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    Benjamin Art

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    Philosophy

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    | wa Walter Benjamin SELECTED WRITINGS VOLUME 3 1935-1938 Translated by Edmund Jephcott, Howard Eiland, and Others Edited by Howard Eiland and Michael W. Jennings THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS ‘Combridge, Massochusets, ond london, England 2002 ‘ale Benjamin at he card catalogue of the Bibnkaque Navona in Pai, 1937. Photo hy Gite Freund. Copyght © Ge Freand Agence Nina Bes Work of Art in the Age of Is Technological Reproducibility Version ‘Marx undertook his analysis of te capitalist mode ef production, /node was ints infancy? Marx adopted an approach which gave his in ns prognostic value. Going back wo the basic conditions of expt lnction, he presented them i.a way which showed whet could Be ex- ‘of aptalism inthe fture. What could be expected itemerged, was tly an increasingly harsh exploitation of the peolraat bu, ut the creation of conditions which would make it posse for epital- abolish ise the tansformaton ofthe superstractre proveeds fa more slowy tha ofthe Bae thas taken more than hall «century forthe change in adios of production to be manifested inal areas of culture, low process has affected culture can only now be assessed, and these assess ‘must meet certain prognostic requirements. They do 20t, however, foctheses on che art ofthe proletariat afters sire of power, a rl for any of the ar ofthe classless soe. They cal for tees defining tendencies of the development of at under the present conditions of n. The dialect ofthese conditions of production isevident inthe xr 20 less than in the economy. Theses defining the evelop- tendencies of art can therefore comtbue tothe poll sragle in tat ie would bea mistake to underestimate, They neutralize «namber ational concepts—such as ceatty and genius, eteraal valve and ch, used in an wnconteolled way (and contaling them i ‘day, allow fatal material toe manipulated in th interests of toa 5h The Werk ot Artin the Age of Rprodusily 103 lascsm. In wha fellows, th concepts which ae arodaced int the ‘of are difer from those mow current in tat they are compltey wel the purposes of fascism. On the ober hand, they are uefa for he fn ton of revolutionary demands in the polities of ae (Kunstpoiti Tinea the mor perfetceprodtion, ome thing is lacking: the here and 1 Innit work ofa hat always bee reproduce. Ober a mans old anys be coped ty hana Reps ne als is pacing for tc by mantener tc work fal by hed pu prio pro. Bathe cola Son of severks i smctig sem Faving ape ince tor at wissen ne Rey sped wither Ieee: Grapic ar as Se mela cody ood lng iene wae aguas became ecb by {pe The eoomoon cans bong abut nica by moa Se chciogal recon cf wing, eel know, Bure nly a pci eas, hough an pra cs of he peroncon coll org, ts oon hc ith echologea erodcton Te red om he pepe of wo nc cme fe Mal pnw Fs holga opnon ere inpndent Sees the wonar ms tplemened by cngavng eden, dade Ue tn eal soa or rap ea = ging fhe nicest ery by br tetonet apna th opal hat se cele oly ee on Uhornt mantels dana sew sag in se shnloy ie ft adsl andcan nl chane seein) sn hc homes producn. Tis mich more de proce” yt sl mrt can se cen process ec elrgenet ow ont the ranged ons nse tan ned on os of wont ‘hed on cpp plat hate pone fr pape ee mast roduc ony ge numbers evo atl hs ‘rato tihogpiy coated gap ato povie an itn Companime to eeyty eT hgan seep pce wth mle fring, ony ew dad fee ines o ey Ertwansupaed by porogaphy for te tin opel iad rom te mst impor se at ini rece of perl beens th now ved pont ee. dsc Pests ore ei tant had exp dant proce of pei Fodacton wat caonomy ccs et ted vot Kp Sihapech Jura lsteed sewepaper aly ny dene thoi oe non Sm nasa photon Te echak terodcton fsa ware steed fhe ey 1 eta rin eed de rtd opie a tn werk fh rfonly ‘fect Sob xed» cof oa he a ‘ls gouging tis sod wml del sy he ie “hich oo ifr maine the nprnaton of etre th ot of fia ang main rl ore Traces of the former can be deteced only by chemical or physical ss which cannot be perforaed on a reproduction} wile changes of ip are par ofa tradition which can be traced only fom the stand of the original in ts peesentocation Te ere and now of the orginal wnderles the concep of ts aueaticty, onthe ater in tenis founded the idea ofa wadition which has passed object down as the same denical thing tothe present day. The oboe of athens eludes techmological and ofcourse not only techno "raduction. Bu wheres the authentic work retains fll 2 iy inthe face of a repeoduaion made by hand, which ie generally es Scand, technological eprodaction ean place the copy ofthe orginal stains which ee orignal tf eannot attain. Above all it enables the lr mer the eipient hallway, whether in the form ofs photograph or inthe open ai i enjoyed peivte roam These changed circumstances may leave the artworks other properties, wvched, but they certainly devalue dhe here and aow of the artwork [he the spectator in afl, in the work of art this proces touches on 3 fy seaitive cove, ore vulnecale than that of any natural objet. That Gest authenity: The authenticity ofa thing is ee quintessence of all ts eansnsile i i rom its gin on, ranging from its physical dura 2 the historical retimony relating to Since the historia testimony Slonded on the physical durauca the former, too, is jeopardized by ce ution in which the physical curation plays no pare. And whats elly Jpnardzed when the historical tetimony ie affected is the authority ofthe bs, the weight it derives fom vaditon. ‘ne might focus these aspects the artwork in the concept ofthe aura, tos + 156 The Weck oF Ain he Age oft Reprheay « 107 which emerged tthe sme time as scala), at fel the approach of “Sch earner hecone wom ated with dloctine of Part pour Part—that with a theology of a This in tn {Sets negative theology i he form ofan en of “pure” a Whe jects not ony any soil fnetion but any definition i terms of ‘Sowa conte ln poetry, Mallee was the fst to dope this 5 poine)” 'No investigation ofthe work of art inthe age of is ecological em ork as led o a qualieative transformation in its nature Justa the wk of atin prehistoric times, trough the exclosive emphasis placed Ia vl, became fst and foremost an instrument of magic which ony “ercame ro be recognized as a work a r,s today, throrgh the exclusive placed on its exhibition value, the work of art becomes con ic [Gebilde] with quite new fonctions. Among thes, the one we are ious ofthe artistic fuetion-—may subsequently be seen as incden Tal Ths machi ceri: today, km is che most serviceable vehicle of his enderstanding. Certain, at well the fact thatthe historical moment ‘he st time ia word histor, technological reproducibility emancipate fis change inthe funtion of arta change whichis mt lly exert ‘work of ar from is parasite subservience to stual. To an ever increas IB gthecase of filre—allown 2 deck comparison wit the pdneval es of art ‘ogre, the work eeproduced becomes the reprodsetion of a work desig Bar nly fom a methodological but ale rom + maternal pens ove {or reproducibly? Prom a photographic plat, for example, one can male F esrrc art made use of certain fixed notasons in tesernce of agi ‘any numberof prints o ask forthe “authenti” print makes no sense. Bf Bgl gractie. In some eases, these noatons probably computed the acta {soon asthe enteron of athenticty ceases tobe applied to atic ring of magical ats (the carving ofan ances gure is self such ‘duction, the whole socal fonction of aris revolioniced. Instead of bOI natin others they gave instevcdons for such proved he ancesteal Founded on ritual, 1s based oa ferent practice politics. demonstrates ital posture); and instil thers, they provide ob fr magial contemplasion (contemplation of an ancestral figure uthns