The Work of Art in the Age of Its Technological Reproducibility Audiobook

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The Piece of work of Fine art in the Age of Its Technological Reproducibility, and Other Writings on Media Quotes Showing 1-18 of xviii

"Painting, past its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to nowadays paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the aforementioned public which reacts progressively to a slapstick one-act inevitably displays a backward mental attitude toward Surrealism."
― Walter Benjamin, The Work of Fine art in the Historic period of Its Technological Reproducibility, and Other Writings on Media

"All efforts to return politics aesthetic culminate in one thing: war. War and war only tin set up a goal for mass movements on the largest scale while respecting the traditional belongings system. This is the political formula for the situation. The technological formula may be stated as follows: Only state of war makes it possible to mobilize all of today'south technical resources while maintaining the property system. It goes without saying that the Fascist apotheosis of state of war does non employ such arguments."
― Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction

"One of the foremost tasks of art has always been the creation of a need which could exist fully satisfied only later. The history of every fine art class shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, in a new fine art grade. The extravagances and crudities of art which thus appear, particularly in the so-called corrupt epochs, actually arise from the nucleus of its richest historical energies."
― Walter Benjamin, The Piece of work of Art in the Age of Mechanical Reproduction

"The masses have a correct to change property relations; Fascism seeks to requite them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. The violation of the masses, whom Fascism, with its Führer cult, forces to their knees, has its counterpart in the violation of an apparatus which is pressed into the production of ritual values."
― Walter Benjamin, The Piece of work of Art in the Historic period of Mechanical Reproduction

"Fiat ars – pereat mundus", says Fascism, and, every bit Marinetti admits, expects war to supply the artistic gratification of a sense perception that has been inverse by technology. This is evidently the consummation of "l'art pour 50'art." Mankind, which in Homer'due south fourth dimension 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 ain destruction every bit an aesthetic pleasure of the commencement order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds past politicizing art."
― Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction

"Mientras el capitalismo rija los destinos del cinematics, el único servicio que cabe esperar del cine a favor de la revolución es que permita la crítica revolucionaria de los conceptos tradicionales del arte."
― Walter Benjamin, The Work of Art in the Historic period of Mechanical Reproduction

"Duhamel calls the movie "a pastime for helots, a diversion for uneducated, wretched, worn-out creatures who are consumed by their worries a spectacle which requires no concentration and presupposes no intelligence which kindles no light in the center and awakens no hope other than the ridiculous one of someday becoming a 'star' in Los Angeles."
― Walter Benjamin, The Work of Fine art in the Age of Mechanical Reproduction

"Paul Valéry pointed upwards in this sentence: "Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which volition appear and disappear at a simple movement of the hand, hardly more a sign."
― Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction

"Fifty-fifty the most perfect reproduction of a piece of work of art is lacking in one element: its presence in time and space, its unique beingness at the place where it happens to be. This unique existence of the work of fine art determined the history to which it was subject throughout the time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in its ownership. The traces of the kickoff tin be revealed only past chemical or physical analyses which it is impossible to perform on a reproduction; changes of ownership are subject to a tradition which must be traced from the situation of the original."
― Walter Benjamin, The Work of Art in the Historic period of Mechanical Reproduction

"Just where the human form withdraws from photography, there for the get-go time display value gets the better of cultic value. And it is having set the scene for this process to occur that gives Atget, the man who captured so many deserted Parisian streets around 1900, his incomparable significance. Quite rightly it has been said of him that he recorded those streets like crime scenes. A crime scene, besides, is deserted. Atget snaps clues. With Atget, photographs become exhibits in the trial that is history."
― Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction

"In short, in contrast to the magician - who is still hidden in the medical practitioner – the surgeon at the decisive moment abstains from facing the patient man to man; rather, information technology is through the operation that he penetrates into him.
Magician and surgeon compare to painter and cameraman. The painter maintains in his piece of work a natural altitude from reality, the cameraman penetrates deeply into its spider web. There is a tremendous departure betwixt the pictures they obtain. That of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled nether a new police. Thus, for contemporary human the representation of reality by the film is incomparably more than significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is gratuitous of all equipment. And that is what one is entitled to ask from a work of art."
― Walter Benjamin, The Work of Art in the Historic period of Mechanical Reproduction: An Influential Essay of Cultural Criticism; the History and Theory of Art

"In brusque, in dissimilarity to the magician - who is however hidden in the medical practitioner – the surgeon at the decisive moment abstains from facing the patient man to homo; rather, information technology is through the operation that he penetrates into him.
Magician and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. There is a tremendous departure between the pictures they obtain. That of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for gimmicky man the representation of reality past the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an attribute of reality which is free of all equipment. And that is what one is entitled to enquire from a work of art"
― Walter Benjamin, The Work of Fine art in the Age of Mechanical Reproduction

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Source: https://www.goodreads.com/work/quotes/2481281-das-kunstwerk-im-zeitalter-seiner-technischen-reproduzierbarkeit

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