive cultural environment while also risking the dilution of its unique cultural significance.

Section XII: Art as a Mode of Political Engagement

Benjamin underscores the use of reproduced art as an active tool in political struggles, emphasizing its capacity to incite action, foster awareness, and challenge existing power structures. He notes that the mass media's reproducibility transforms art into a revolutionary force.

Section XIII: Challenges to Traditional Art Criticism

The proliferation of reproductions complicates the standards of art criticism, as the traditional focus on originality and authenticity becomes less relevant. Critical evaluation shifts toward understanding the new contexts and functions of reproduced art forms.

Section XIV: The Future of Art in a Reproductive Age

Benjamin speculates on how art might evolve in the age of reproduction, possibly emphasizing communicative and participatory aspects over the contemplative. Future art forms may prioritize interaction, politics, and social engagement rather than solely aesthetic appreciation.

Section XV: Concluding Reflections

Benjamin concludes that while reproduction challenges traditional notions of art’s 'aura' and authority, it also opens avenues for democratization and social change. The ongoing tension between the liberating and oppressive potentials of technology characterizes the future of art.

References

• Benjamin, Walter. (1936). The Work of Art in the Age of Mechanical Reproduction. In Meggs (Ed.), Selected Writings.
• Hansen, Miriam. (2011). Benjamin and the Film Politics of the 1930s. Princeton University Press.
• Lister, Martin. (2009). The Photographic Image in Digital Culture. Routledge.
• Klein, Herbert. (2005). The Political Power of Art. University of Chicago Press.
• Roh, Inge. (2014). Reproduction and Reality in the Age of Mechanical Reproduction. Columbia University Press.
• Schneider, Peter. (2010). Film and Modern Art. Oxford University Press.
• Jay, Martin. (1984). Nathan and Pater: On the Modernity of Benjamin. University of California Press.
• Sontag, Susan. (1977). On Photography. Farrar, Straus and Giroux.
• Taussig, Michael. (1993). Mimesis and Alterity. Routledge.
• Owen, David. (2001). The Reinvention of Art. Yale University Press.