the occult powers of the beholder), The subject for these nt were humans and thee envionment, which were depicted according [othe requiements of a society whose technology existed ony in fusion heal. Compared co that of the machine age, of course ths technology undeveloped But from a dialectical standpoint, the dpi is unm: [ant What marters isthe way the orientation and ais ofthat een 1 ie from those of oars. Whereas the former nade the maximum pos. ewe of human beings, the latter reduces their use othe nin. The beyements ofthe fst technology might be said to cabminate im human x thos of the second in the remote-control strat which needs buman crew: The rests ofthe fst technology are vali once and fr all uF dls with irreparable lapse or sacrificial dest, which holds good for Fees). The rests ofthe Second are wholly provisional operates by ‘of experiments and endlesly varied tet procedures). The origin of Bf Ssscond technology ies atthe poine where, by an unconscious ruse, beings fst began to distance themselves from nature. Il in she sin lay. Seiostes and pay, igor and license, ate mingled in evry work of at, hin very different proportions. This implies shat ar inked to both técond and the fest tachaologis. It should be noted, however, that 10 ie the goal of the second technology as “mastery aver mature” ie ‘guetionable, since this implies viewing the second technology from sandpoint ofthe st The fst techaalogy realy sought ro masse na heres the second aims rather at an interplay Berween sare and hi [only The primary social function of art today ito rehearse that inter vw Art history might be sen as the working ou of ension between to BE lavtes within the actwork sel ie course being determined by shits balance between the two, These wo poles ae te arework’s cul vale itsexhibition value? Artic production begin with resin the serve ‘magic, What i important for hese igure is that chey are present, 0 they are sen. The elk depicted by Stone Age man on the wall of his en ln instrument of magi, and i exhibited to others only coincidental ‘matters thatthe spiis sce it Cule valu as sch even tends to key rtwork out of sight: certain sates of gods ar accessible only othe inthe ella; certain images ofthe Madonna remain covered neasy al ‘ound; certain sculptures on medieval cathedrals are nor visible to ‘viewer at ground lel. With the emancipation of specfcaretic ra ram the srvice of ritual, hy opportunities for exbibtng ther produc ‘rons, eis easier to exit a portat bust that ean be sen eee and th than to exhib the state of vii that has 2 xed place in theme ‘of empl. A panel painting can be exhibited more easy than the mia ‘hited to public presentation than a symphony, the srmphony came nt ing at 3 tne when the possiblity of such presentation promised eater “The scope for exhibiting the work of art has increased so eno with the various methods of technologically reproducing it thay 2s pened in prehistoric times, a quantitative shi betwen the wo poles of 0 = 1956 The Work of At inthe Age of is Repodscity = 911 [pup of specalits—executve producer, director, cinematographer, sound frst, iphting designer, and so on—who ae in a poston to intervene in Tispeformance at any tine. This aspect of Rimmaking highly significant stil ems. For te intervention in 2 performance by «body of expen ialo characteristic of sporting performances adn a wider sens, all spsfcmances. The entice proces of Sl prodcton i determined, by sch intervention. As we know, many shoes ae flmed in a nomber aks. A single ery for help, for example, canbe recorded in several i fave vesons. The editor then makes 4 sleton fromm these; ina sense, Uesublishes one of them as the eecord, An action performed in the fll lo thereore differs fom the corresponding real action the way the pete throwing of a discus in a spore arena would difer from Tietzowing of the same discus fom the same spot inthe same diction oer o kill someone. The Ere is atest performance, while the second The est performance ofthe film actor is, however, etirely unique in nd. In what does this performance consist? Ie consist in crossing eta i wih confines the socal Value of test performances within Mat" is. am refersing now aot performance inthe word of sport, but i pecoance produced in a mechanized test. In a ens, the atlce is none only by nacutal tests. He menses himself against tasks set by ce, nor by equipment—apare from exceptional eases ke Nurmi, who sad to run against the clock" Meanwhile the work peocess, especially Hinceic has been standardized by the asembly line, daily genetaes cous ferchanized tests. These texts ae performed unaware and those who Bi ae excluded from the work procen. But they are also conducted yn agencies for testing prfcesionalapritude, In both cases, the test bs faces the barie mentioned above ale sprestion, we are eranapored back to the expres level of Teypdans. +. Pitocl language has not matured because our eyes ‘yr tdaped go Tevet yerenough rapt, nt enous cl, or {especies Or inthe words of Svein Mars. "What oer a at feanted «deca aonce more poetic and more eal? Sen nhs a $m mighrepresct am incomparable means of expression, and ony he best minds thuld ove within is stmoxphere nthe most pele OE oe aa Tien anone ese ae qo annex fl "ae inpel these theoreticians to abate clenet l {uittoflm-vtha sing lack of iscresion. Yer when these spec were published works ike A Woman of Paris and The Gold Ru ha ‘endy peated. This i not deter Abel Gane: fom making the comp ‘Sa with eroiyph wile Svein Mars peaks off as on might ok patnings hy Fea Angelic Ie revsting that even today especial Sconary authors kok a te ste diecon for the sgicance of E fing, not actaly 9 aaced signfeance, tena Testa super tne I connection with Max Reihasds fl version of A Ma Nights Drea, Well comments hat twas undoubeely the serie ing ofthe external world-with ste intro, aay ston fnurans automobiles, and eaches—that had prevented fm up fm fom ascending tothe esl of art Pil has no ele ro oy tal posses. These consent rg aby 0 ‘mean to give incompatably envinsng expression co the faye, ‘marcel the sperma." x “To photogzaph a psintng is one kad of reproduction, bu to phowps an ation pelonted ina film sudo is another Inthe Hist case, whats produced ia work of art, while the act of producing isnot. The cam Ian's performance withthe lens no more creates an artwork than ac {luctors with the Baton, a mort it creates an artistic performance, Thi Unlike the proces ina fl studio, Here, what is reproduced is ots ‘work, and the act of eprodcing sno more such a work than inthe ase, The work ofr is produced only by means of montage. And exh “lividus! component of this montage i reproduction of 2 proces wh fether i an arework in isell aor gives enero one through photog ‘What, hen, are these processes reproduced in lm, since they ate ce sot works of are? "To answer this, we must stare fom the peular nature ofthe artistic formance ofthe fm actor. He x dingished fom the stage actor in his performance in ts orginal form, from which the reproduction ‘i-nor cared out i font of a randomly composed audience but belo lh is to preserve on’ hustanity in the face ofthe apparatus ate inthis performance is widespread, For the majocity of ceydwelles, ouphout he workday in offices and factories, have to relinquish thee hu inthe face of an apparatus Inthe evening these same masts fil the co witness the film actor taking revenge on het bell not ony by ing his humanity (oe what appears to Gem a such) against the appa fs bot by placing thar appacatsin the service of his iumph va 1886 The Werk of Ain the Age le Rpdiy = 113 er cor, scenery, ands on here ate clement ascesites ofthe ma- ey that plete actor performance into ase of eps capable of “being assembled. In particular, lighting and its installation require the repre- Seton of an acon which on he screen