Costumes, capitalism, and poetry:
Die Zeit, die zwischen der Erfindung der Lithographie und der des Tonfilms liegt, umfasst kaum mehr Jahrzehnte als die zwischen Der besondere Teil der Untersuchung hat es mit dem Film als der der Kunst in der Epoche ihrer technischen Reproduzierbarkeit spezifischen Form zu tun.
Das erste Kapitel der Untersuchung entwickelt den Unterschied zwischen manueller und technischer Reproduktion des Kunstwerkes. Das sechste zeigt, welchen verschiedenen Entwicklungsstufen der Technik Kultwert und Ausstellungswert des Kunstwerkes entsprechen. The investigation is divided into two parts, the first conceived on general lines and the second dealing with one specific aspect of the question.
The general part deals with the changes to which the function of a work of art is subjected in its technically reproduced form. The quality of its technical reproduction and the speed with which the same is established have made great progress since the inventions of last century in that sphere.
The period of time existing between the invention of lithography and that of the sound film contains scarcely more decades than there are centuries between the invention of the wood-cut and that of lithography. The film, at present, has the most highly developed technic of artistic reproduction.
In the history of art the film represents something fundamentally new, namely, the reproduction of a work of art which aims precisely at such reproducibility. The second part of the investigation deals with the film as the specific form of art in the era of technical reproducibility.
The first chapter develops the difference between manual and technical reproduction of a work of art. The second delimits the sphere of authenticity which forms the aura of a work of art and which is withdrawn from every reproduction. The third defines the character of modern perception as determined by the deterioration of the aura.
The fourth chapter shows that the foundation of authenticity lies in the associations of ritual.
The fifth deals with the difference between the cult-value based on ritual and the exhibition-value of a work of art. The sixth shows the various stages in the development of technical art to which the cult-value and the exhibition-value of a work of art correspond.
The seventh treats the beginnings of the predominance of the exhibition-value over the cult- value in photography. The eighth throws light on the special position of Greek art due to its being almost completely lacking in methods of technical reproduction. The ninth draws attention to the difficulties which arise for traditional esthetics Through photography and the film.
The second part of the investigation draws from the analyses of the first part certain conclusions concerning the theory of film-making. It concerns itself with the circumstances which make the film the work of art from which the modern change of function can be most clearly deduced.
This change of function consists in the transference of the work of art from the realm of ritual to that of politics.Osservazioni sull’inconscio ottico - IMT Institutional. Walter B enjamin L ittle History of Photography SELECTED WRITINGS gives way to a space informed by the unconscious.
Whereas it is a common-place that, for example, we have some idea what is involved in the act of optical unconscious, just as we discover the instinctual unconscious through psychoanalysis.
Details of structure, cellular. on The Arcades: Contemporary Art and Walter Benjamin, convoluted by Jens Hoffmann et al (Yale University Press) In “The Return of the Flaneur,” the catalog's introductory essay, Caroline A.
Jones in “The Optical Unconscious in the Age of Its technical Reproducibility,” writes, “His hope that new media could reveal truths.
Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency.
Although Walter Benjamin pursued a rigorous theory of the optical unconscious in various texts, most notably in his essays on photography and film, he did not explicitly develop an acoustical variant.
This paper argues that, through Benjamin's thoughts on the déjà vu and his late correspondence. The Optical Unconscious. to tell the difference between the image and the world, between the real and the artificial.
Writing in the s, Walter Benjamin was working with an older film serves as an optical unconscious. Benjamin asserts the film camera "introduces us to unconscious optics as does psychoanalysis to unconscious impulses.