|
       
|
|
Walter Benjamin's Concept of Art as Auratic: the Nexus between Modern Art and Technology by Dr. Emanuel Paparella 2008-11-27 12:09:17 |
Print - Comment - Send to a Friend - More from this Author |
  
 |
“Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds by politicizing art.” --Walter Benjamin (“The Work of Art in the Age of Mechanical Reproduction”)
It is hard to envision a philosopher of art that has reflected more deeply than Walter Benjamin (1892-1940) on how the revolutionary changes in modern art have affected our understanding of art itself. Like Adorno, Benjamin was a genial German Marxist philosopher and literary critic. For him the key to the understanding of modern art was modern technology, particularly photography and film.
In his famous essay “The Work of Art in the Age of Mechanical Reproduction” Benjamin theorizes the artwork’s loss of aura and how this loss alters the function of art in society. Concomitantly, Benjamin is concerned with the nexus between art and politics. One has to keep in mind that he was writing as Hitler came to power, the times of what Vico dubs “the barbarism of the intellect,” the times of “book burnings” (1933); also that he was a Jew. For his own mental and psychological survival, Benjamin had to keep alive within himself the hope that art somehow could be used in the struggle against Nazism.
Benjamin’s concern in art is less that of providing a working definition of art than in understanding how the function of art has changed under capitalism and its cutting-edge technological innovations. He is particularly interested in understanding how “mechanical reproduction,” that is to say, the ability to copy works of art via purely technical means changes art’s social function. In this regard, the development of photography and film is of primary importance. Photography has the ability to reproduce an unlimited number of accurate copies, and film is that art form based on photography which makes it seem to reproduce the world in time as well as in space.
The above preamble takes us to Benjamin’s main thesis. Basically it is this: the reproducibility of artwork has caused their aura to decline. Why does Benjamin use the term aura? Because he is attempting to capture the reverence that earlier societies, often within religious contexts, had for works of art. To establish this claim Benjamin has recourse to an analogy between the structure of art object and commodities and goods produced for the market. He reminds us that in the first volume of Das Kapital, Karl Marx had distinguished between the ability of a commodity to satisfy a human need (its use value) and its value on the market place (its exchange value), arguing that exchange value had come to predominate under capitalism. Analogously, Benjamin first distinguished the cult value of the artwork (its place within a cult as a unique object often hidden from view) from its exhibition value (its worth as an object accessible to all). Technological reproduction, he argues, makes the cult value of art recede in favor of its exhibition value.
For Benjamin, this simply means that many of the ways philosophers have characterized art are no longer valid. For example, it is no longer possible to regard art as autonomous, art for art’s sake, a realm in which specific social interests have no part, as Kant and others had previously asserted thus creating a dichotomy between the aesthetic and the ethical. So, for Benjamin the burning question is whether or not art can have a positive political function, not excluding that of people joining a revolution against fascism. He remarks that fascists such as Hitler, Mussolini, Marinetti (the Italian originator of Futurism in art) had aestheticized politics with their mass demonstrations and rallies, to wit the movie Triumph of the Will by Leni Riefenstahl, starring none other than Adolph Hitler.
Benjamin therefore proposes as antidote to this propaganistic mind-set, that art be politicized as a weapon in the struggle for social justice. As in Marx, there is a dialectic of sort working in Benjamin’s conception of art: in assessing the impact of technology on art, he sees the reproducibility of art in modern societies as destructive of its aura; but on the other hand the loss of aura makes possible a use of art that was previously unthinkable: art promoting a socialist revolution.
The question than arises: is this nothing but the other side of the same coin? And what in fact happens to art in general, and particularly in the former Soviet Union, when art is so conceived (as propaganda for some form of social scheme)? That would take us too far afield and remains the topic of another important consideration on art’s varied conceptions within our modern technologically driven world.
Walter+Benjamin Philosophy |
|
Print - Comment - Send to a Friend - More from this Author |
|
|
|