appears si une se eo be med ins sete of separate kes which nay be steed ous inthe sai, Noto onto she pore obvious ccs of om Aap tom a widow, fr example can be shin tesa a esp Be sald, while the enang fall may be med weeks ister out eatin. And far more pada cae canes be taped. Let sue that an acto sapposed wo bearded by 2 knock the dor It Breaion snot atisfactoy, the decor can resort a expedient he dave «shot Sed withous warning bchind the ators back on some czasion wien he happens to eit he tdi, The aco ighened a that moment culate recorded and ca etd othe Shows more graphically the st has eseaped te ean of "beaut ean whch ors ong neared a ny pee whch xI Inthe case oft the fas that he aco represents someone ese boc ulince mars much les than te fact hat he represents isa be dbvapparei: One ofthe fst to serethis anformation ofthe cod {he perfomance as endl” Toa is remac 0 the subject hovel tga Shoot) ace confined othe nega aspes ofthis ch “nd alent incl dow ise to diminish ther levance For in ta {pecs tne sound Hm Changed nosing een, What ates ha he {ori performing fora ples of easipment-or nthe case o sound two ples of eqipment. “The lm actor,” Pine write, tes at Te End no only frm he ape btm his ove person Wi tease esas a inespicable vid ering fom the fac that i is sts pbseancy tht he as Ben vlan, erpped of his rein lie his vie che nies rakes when moving abou, and as been {nt a me ge tha lke fora moment on th cee, ten van int sence. The lice apparatus wl play with is shadow belo cee and be hme ne be coven play before the appara ‘The stanton can alzo be characterized fll: forthe fst dhs the ele of flm~ihe human sing paced na positon whew ‘nus operte wi his whole ving person, wl forgoing aura Fo Sura bound to his presence in the hee apd now. There o fs {he sua, The aura surounding Macbeth onthe age enor be ie From the eur wich forthe ving speaton,surounds the actor lays hime What distinguishes the shot ip he lm studio, bower {hat the cameras sabtruted forte sudence As ey the sua touring the stor i spelled, with he srs of th ue Tris not surpsing that sould be a dramas such s Prado inrefesing onthe speval characte of ln ating, advent ouch the oh tw alleclng the theater Indeed, nothing contas Ore wea wok of acon be (ke onde Togial reprdacton thn a sage ply, Any thorough comsidaton Claim ti, Expert obverse hae long recognize that, nf, “el ‘Hoc are amor sbway achieved by "acting a ideas posible “evelopment” acoreng co RaolAraeim, writing in 1932, bas ea Stor “uing the actor atone af he prop chosen fr his piles wai imbued inthe pope context Cosy bound up with ths pens someting te The sag actor idetfis Bisel wid aol fm ectr very often deed hs opportune His performance by fheson unibed sole, but i asembled from many iva po ‘Dances, Ape rm incidental ences abou so rental, vais XI representation of human beings by means ofan apparatus has made lea highly productive wse ofthe human being’ seffaenation, The eof his se can be erauped through she fact thatthe im actors ex ngement in the fae of the apparatus, as Pirandello desrbes this expe- tis ascaly ofthe same Kinda the estrangement fk before one’ ep ance [Erscheinung in mictor—a favorite theme of the Romantics. ow the mirror image [Bil has become detachable fom the person re, and i transportable. And whee isi eransported? To a site i of the mases=* Naural, the sreen actor never fora moment ceases Ftkeavace ofthis. While he stands before the apprats, he knows that in lend hes confronting dhe masse. Iie ehey who will contol him. Those oat ot visible, not present wl he executes his performance, are pre- the ones who wil contol. This invsbiry heghtns the tachoy tii contol. lt should not be forgotten, of cour, that there can be 0 il advancage dvived from this control unt fm hs Hberated self ox thefeters of capitals exploitation. Fl capital ses the revolution- ‘opportunities implied by thi contol for counterevolaionary Put or only does the cl ofthe movie star which it fosters preserve that prof the personality which has long Been no more than the potid Bot conmody hare Bt yore ec he 3, enforces the coraption by which face i seeking to supplant Beds conciousness ofthe masses ™ Te nna = 1956 The Work of At inthe Age of is Raprodciliy = 195 Sct sin oder ro distor and comrup the original and juste inerest of ses in fllm—an incest in understanding thenseles and therefore eis inherent inthe technology of fl at of sports, chat everyone who WENN he cae, Thus, the sume is true of film capital in parca w 6f ecoos nese these performances docs so ara guasrexpen. Anyone who bas AMM cortpeling urge toward new socal premises beescen, secon newsprint yc and ica ay exploited in theirs of properey-owning mini For this the outeoane of bicycle race wil have an king of his In che cas of on aloe, the expropeiation of fm captal an rpent the newstecl Jemonstaes enegeivoi chat any ind canbe eee cal ergens men bg sition tobe Sled But chat possibly is no enough. Ay person rody lay cla to being med. This claim can best be clad by considering storie! sation of erate roday ar centuries fe was inthe nature of Uerature that a small number weiter confronted many thousands 9 readers. Tis began co change Ward the end of the past century. With the growth and extension of press, which constatly made new political, religious, semi, ot Sonal, and los! journals available to readess, an increasing nam feadersin jolated ease, at fist—trmed into writers. e began wth Space se aside for “ler to the editor” in the dally press, and has a reached a point where ther is hardlya European engaged in the work pe ‘ess who could nos in principle, find an opportuaicy to publish omen tr other an account of work experenc, a complain, a epor, of ‘hing of the kind. Tho, the diineson beeen author and publica to lose its aniomatic character The diference becomes functional ‘ary ftom casero cate. At any momen, the eeade i eeady to become Iweter As an expert—ovich he has tad to become in any ease ia 2 ‘Specialized work process, even if on? in some minor capacity—the {gains access to authorship. Work iss given a voice. And the abi ‘describe ajo ia words now forms pact ofthe expertise needed toca ‘out, Literaty competence i no loge founded on specialized higher tion but on polytechnic taining, and thas is common property. “Al this can racy be applied ofl, where shifts that m erate place over centuries have occurred in 2 decade. In cinematic p "hove ally in Russia—this shift has aleady been partly relied Some factors taking part in Russian filme are not ators in ouesease but pe ‘sho pareay themselber—and primasily in thee own work process. na fem Eucope today the capitals exp otation of ln obstructs the h being’ legitimate claim 1o beng reproduced The claim s also obstruct incidentally, by unemployment, which exclades large masses from peo tion—the process in which thei primary enilement to be reprodus ‘would le, Under these circumstance, the im ndusry hasan overidig {erat in skimulating the involvement ofthe masses through illusionaq plays and ambiguous speculations. To thi nd it has set sn motion ani tense pubicsy machine, inthe sevice of which i has placed the eae fd love lives ofthe start as organized pols thas eld beauty xv shooting of a lim, especially sound Sn, ofes a hithecto unimagin spectacle I presents a process in which tis iaipossble to asign to the ator a single vewpoin which would exclade from his oe hee ld of v1 the equipment nor directly involved in the action being flmed—the the Iighting nits the technical ere, and so forth less the align he speceator’s pupil coincided with that of the camera. This ie nce mote than any othe, makes any resemblance betwecn a scene in seadio and one onstage supercial and ieelevant. In principle, the includes 2 poston from which the action onthe stge cannot easly cred a5 anillsion. There is no such position where