The Work of Art in Its Age of Technical Reproducibility Pdf
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The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media Quotes
The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media by Walter Benjamin
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20,192 ratings, iv.07 average rating, 313 reviews
The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media Quotes Showing 1-xviii of 18
"Painting, past its nature, cannot provide an object of simultaneous commonage reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no ways of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick one-act inevitably displays a backward attitude toward Surrealism."
― The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
― The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
"All efforts to return politics aesthetic culminate in one thing: state of war. State of war and war just tin can set a goal for mass movements on the largest calibration while respecting the traditional property system. This is the political formula for the situation. The technological formula may exist stated as follows: Only war makes it possible to mobilize all of today's technical resource while maintaining the property system. It goes without proverb that the Fascist apotheosis of state of war does not apply such arguments."
― The Work of Art in the Age of Mechanical Reproduction
― The Work of Art in the Age of Mechanical Reproduction
"One of the foremost tasks of fine art has always been the creation of a demand which could exist fully satisfied only later. The history of every fine art form shows critical epochs in which a certain art class aspires to effects which could exist fully obtained but with a inverse technical standard, that is to say, in a new art class. The extravagances and crudities of fine art which thus appear, particularly in the so-called decadent epochs, actually arise from the nucleus of its richest historical energies."
― The Work of Fine art in the Age of Mechanical Reproduction
― The Work of Fine art in the Age of Mechanical Reproduction
"The masses take a correct to change property relations; Fascism seeks to give 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 analogue in the violation of an apparatus which is pressed into the production of ritual values."
― The Work of Art in the Historic period of Mechanical Reproduction
― The Work of Art in the Historic period of Mechanical Reproduction
"Fiat ars – pereat mundus", says Fascism, and, as Marinetti admits, expects war to supply the creative gratification of a sense perception that has been changed by applied science. This is manifestly the consummation of "l'art pour l'art." 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 tin experience its own destruction as an artful pleasure of the start order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds past politicizing art."
― The Work of Art in the Age of Mechanical Reproduction
― The Work of Art in the Age of Mechanical Reproduction
"Mientras el capitalismo rija los destinos del cine, 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."
― The Piece of work of Art in the Age of Mechanical Reproduction
― The Piece of work of Art in the Age 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 middle and awakens no hope other than the ridiculous one of someday condign a 'star' in Los Angeles."
― The Work of Art in the Age of Mechanical Reproduction
― The Work of Art in the Age of Mechanical Reproduction
"Paul Valéry pointed up in this sentence: "But as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, and so we shall be supplied with visual or auditory images, which will appear and disappear at a unproblematic move of the hand, hardly more a sign."
― The Work of Art in the Age of Mechanical Reproduction
― The Work of Art in the Age of Mechanical Reproduction
"Even the nigh perfect reproduction of a work of art is lacking in ane element: its presence in fourth dimension and space, its unique existence at the place where it happens to be. This unique being of the piece of work of art determined the history to which it was bailiwick throughout the time of its beingness. This includes the changes which it may have suffered in concrete status over the years as well equally the various changes in its ownership. The traces of the first can be revealed simply by 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."
― The Work of Art in the Historic period of Mechanical Reproduction
― The Work of Art in the Historic period of Mechanical Reproduction
"Just where the homo grade withdraws from photography, there for the commencement time display value gets the meliorate of cultic value. And it is having set the scene for this procedure to occur that gives Atget, the man who captured then many deserted Parisian streets effectually 1900, his incomparable significance. Quite rightly it has been said of him that he recorded those streets like crime scenes. A crime scene, too, is deserted. Atget snaps clues. With Atget, photographs become exhibits in the trial that is history."
― The Piece of work of Art in the Age of Mechanical Reproduction
― The Piece of work of Art in the Age of Mechanical Reproduction
"In short, in contrast to the wizard - who is still hidden in the medical practitioner – the surgeon at the decisive moment abstains from facing the patient man to man; rather, it 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 web. There is a tremendous difference 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 contemporary man the representation of reality by the moving picture is incomparably more pregnant 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 i is entitled to ask from a work of art."
― The Work of Art in the Historic period of Mechanical Reproduction: An Influential Essay of Cultural Criticism; the History and Theory of Art
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 web. There is a tremendous difference 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 contemporary man the representation of reality by the moving picture is incomparably more pregnant 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 i is entitled to ask from a work of art."
― The Work of Art in the Historic period of Mechanical Reproduction: An Influential Essay of Cultural Criticism; the History and Theory of Art
"In short, in contrast to the sorcerer - who is still hidden in the medical practitioner – the surgeon at the decisive moment abstains from facing the patient homo to man; rather, it is through the performance that he penetrates into him.
Wizard and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its spider web. There is a tremendous difference betwixt the pictures they obtain. That of the painter is a full i, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for contemporary human the representation of reality past the film is decidedly more than meaning 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 1 is entitled to ask from a piece of work of art"
― The Piece of work of Art in the Age of Mechanical Reproduction
Wizard and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its spider web. There is a tremendous difference betwixt the pictures they obtain. That of the painter is a full i, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for contemporary human the representation of reality past the film is decidedly more than meaning 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 1 is entitled to ask from a piece of work of art"
― The Piece of work of Art in the Age of Mechanical Reproduction
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