I know this might move the tuxedoed disciples to tears, when they are sitting there, salivating for the vulgar
How about next year, Meryl Streep if she wishes to pronounce so authoritively on art;
how about speaking on Walter Benjamin's insightful interpretation of the role technological reproduction plays in shaping aesthetic experience; specifically, Benjamin catalogues the significant effects of film and photography, I mean that would pertain to Hollywood types.
Benjamin's point is that in order to catalogue and ultimately subvert classical and Romantic aesthetic ideals, he describes a process by which modern technological reproduction strips these institutions and their iconic artworks of their aesthetic authority.
Well Hollywood would know about that, stripping projects of all aesthetic value
You can imagine this future scene, at an early juncture Lady Gaga exits from the room followed by Mel Gibson...others follow in droves.
But our speaker in her 'deprived' Ballenciaga gown that cost $30000 bravely battles on for she is determined to let her oh so 'artistic' compadres know what Art is.
She quotes Benjamin, to the now half empty room, never in the history of Hollywood has there been so many bathroom breaks, Benjamin, she says, talks of a detached authority, or frightening magical power, which inhered in (and only in) that particular historical artifact.
The reproduction in mass of such an item would have been unthinkable because it was its unique singularity that produced the sacrality of the ritual.
In order to clarify the idea he compares it to the experience of natural phenomenon: “we define the aura of the later as the unique phenomenon of a distance, however close it may be."
The speaker realises she her audience is down to single digits. So she avows,
if, while resting on a summer afternoon, (which the majoity of these soi disant A listers do), you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those mountains, or that branch”
. Benjamin’s example is noteworthy because, as with the cultic artifact, the aura of the mountains seems to rest on something autonomous and free from human intervention. The statue is not like any other object produced or used within a society; it appears free from the taint of ideological control or human interference, as though its power, like that of the mountain, issues independently from within.
Lady Gaga peeps out from the bathroom door, but quickly pops back in.
Benjamin again, now to a practically deserted room
the attempt to defend the special
status of the artwork from the banality of bourgeois capitalism.
A protest from the remainers, 'Hollywood bourgeois? never'
Benjamin acknowledges the reality of artistic reproduction throughout history, although he suggests that mechanical reproduction introduced an entirely new and revolutionary change in the experience of the artwork.
With mechanical reproduction, (Hollywood) which appears in its most radical forms in film and photography, millions of images of an original are circulated, all of which lack the “authentic” aura of their source. This process both affects and is the effect of changing social conditions in which all previously unique and sacred institutions have become equal. The general willingness to accept a reproduction in place of the original also signifies an unwillingness to participate in the ritualistic aesthetics and politics of earlier times. For example, a photograph or film of a Catholic cathedral denudes its unique aura, transforming the role of participant into that of a spectator or possibly a detached commentator.
Film understanding how technology contributes to a de-aestheticization of the artwork in modernity
etc
Producer, 'I have an idea, Benjamin, played by Tom Cruise, is sent off in a spacecraft where where he meets other aliens and...we could do that for say 3 million bucks.'
How about next year, Meryl Streep if she wishes to pronounce so authoritively on art;
how about speaking on Walter Benjamin's insightful interpretation of the role technological reproduction plays in shaping aesthetic experience; specifically, Benjamin catalogues the significant effects of film and photography, I mean that would pertain to Hollywood types.
Benjamin's point is that in order to catalogue and ultimately subvert classical and Romantic aesthetic ideals, he describes a process by which modern technological reproduction strips these institutions and their iconic artworks of their aesthetic authority.
Well Hollywood would know about that, stripping projects of all aesthetic value
You can imagine this future scene, at an early juncture Lady Gaga exits from the room followed by Mel Gibson...others follow in droves.
But our speaker in her 'deprived' Ballenciaga gown that cost $30000 bravely battles on for she is determined to let her oh so 'artistic' compadres know what Art is.
She quotes Benjamin, to the now half empty room, never in the history of Hollywood has there been so many bathroom breaks, Benjamin, she says, talks of a detached authority, or frightening magical power, which inhered in (and only in) that particular historical artifact.
The reproduction in mass of such an item would have been unthinkable because it was its unique singularity that produced the sacrality of the ritual.
In order to clarify the idea he compares it to the experience of natural phenomenon: “we define the aura of the later as the unique phenomenon of a distance, however close it may be."
The speaker realises she her audience is down to single digits. So she avows,
if, while resting on a summer afternoon, (which the majoity of these soi disant A listers do), you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those mountains, or that branch”
. Benjamin’s example is noteworthy because, as with the cultic artifact, the aura of the mountains seems to rest on something autonomous and free from human intervention. The statue is not like any other object produced or used within a society; it appears free from the taint of ideological control or human interference, as though its power, like that of the mountain, issues independently from within.
Lady Gaga peeps out from the bathroom door, but quickly pops back in.
Benjamin again, now to a practically deserted room
the attempt to defend the special
status of the artwork from the banality of bourgeois capitalism.
A protest from the remainers, 'Hollywood bourgeois? never'
Benjamin acknowledges the reality of artistic reproduction throughout history, although he suggests that mechanical reproduction introduced an entirely new and revolutionary change in the experience of the artwork.
With mechanical reproduction, (Hollywood) which appears in its most radical forms in film and photography, millions of images of an original are circulated, all of which lack the “authentic” aura of their source. This process both affects and is the effect of changing social conditions in which all previously unique and sacred institutions have become equal. The general willingness to accept a reproduction in place of the original also signifies an unwillingness to participate in the ritualistic aesthetics and politics of earlier times. For example, a photograph or film of a Catholic cathedral denudes its unique aura, transforming the role of participant into that of a spectator or possibly a detached commentator.
Film understanding how technology contributes to a de-aestheticization of the artwork in modernity
etc
Producer, 'I have an idea, Benjamin, played by Tom Cruise, is sent off in a spacecraft where where he meets other aliens and...we could do that for say 3 million bucks.'
No comments:
Post a Comment