afm is being “heillsory naure of fm is ofthe second degree itis there of ed That isto say: I the fle studio the apperaive hes penetrated 30 no reality tata pure view of that reality fee ofthe forcign Body fenipment, isthe result ofa special procedurenaroly, te shooting by spell adisted photographic device and the assembly of that shot ers ofthe same kind. The equipmentiree aspect of reality has here me the height of artifice, andthe vision of immediate reality the Blue inthe land of technology” Ths sate of fis, which contrasts so sharply with that which obtains te theater, can be compare even mote instsctively tothe station in Hieré we have ro pose the question: How does the camera operator vith the painter? In answer to this, s willbe helpful t consider cocep of the operator as iis familiar tou fom surgery. The surgeon Epsers the polar opposite of the magician. The ara ofthe magician, als a sick person by laying-on of hands, differs ftom that of the on, who makes an intervention nthe patent. The magician ntintains aural distance berween himself andthe perso teated: more precisely, scsi slighily by laying on his hands, bot increases greatly by his ery, The surgzon docs exactly the reverse: he greatly diminishes the x from the patient by penetrating che patients body, and increnies i slghly by the cation with which his hand moves among the organs ors unlke the magician (raes of whom are sl found in the mesial loner), she surgeon abstains a the decisive moment from confronting ne 1956 The Werk of At in he Age os Raped 117, te pil contin which painting has become enmeshed bythe techno: I repeoducibility of the image- And while efforts have Been made 0 for pining co che mases in galleries and salons, chis ode of teep ges the mases no means of organising and relating hee response. the same public which eacs progressively toa slapstick comedy in iy displays a backward attude towaed Sores” his paint person operon insted, he penetrates he paint by pe ing" Magicn so surgeon a pate so sinmatograpbee. The pi nse m wort in ey, whey ‘Syrepher ponerse deeply no te. The igs obta s {Er cnormously The pater’ ttl image, wheres hat of the tographe is pecerel, x manifold par beng assembled accorig ‘aw lam Hence the presentation of eatin fm ie ncmperabty thm Tignicont for people of tay snc proves the equipment fe ap ‘fren they ee ented to domand from a work ofa, ad doe aly om the basis of the most inte interpenetration of ealty equipment. hemos important socal function of fle to establish eqilbriom be [ber umon beings and the apparatus Fil achieves this goal nor ony i of man’s preseatarion of himself tothe camera bu alsin terns of his ipisenation of his enviconmeat by meaas ofthis apparsus, On the one fl furthers insight nto the necessiis governing ou ives by its se dos ps, by its acentoation of hidden detail in familar objects ad by Serporation of commonplace milieu through the igennss guidance of Fetamera: onthe other han, ic manage o sare vs fa vas ad uns Jacl of setion (Spear Dus tars and city stres, our offices and furnished rooms, ou eieond ions and our factories seemed to close telendesl around vs, Then care lsd exploded this pison-world withthe dynamite of the split scond, dat now we can ser off calmly on journeys of adventure among it far 8 debris. With the closeup, space expands with slow mation, move ot sextende. And jst a5 enlargement ot merely clare what we ee Fic “in any case,” but brings to light enely new stctares of mat tow motion not only reveals familar aspects of movanents, but dis ute unknown aspects within them-—aspests “hick do not appear ihe retarding of natural movements but havea curios ging, Noting oftheir own." Clearly, t's another natace which speaks to he 38 compared tothe eye. “Other” above alin the ease that» space med by human consciousness gives way 0 space informed bythe un Sccs, Wheteas irs a commonplace that, for example, we ave some nha involved inthe act of walking (if only i general terms, we too idea a al what happens daring che split second when a person ac lyakesa step. We are fara with dhe movement of picking up 2 cigs lighter or a Spoon, but know almost nothing of what relly goes on be Geen hand and metal, and sil ss how this varies with diferent moods. Mss where che camera comes into play, with all cexurces for swoop. and ring, disrupting and isolating, stretching ot compressing a se Gp, enlarging or eeducing an objet. I is dvough the camera that we dscover the optical unconscious, ast as we discover heinsincual ut- cous through peychosnalysis. Moreover, these Wo types of unconscious ar itimatly linked. Foe in xv “The technological reproducibility ofthe arwork changes the relation of masses fart The extremely backward atitude toward a Picasso pa hangs into a bighlyprogresive reaction 104 Chaplin fil The Sine ateae s characterised by an immediate, intimate fasion of pleasure in seeing and expeiencing-—wid an atinde of exper pet uch fasion isan important social index. Ae i clearly seen in dhe cae painting, the more reduced the socal impact ofan aft form, the ‘widely eis anc enjoyment of diverge in the publ. The conven is ancrtically enjoyed, while the tly nev i ciicized with aversion sein the cinema. The decisive eas for this is that nowhere moc thn the cinema are the geactons of individual, which together make up Imassve reaction of the audience, determined by the imminent con tion of reactions into a mass, No sooner are these reactions mani. they regulate one another. Ain, he comparison with panting is fil painting has always exerted a claim tobe viewed primary by a singe pe fon or by afew. The simultaneous viewing of paintings bya large au fs bappens in the nineteenth century, isan early symptom of the cs ‘ainng crisis triggered noe only By photography but, ela it Denent way, bythe artwork’ claim tthe atenion ofthe masses. Painting, hy its natre, cannot provide an object of simultaneous call tive reception, as architecute has alvays been able todo, a8 che epic ‘ould do at onetime, and as lm sable to do eoday. And although ag Conclusions about the soil roe of printing cannor be dawn fom ths tone, edocs havea strongly adverse effet whenever painting is ed ‘Gal ercumstances, as i gaint ite mature, to conioat the masses di Tn the churches and monarteres of the Middle Ages, and atthe pit courts up t about dhe end ofthe eightenthcentry, the collective re ff paintings took place not smlaneously boc in a manifold gradu fa fn hicrarehially mediated Way. Ishat has changed he change ne - 1956 The Work of At inthe Aga af is Repectuiiiy = 119 “bth mech es importance co the commercial usefulness thei artworks Hen he wsclessness of those works ab objets of contemplative immer- They sought to achieve this uselesness no least by thorough degrada if their material. Their poems ae “word-salad” comaiing obscene [pprson and every imaginable kindof linguistic fuse The sae eve “Mite psiosings, on which they mounted bottoms or tain tickets. What achieved by uch means was a ruthless anahilation of he aura inevery they produced, which they branded asa reproduction through the means of ts proton. Belore a painting by Arp or 2 20em by August its imposible to take time for concentration and evaluation, as can before a painting by Detain ofa pou by Rilke.» Contemplative imrson-—which, asthe bourgeoisie degenerated, became a breeding ind for aocial behaviors here opposed by dstactio [Able as most cass the diverse aspects of elt eapeate by the fil carers bea {ide only the normal spectrum of sense impressions. Many of the defor tions ad sterorypes, transformations and catastrophes which can the optical word in ils alice che actual word in paychoses, ball tions ad dreams. Thanks tothe camer, theeloe, the individual pee "dons ofthe paychoric o the dreamer can be appropriated by collective p Ception, The ancien truth expressed by