Reproduction of Artworks in the Lippmannian-Frankfurtian Debates During Advanced Technology Era (original) (raw)

2021, Historia i Polityka

The development of technology leads to mechanical reproduction of artworks. This tendency brings the paradox whether mechanical reproduction of artworks enlightens or blinds society. Optimistic perspective of Walter Benjamin and Lippmannian school on reproducibility faces pessimistic view of Theodor Adorno and Max Horkheimer. Thus, the main aim of this paper is to compare W. Lippmann, W. Benjamin, T. Adorno and M. Horkheimer’s views and summarize by checking suitability of two schools’ perspectives in advanced technological century.

Critique of the Power of Judgment in the Context of Art's Technological Reproducibility

In the notorious paragraph 9 of Immanuel Kant's Critique of the Power of Judgment, the author asks, rhetorically, whether when we perform a pure judgment of taste, taking pleasure in a beautiful object comes first and only then does any aesthetic judgment follow or if it is the other way around. While elaborating this question by way of other parts of the third Critique, namely, the hierarchization of various types of art, the possibilities of cultivation of taste, and the unnecessity of the actual presence of an object for aesthetic evaluation, I would like to emphasize and strengthen the political intimations which are otherwise more emphatic in Kant's other texts. In the second part, these traits will be related to the concept of an object of art as understood by Walter Benjamin and how it relates to emancipation, which was an important concern for both thinkers.

Art, Technology, and Repetition

SAGE Handbook of Frankfurt School Critical Theory , 2018

The three structuring topics of this chapter will be the relationship between art and technology in the work of the Frankfurt School, including the notion of art as itself a type of technology; repetition as a dynamic in the field of art, and as a cultural logic more broadly, with reference to associated notions such as aura, singularity, and reproduction; and the currency of central categories of the critique of political economy, such as use value and exchange value, for the field of artistic production in capitalist society.

Perception and Mediation: A Critique of Work of Art in the Age of Mechanical Reproduction

The aim of the paper is to examine the impact of the mechanically reproduced artforms like photography and film in altering the nature of human perception. With the coming of mechanical reproduction in the early decades of twentieth century, the nature and condition of art had undergone tremendous transformation. The paperundertakes a close reading of the widely known essay of Walter Benjamin-Work of Art in the Age of Mechanical Reproduction-on photography and film into account to see how the visual process has been altered with technological mediation. The essays examine in detail of how conventional art has undergone change with mechanical reproduction, how photography has altered the way we see, and how film has altered our perception of time and space.The paper argues that with the emergence technologically reproduced art forms, human perception also developed new modes of reception and sensibilities subverting the conventional categories of perception.

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The Originality of copies. An Introduction, in: Tatjana Bartsch, Marcus Becker, Horst Bredekamp, Charlotte Schreiter (Hrsg.): Das Originale der Kopie. Kopien als Produkte und Medien der Transformation von Antike, Transformationen der Antike Bd. 17 (Berlin 2010)

Tatjana Bartsch, Marcus Becker, Horst Bredekamp, Charlotte Schreiter (Eds.): Das Originale der Kopie. Kopien als Produkte und Medien der Transformation von Antike, Transformationen der Antike Vol. 17 (Berlin 2010), pp. 27-42.