Heraclitus, that those who al Be “wake have a world in costmon while each leper has a world of hii has been invalidated by flm—and lens by depicting dhe dream world than by creating figures of eallestive dream, such asthe plobe-eaci Mickey Mouse” fone considers the dangerons tensions which technology and ts quences have engendered i the masse tlarge—tendencies which ot (ll atages take ona prycboticcharacter~one als has fo recogni tht ‘Same techmologaation [Techs hae coated he possiblity ofp jnmanization against such mass prycoses It does 50 by means ofc fle which the forced development of sadistic fantasies or maso licsions com prevent their natural ed dangerous maturation i ef Sead turned the artwork into a missile It jolted th viewer, raking ‘masses. Collective laughter is one such preemptive and healing outbreak nase poychons. The countless grotesque events consumed in fms {apc indication of he dangess reatening mankind rom herpes fmpist in cvlizacon, American slapstick comedies and Disney fms rt a therapeutic release of uaconscus energies Their forerunner wa Wptwrapped asisvere, inside the moral shock effect—fom ths wrapping. the igure of the eccentric. He was the First f inhabit the new fils of ‘opened up by filme frst cccupant ofthe newly but hous. This i Content in hich Chaplin takes on historical signicance. ‘ehement distraction by making atworks the ceate of scandal. One een was paamnouat Co outrage the publi. masses area mattis from which all cstomary behave toward works fas today emerging newborn. Quantity has been tansformed into [al the greatly increased macs of participants bas produced a different Td of portcipation. The fact that eis new mode of partipaton fist ap il ina dateputable form should not mislend the observer The masses etcized for seeking distraction [Zerstrmg] in the work of ar, cas he art lover supposedly approaches with concentration. Inthe of he masses, the artwork seen a+ 2 means of entertainment inthe ofthe art lover its consideved an object of devotion—This calls for ‘cxamination™ Distraction and concentaton fora an antithesis, i nay be foraulted as follows, A person who concentrates before 2 of at is absorbed by i he enters into the work, just as, cording tO yd, a Chinese painter entered his completed painting while bcholding Tey contrast, the detracted masses abo the work cl at into them + Ther wave lap around it; they encompass it with tir de, Thi s te obvius with regard to buildings Archtecare has always offered the more of an artwork that is recived in a state of dstreccion and xv Ichas always been one of the primary tasks of ae to create a demand hour of fll satisfaction has aoe yet come" The history of every at has esta periods ia which the particular form stain ater eects wi an be easily achieved only with a changed technical standard~—that kif Sayin a new at form, The excesses and erudite of are which cos res pavsicularly in periods of socalled decadence, actually emerge from ore ofits richest hstcl energies. In resent yest, Dadais has am ‘set with such barbarism. Only now ists impulse recognizable: Da ltternpted #9 produce with the means of painting (or iterate) thee teh the publ today seeks fm ‘Evecy fundamentally new, plonering creation of demand will veh its target. Daatsn did so 0 the exten hat i sacrificed che market Eo characterise of film in favor of mote significant aspiratons—ol to be sure it was unawase in the form described here. The Dadaist 0. 6 The Werk of Artin the Age of is Repredsbity 121 shrough the collective, The laws of architectures reception are high Gh wich they sive to abolish sees its salvation in graving expression suet Tete masc+—bu on no account granig them rights” The muses have a Buldings have accompanied human existence since primeval sal yhiochanged property telatons lan sce te give then expresion in Many art forms have come int being and passed away. Tagedy Ba lepine the rations unchanged. The logical cucome of fom is an withthe Greek, is extinguished along with them, and i cevived cet aterczny of polite Ife: Wah D'Annusia decadence dea ey later. The epi, which originates inthe earty day of peoples, dis out MEN oll es with Mariner, Futura: and with Hie, he Boca rope atthe end ofthe Renaissance. Panel painting is centon ofthe fo of Schwing * dle Ages, and nothing guarantees i wineraped existence. But the Blof to asthstiize polite culminate none point That one pont iman need for shelter i permanent. Architecture hat never had KOI uur War and only wa, ake fe posnble to see's gal formas ove ‘evods Is history is longer chan that of any ater at, and its cffect oa gens onthe grandes scale while preerng tendon propery relations. to be recognized in any atempe t0 account for the relationship of show the situation presents self in politcal term. In echnological masses 10 the work ofa. Buildings ar recived in &ewofold manoe8] | eps itcan be formulated follows: only wat makes t posbie to mols tse and by perception. Or, beers tctiely and opel, Such Teal of today's ecological resources wile maining proper rl is poe without saying thatthe faci slnfeaton of at docs ot Bleu ofthese arguments. Nevertheless, glance at sch lication i trace In Maines manifesto forthe clonal wat in Ehops, we ‘otso much by way of atenion as by way of hab. The ate gl de ‘nines even the opal reception of ech, which spostancous {he form of easua noticing eather than atenve observation. Under ea tircumstances, his form of recepon shaped y architecture acquit Ionia alu Forth ass tlie face the ban appara of er Ua stoncal tring pons canna be performed solely by opti that i by tay of contemplation, They are mastered gral their cue from tactile recepton-—through habit en the distracted peron can form habs, Wht is more, the bi smaxr certain tasks in a sate of dsuacion Bint proves chet the pe tmance has become bits. The sre of cnacton thats provided yan represents covert measure ofthe extent 1 which has become pose pevlorm new take of apperecption. Sins, moreover, individual empred to evade such tik at will tackle the move difculk and moi potas taka wherever tablet mobliz the mass. docs 3 cute inl. Reception in dtacon he srt of reception ih ee sotceble all aear of art and iso symptom of profound chong ‘pperception-fnds in film its true training growed. Fm, by vireo ‘Shock effects prdiposed oth foro cpio, I tis eps proves tobe the mostimportan subject mater, at present fo he tea perception which the Grek ale gests = Ferment even yet we Faust ave sbelled agains se ea ha wari tncsethese--- We theeore se Wat ibaa because—than 0 Iasemask is teriying megaphone, ame trowers aod ih anki {stlihes man dominion ovr the subjugated nachie. War Boul Be “set esugurate the deemed ealiaation ofthe uma by, Wat is aul eens eves afowesing meadow ith the Bry oes of ma ‘sears: Wa is benef bcase it combines unf, Drage cee fe, ‘ees and the agence of puelatio ua 2 symphony. Wari sta fae it creates new arciecures tke those of ator tanks, geomet "sitoos of scat sal fsck en bung vile, and ch mre (Ser and ari of Furi, remember these pcp ofa sesec ‘iia, tha they nay laminate -- your rales or ew poetry and 4 seis” ‘This manifesto has the merit of clarity. The question it pose deserves to Sletten up bythe daleccian. To him, the aesthetic of moder warfare ap- 5 follows the natural use of productive forces is impeded by the pry system, then the increase in technological meas, speedy in of ene wil pest toward an unnatural us, This fund in wa, the destruction caused by war furnishes proof that sci was no ha ough ro make technology its organ, that technology was not ‘icesty developed to master the elemental forces of soiey. The mort orfing features of imperialist war are determined by the disrepancy be- the enormous means of production and their adequate sei the ers of production {in other words, by unemployment andthe lack of fark). Imperialist war isan uprising on the part of technology, shich anands repayment in “bun maternal” for the natural mata sity XIX ‘The increasing proletarianization of modern man and the increasing fo ‘on of mases ae wo sides ofthe same proces, Fascism attempt oo nize the newly prolearanized masses while lesving intact the property rae = 1856 ‘ho Werk of Artin he Ago os Repreduiy 125 forma odeings of ac emerg as expresins of diferent historical poche Heit Iheauhor of Suipagen: Groalspngon su einer Geschichte der Oramentk Iquesins ‘of Sule Toward a History of Ocmamens 1893) amd Die “paronsche Kutna mach dn Funden In Oxterich-Ungir (190%) The ites bas been walt by Relt Winks ae Late Roman Art Indy None Giorgio Brescneie Elite, 1985). Fane Wacol (1853-199), sl ‘sean se bisoria, the athe of Die Wiener Geni [The Vena Gee. 3,192) 0 say ofthe sumptuous ilminated, early sschcenary copy be ical Book of Genus preserved in he Astin Navonl Libary Tens jEnmalieErscinng ne Fees mah ie sein mag” Atake in ena ‘uyaulaion san interweaving nor fas of time and space—snmalige Fr ‘chang realy “onetime apearance”—but of far and near, cine Pere fone uth" diane space sine and “something tenors” Howey Teri he distance, or distant thing, hat appese} may be Bajunens quoting Johannes Jensen, Exvtace Nave ans, Jb Keppel Ate ache, 1919), pp. 41-42. Jerse (1875-1990) wr Dan oven, cy sn ey who won the Noel rie or Licata 1944, See “Hash bP Mali” i Benjamin, Sted Wrings, Volume 21927-1934 (Cam Fede, Mass: Harvard Uneasy Press, 1999.67 2 Signe Malar (1642-1998), French poe, trnsator and eto, was an Sor and leader ofthe Symole movemens, whch sought st naratory [gage divorced from al reternti function, Arming bis work ee LApre I do fe (ABernoun of 3 Fan 1876) and Vere ot prose (Pty and Bre 1855) 1s, the tecnologia eeradaciliy ofthe prods is ot an eccnly an feprenent the fom wh Bajnin xg wither sce the wok pl fost cndinon ofits ats aeration, at ay sayin erase ain ISresvey infcr the hast forthe fet pbbeation ofthe ea 0 he tehnologl produit offs bsed dey on the echo of horned form wanted ito Pench the Zotac fr Sualforscha all troduction. Ths not ony mates posible the mas dseminaom ois May 1536, The tied veion of the cay (193641939) wil appear termoat det io, bu actualy enforces ds sa beau the pes of Byam, Sled Writng: Volume 4 1938-1940 (Cambie, Mass Hans suing ftv ony tha an nial who cond ford eo Buy 9 pla University Press, orion for example, coud not aod toby ste ran of] i, was eke 1 "Nada hare de Dug ne Krai 1778-2828 th wile of Dac Amiel dn 1927 thar, nde eo make» profi a mae fl eed esha ‘Doras eld macsal under Lous XVI, waste author of wo nrc Onl dec of ie salion, OF couse, heaven of sound in that en] aly {1825} and. Edouard (N25). She presided over a bellan salon it “used a movement inthe opposite tet: ease was rated by an Rejamin cies Madan de Duras i he oil French. ‘Die boundars, Aad that comcided wih the empha placed on nana in 2, The German pla! llsopher Kal Max (1815-1853 anayeed the ‘west by fascism But ss smportan to ote his setiack sch in ay cae it mode of production inh mow famous and aden Wotk, Ds K Sis migated by dubbing) than to sere conmecson wi fac, Ths (Bae, 18671885, 1195) wich was cad vo completion by hic olabaaiRN xk ofthe two phenomena seus rom th eco cre The sane dr Fenda Engl (1820-1895. feds which ed the ola 2 3 serge ora xing Pop ‘Abel Gace,“ Temps de ingest en” (Is Tne forthe Imagen fy elton by re force sodaced lm erp, aer the he of ei 0 reste Quin, Germaine Due, one! Landey, and Abel Gane, LA ‘ed up the development of sound fim, snoduction bought temporary re fograpbaque, vo. 2 (ers, 1927), pp. 8-36 [Beams ate, Gare too ony becae sound fm tracted the anes back in he come {981 wats lending French fm Bre whore epi Sl [Acie (199) Il base consid new capital om thelr indy wath he of Rone (1922), and Nafoleow (1929) made anova we of sch eves Hn. Th, contd fom the ou, sand fm promoted aio nee, eriposion apd iercuing, and sli ren Trane] bate fom the ise, ell terntonaize Bm prodoctin eves ore 4, Roe Rl (195821905 was a Aun at Baran who argued hat into [Beniamins noe By whe econ ris” Benji rt he has denied Instead of deploying power stations across the land, more ft [Bejamins aoe The German icalat phlovopber Georg Will Friedrich Hegel (17-1831) accepted th chat in hosp ache Ui fl Bern 1818 iste on exons snd the phlnophy of sey Iered 1820-1829) were later posed by his dors, wth the Tet rainy om ous aken by his steas—Teons] “The tm of revolution i to acelaate she adaptation. Revlon innerations ofthe coleeive—oe mare peel flor at innervation a fort he neve, social nie colecsve which ho reas in De ‘Sthalogy. Tas scondtchnlogy yt io whch the sasering ‘mentary saa forest precondition for plying se Sp wat, forces Jor 2 child who bas arned to grup sees hand fi ‘moon a would fr ball so huni, ns ffs tment Sits as much on caret wopan goals son gal wih wath, For [onan ony te second ehnolgy which seo clans ‘Sexy, Bsns hi oshnoogy aims berng Raman beng rom Sul {he lniidalsdeny ser hs cope for play i ld of ston (Spl Irmensraly expanded He docs at yx know his way around hs pat slready be eps demands on For the more the collective kes Second eeoaoey ts ova the mote Kenly indus eongng to theca ‘eel how ie they ave eed of what was de hem ude the ol ofthe est ecology In thes word the invival berated bythe ‘btion of the ire chnology who rinks hs easm- No sooner hs he ‘echologyvcued lial evlutonary aie than ial queone the indidalsuetion of love and dst which ad been bare ye {echoslogy-once again pee or cons, Fours work she ih ‘idence of ths demand. [Benjmins pre. hates Tourer (1772-18) French social thors ad former, red hat sce by eorganzed i ‘Sonate agian cooperatives wich he eld plasters” Amoxe The Werk of An in the Age fe Repeoducity 125, recs ae Tho des quatre mousonents Theory of Four Movenets: 1808) Ind Le Nowe Monde daca! The New tna Word, 1829-1830, Tes an imporcane grein Bnjrna’sPssager-Work (Arcades Proj). The (em Spurn, inthe note, ip nate 22, and inthe txt, Ierally ean ‘puyspee” “space for play"—Teas] Ege Age (1857-1927) reso today a oe ofthe lsdig prog fs ofthe even cents spt carae i olacurey ming pte ais and is ensons. ee Benjamin’ “Lite History of Photograph” i Wal ter Benin, Slced Writings Ve 2, 1927-1994 (Carrier, Maes svat Univesity Pes 1999), pp S18-519 (rans, Edmond Jepot and Kesey tore A Wma of Pris (1923}—which Benjamin eces to by i French sie opinion publique—ovas writen 208 deed by Chae Chaplin (Chale Speer Chaplin 1891977), Londan-ben aco who ws on ag rom the ‘grote Hecame tothe United Stas witha vaudeile aee 1910 and made [motion pcre debut therein 1914, rently aching worldwide renown Isa8), iy Liphs {1931 Modo Times (1936) and The Great Dictator 0) See Benjamin's short peer “Chapin” (1929) and “ie Diminished cing” 3938) io Vole 2 of is eion. nthe nineteenth emury gare ween psing and photography se “Li fe Hiry of Photography a Baar, Selected Writs vol 2 pp. SIS Sis, 36-527 and Benamin The arcades Proc, tans, Howacd and ad Kevin McLaughlin Cambridge, Nan Hacrard University Pres, 1999), ss 632 1 Bh Gace, “Le Tepe de image ven” Are cininatogrsphigu, vo 2p 101 [exis ate. On Came se ote aboveTrans] I Sei ary ced id p10. [Bejan ot Severin Mass (1873-1921) intra playwright and disopied ll actor who seared in thes of Gance’s ‘Sow [a Dime Syphon, Aces, and La Rowe-Trons) I Cae Chaplin wrote and diced The Gold Rahn 1925.00 Chapin and A Tomar of Pans, sce note 12 bore. Giovanni da Fle, known rz ogc (eal mame, Guido Pte 1387-1455) wae an Tan Dominican ‘ou ceebened forbs “angel ia ad a unter n the early Renaieane reine aye. Among he mont fous wos teh feacoes t Ore, hh seer a charcerscaly srt reso aie P.Frnr Weld, "Ein Sommertachsvaune Ein Pla von Shakespeare und earde” Neuer Woner Journal ced ip Ly November 1, 1955 [Brojniis noe, Wesel 1890-1045) was a Cacchrhorn port, novel, xd tlawrghe stot with Exprenioniam He migrate othe Unie eaten {S40 Among hit work ae Der Altrenteneg (The Gass Reasons 1928) in Ds Lind von Harada (The Sng of Beate 1941), Max Reed Ist Masiniian Goldman: 1873-1945) ae Germans most impor sage odoce and dvector daring the std of the went ceaty 20 the in fe non signin infvnce on the cnsie Geman slet cia, many of how diets and ator tained ver hin tthe Deatcher Theat a 20, a, Ws ‘etn His ies ln cv was ited to sever eal German sera (he American movie A Midsomer Nights Dean (1935, which he ol ‘th Wiliam Disel Tram Tuave Nur (1897-1973) ih ong ance runner, was 3 wine ‘Olympic Games in Antwerp (1920, Par (1924), and Antes 193) Bepnning i 1917 the lian plsyeright aod novel ahead 1336) ached sen of aces oahe sage that made i Word anos the 192 e's beat known or his plays Se poronagi coca acre {hacttersin Seach of Aor 1921) and Brio IV (ney DV: 1922) {si Piranel temo (The Tern, te by Léon Pe Qui, “Sg Su cinta in PArr nimatngraphiue ve 2, pp. HLS: Beam oe Rol Aenea al Kt (Bert 1882), pp 17617. I this ‘Srtain apparent incidental dt of im drcing wich diverge rom tices on the stae tke on added interes Fo example, the ep ot he {or pert witout akan tn Dreyer June & re: Dreyer pete ‘seing the fry actors ho cnseate he Ingustoe” tba Seach these sore wa ike antag for are props: Dreyer mage every efor a ‘oemblances of aps, tly and physognory in the sco. (See Ma Shale "Le Magailge” [ake Lat cnomatograpbiqu, ol 6 1929p. 65-66) Ihe actor tus Becomes pron the pop ns tm neque foneons sr actor Ar any rae ot wns for ls {Trista peop Rather than sling examples at random fom tbe ‘ber vs lt tke jn ome eel eveing cae. A lok tht ‘onning wl aways be a isarbnce on te sage, where cannot Be Ie rol of eauig time: Even in soars ply, tafe tine lk Sf wth beaten view of thi it 6 ost reveling tat Sober approptate—cin ready make eof ie a mesures by lak Tear more thn many cher make t clear thats Pl {ingesach and every po ns lay por deve funeson. om ‘tar baca step o Pasovkns pencil, whch tesa wo come he ‘ince ofan sto- wih an objet and to bull ha pefomance around Ife ivaays one of temo power methods of cinematic cons [Wi Padorin Fm Reps wnd Faas Fits Deon 4nd he Scapa Bertin 1928), 126)- Fm tun te fet are media wih shea show how mater plays havoc wath hums beings [ide Mati de Monshew map It follows tat sca bean excelent means of mal iscexpstion, [Benjamins noe Se, in Engin Rada Are, Fw [Bess Unieaty of Calla Pres 1957p. 138, Armin (190% {German boon Geta ppcolog ad rz, wat o ke, Lert, a feratoue Belin newopopers td sages om te mi:1920 stl 1 He Came to te United Sue in 1940 and eg Sarah Lawrence, he Schoo! fr Sol Research, Harada the Univesity of Michigan, Ihe wock on fn thon, is pubctons ice Av and Vina Peel (0954) Plessis Guar (1962), snd Vl Thonking (1969) La Fason Jeanne dred by Cal Theodor Dreyer, wereld in 1928. (899-1968), Danch weer deer and ei, now forthe x ‘xpenivedeign af hs Sims, hs sub camera movement, and his cn The Werk of At inthe Age os Reprodcbily = 127, tn on the pysognomy and ines peycholgy of his characters. Among hit esown wore ace Vampyr (195 eons Dag (Day of Wrath 1943), and (nde 1985, Volo IL Padovkn (1895-1953, neo he maser: of Soviet Siar nema, wrote and ete fims—sach a Moth (1926), The Ed ofS Pesan (1927, 0d Storm ver Asis (1928)~that showed the croton of nddaard yet typesl charac a cl eovionent He alo publahed took on lm engi and im seng-—Tran Tesigiicance of esl semblance (cnr Schein is rote inthe ae of| sui perseption ta snow coming fo an en. The aetes heory of het zs was mont aly aticlited by Hegel fo whom beauty s “the appearance [Eheim] of prin nice ensous frm, ceed by the spi ste frm adegut oil” (age, Werke, vol. 10, par 2 [Brin 1857], 21), Alongs chs frmalaon bas some derisive Que, eget wate {eo tht ass away the “selene and deception of hear eases ‘fond rom the tre contr of phenomena” (Werke, ol 10, pat Ie. 13) Sey diverges tom the adsonal expert hase [Eabranrrandl ot ‘Me dace Th ground of expeence hh sr. By conta, Cotes work ical eneeiy nbued wth beau semblnce a an arate rei. Mignon, (resp eden ara ofa reality. “The ene acher the vl not ‘heveled objet bar rather the objet nts vi ths he quitsence of Gee "Bev ne fran thar fancy The deine of thi pew es dou ‘in that we oak back a orig. Thi es nme he primal phe tmewon of al aris activi, The mime presents whet he mimes mere a2 Enlace [Der achachende male er macht, mat ace), Ad the ‘ie foc of ination had only single mari o work with the boy of ‘hemins hime Dance nd language, pstures of ody and lip ae thee ef manfesations of minesis~The mime ese hi subject a semblance {Ber Nachmachewe macht sie Suche scehbar, One sald lea that he ‘is hs sbjec. Thos we encounter he platy slorming mimes lo mie Si thy imerildd like ctledns, saber the two aspects of rem ‘Scr and play. OF couse th olay can interes the Jaci oly ie Base itor cle And has fc th case Tis ois ermine By the octal cndics bewera te Et and scan wchoolopen Semblance ‘Tike mow abweace—bue therefore the ose ubiguitour—schema of al the ‘age procedures af the fee technology, wheres lay the iexhaosble es eo of al he exprineting procedures ofthe second. Nees he concept af enblance nett of ply ion to asia exes othe ent thn he ow comp of cl value td exbiton ve ae eatin the ther pairof conepe sine here, hey a9 Rohn nev: Bat th aeupl hangee soon 2 tener corps lose thir ierene toward sary They tee led wo practic! nsighnamely, ha wha Tos inthe withering of se ‘ce ad the dey ft urn works ot matched by 2 Boge gain a ‘heepe fo lin Spl Rau. Ths pce or plays wie in. nthe ‘men of semblnce has bon ently paced bythe men! of play. The fontoes which photography bad eccupied atthe expense of cl vale have fu een mass foes. nfl, the clement of semblance ha ied fleet the emer of ly, which led othe second weno. Ram re 1956 ently summed pth allanc inflation which i te guise of hon get oth hear of the mace Hesaye “We are corey wines [icinatng proces. The various asnces, which up toe hae each oe love in thet seal Sela ae begining to converge rei objec an Combed nt sing ene chemin pin ad mesh seb lterinkes. ei sie were jews othe enormously accelerate cer wher be lr, bento the Coto ad the as {he pert ne mching together ft own axed chase amu “Payson natu” Pesan, Nate), Mane, 4[Ocober 1935). trond simu epcuon tthe dens fay nthe ead Shr whch veils that n ar fej aoe. soa be ep i {tain cones” an appsrane” well sean eC itn" Ou Hee st tre 9 above The pot Johann Wollsan von a (C709 180) ved ay 7888 ad TH pig we pe {fom hs encounter wit CiecoRoman seg; x Gail pres Sune conepon of benay ofr hi reson of rch female Seu Mignon intl Mata! Labrie (Wien Meer Appretce 1790, Orie in De Wabivrsandnjen(eeive Alfie, 180%) ‘een in Eu, Pare (1832 Benjamin deton of he beau hj ts alr uted (wth he tas ade) fom bine “i Wanierwandachafes nhs Gesommche Sern, va 1 enki Shop, 1998, 195; in Raga “Gostes ce Mies” 6 en Sled Wig Vl 1913-926 (cambridge, as: Ha Yard Uiersty Pen 1990), p51 (rans tne” Coe Ferdand Ramu (1078-147) wae a Sw ite cover Pac (90 TD where cllborated wi te conpos igor Sri, for whoa swe te wat of Hate lt (Te Soke Tals 1918) Hea Eke pve on raat tt combi wit alegre ond “The change cred hee inthe mole of shibors change browgt sou ‘eyvoduton technology ial sosebl pl, The css of dem ‘Sco fe ental oa cs nth conto orn ie ui ‘on of police Denecaces exh he plikan det 9 peo foe deed repent The parlamen ths pu. Bu nnoati ‘coding equpnent sow calc he pater to behest bya oid Trot people whe te apaking, ad oe seen by an unlimited a ‘hori aera. Tata hat priory se to presen he pl iit ihe coding epee Patan se Bcomg depot Sie ent afin ecg te cn roteaal actor bs equal the fon of tose wo ke he pls row temacberbeocthc moti The decom his change he [etic Aln srr andthe plc, ears of thr Sire ks. tora the exhbron of contlable onsale sis wer cain el ‘ons jst as sot fi cle fo soc exhbion under cen ‘Solitons eesti nwo ssn ere 0 forte whch the champion, tesa andthe dato emerge a (Besa ove The Work of Ania the Age of Reproductity - 129 esol be noted ia pssing tha proletarian claw consumes, which tthe row enlightened frm of elas eonsiusaess fundamental ransorms the Sracure of the prolaran wanes The cnr consious polar forme 3 onpit mas aly rom th ote the mids of oppress. tthe mo. ft when take upstage for beraton this apperenyconpor ss Trac sendy bog to lone. cares ob govered by re econ ‘ost of slay Inthe solidarity ofthe pelea cls ral the dad ‘lalecizal oppostion beer nds sod mast alice fr the com flit doce nor exi, Doce athe maser fo the revelations ade, ‘here, his ret achievement es aon ring the muses ater i, bun {erty incrportng Nowell nto the anemia orders be, for tema srs one among handed of thousands. Butte sane cae sree which Sines he compact mas ofthe prlearscomprene that of the pert br poe Theiss a an mpencele, compact whch LeBow and others tvemade he sabjec of tee "as psychology” thar ofthe pty Bourn The peybourgeokie bao clas tii facony ase Ad he reser ‘he preure acting on beer the tno sags classes othe boorgease ‘ndthe poet, the more compact comes this meth masa mex described in mass psjehology winded deteiting factor. But for at Ny anon ths compact mate forms the anthesis of she prletaen cadre, ‘bh obey collective ratio Inthe pety-Bougois asthe eactve mom ced i mane pycolog ended + dvemining face Bot pei or th eason dhs compact mas with its unmade recon fora the athe ‘Soft proletarian ade whore scons are esate y= ik omer mo fenary. Denonstasons bythe compat mas hon always ve» packed paly—whater hey ie veto war fete bated of Jews of he inset or [stprseraton. Once the ditacton benrcn the compos (tat pety™ foutgens mass and the clss-conscius, proletarian mass has been cliy i operational picasa cleat This dintion nowhere more (vapcalyihstaced tan inthe oot uncormoa ces when sme outrage ‘nal performes by the compact mats somes, stro of easton ‘ny suation and perhaps within te space of scons the eoluonay acon flat The pclae of sich aly horicevens that a eon by Compact as sts ffm ternal upheaval wise Ios compose = thing eo become sae of el an asaiaon of cltsonsius cae. Soch corer vets contin very abbreviated form what comma tc ‘ial "wining ove the pty Bourges” These actians havea further ‘ter in clang ths proces The abuguusconep of he mas, nde indscrminat lerences to thew mood whch ae commonplace nthe German ‘eoatonary pres, have andachee osered ion whic ave had dis tows conequenr for the German proletariat. acim, by cota has ade fale ao hes ae—ahetherandersnod them ot eles hat (eer compat the mabe mobo, the ete the hance tht Se cou ‘erercisonary nines ofthe pry borg wl determine thes estos The proletariat om heather hands peeping fora society in which nether teabjeive nor the sbjetire condos forthe formation oases wiles 26. vn. 2, 2», 430. Of coun, # comprehen anal of Use Bins shoul a0 overlook 1936 ny longer: Benjamins note. Gara LeBow (1881-1931), French py {Ex solo, was the auton of Peyholgi der fale (eyeholgy Crowd 195) ad other works —“Tr) ‘esjminalluds ere to Heb son Oferdige, an united not [Novi fet publ in 1802. Von Ofterdagen rs medieval poet och ‘he mysterious le Fower which Bears the fae af hi unkown Delve ‘amin “Dem Kiech Benjmi,Selted Woes val. p> Pablo" Paso (1861-1973), Spaniistera painter, sclpoe pram ‘eamics and stage dvr war one ofthe restre Of Cab a 5 1505 and ete brew poral ati of he ent cemy. Ot Ci senui 2 shove Steals vas an ines movement in punig, beac, photo Spi fm whch fouraned ia Europe betwen Word Wats Rooted {medline ies ofthe Dada fe noe 31 below, epee Prot apa the rasonlar shar had ged Earopen ute an poles {he ps sour a eoicaton of concour nd unconscious rea fee Ince, sche the word of deca an fantany would cae wih ce toy word ic" surest” See Benjamin’ espe "Dream Kite” (1927) “Suseal (1999] in Volume 2 of thi eon Rodolt Arne, Fae Kuna, . 138 Beja’ aot: a Eaglsh in tein, Fl a pp. 116-117, On Arba noe 21 above Tram eam rks to Fragen 89 the anda ils Kran eon of ‘ens af Heras of Epis, the Pesca philosopher of hes Cenres me On Mickey Mousse the flowing ore lube essing shuld sare rom te ambigty of atone wick oth comand shonin fc A the reactions fcc show, ca fa hrrr se clouly eed Inthe face of cera siaions, wy Ine he alowsd co ak whch reacton ithe more hum? Some eet oui Si oe sans ia wich sucha question sees jth ‘oor ad sites eae made technically oonble by clr le, ‘lyf aks ont crevouonary nmoaton in hi el to Wh {eve in cent Dine ln as tet i some of te ear ones ‘ceprance of belie and veence as iva concomitant of exis “Tisrenresan ld waon which arom essering” the adn an rated by thedancngboozas to be foun a depictions of medieval op {tehom th rif” in Gris fay ale of hat ile are ply nd feavguatd. Benjamin's noe The internaonal socal Mikey Mowe {om sre developed out of the character of Mortiner Mouse, nosed 1927 by thecommri aie nd cartoon produces Walt Deny (1901-13 rho made osstanding technical and esthetic contibuons 1 the de Tet ofaninaton berwren 1927 and 1957 snd whos shor animated Eis the Thinir mom pase om cis or he al eared ad the ‘snd uncontnsonal ecical effects, Se Benji apentary med Mickey Mowe (1991) in Volume 2 of tir edison. "RUCRSI™ van “tampengesndel” the tle of ory 10 the colon of fay als Ki The Work of At inthe Age ce Reproduiity 121 nd Haamrhon (Nursery and Household ae 1612, 1815) published by $e Grimm bees, Jaco (1785-185) and Wilhdo (1785-1859. Trow] “Tueartrors” writes André Bea, "hat value oy inela at talive oT verano thefts.” And indced etry igh developed at frm and ike nerecion ofthe ines of delopmen is, ehnolgy is Working, Toward parle frm of ae Before Sn sppesra thre wre ebook of Bows thar could be made to ft past the Woewer ander he prsuze a te thu, esesng a boing match ors este thn there were co-op sd pepons in bazar, with image sequences ke inmotion bythe tring sfonde Second, tana ar forms serine thir Seslop Ie san Iberoly frets wich ater are lori achieved By new orm. Refore fm bose ead, Dada perormance sought inchs sciences seams which Chapin she ced mote tral Thr Spey insignificant socal hangs often foser change cepa wich ‘octet nw at form. Belae fin hd raed ore pli ‘ge hich ween longer masons) were eed by 29 some suds ‘ike Kaserpanarama. Here the auiccs feds sre into hich stereo ‘ope wee feted, on for each spectator Ia Ron of thee serceoper Se {nape sutomuly appeared email iy in ew sd then gare way 10 ‘ters Eon sl ado wesk with siar means when he preset fst fim ip—tsor the movie cen and projection mee knowns small a ‘ac gard into an apparat in which a eqoece 3 mage wa shown In Sealy chest fhe Kaerpanrama very ery mane 3 alr af declopnent. Shorty before im tre the ining of ages in a ci ve any image oring by te individual trough the sesocope of thee ‘om oumoded esablshmens, was bel inesfed, a sthad bee oace be ‘erin be oat canterpatin of he dine aye hy the priest nthe cl TBeanios note. Ande Beton (1896-1866), French ce poet, 25d elton sna he che omer and one of he founders ofthe Sui vee {1918-19395 se one 27 abn), pushing se Mafeted swreliome a 1924, Hs pot dicrsive novel Nadia appeared s 1928. The Daas move ‘eet ren Zunch, i 196, an anaesthetic eerie engendered hy igs with Bourges ales and despa oer Wed Wat gh apread to Now York, Beri, Cologne, Hanover, nd Pais reciting many eb ‘Mss wits, and performers capable of shocking her sence pubic ‘tering. Dads began to lose stem afer 1912, ad the energies ofthe {You armed rward Seren. On Chapin se otc 12 above. Thomas As ‘von (1847-1931 pateted more than hows nentions ver 3 ea pending the mieopbons, the phonngaph te andes le {oc lamp, and te allie sarge tate. He supervised the ivenion ofthe incocope in 159; this boxikepeepshow machine flowed individual © tier moving picts on slp ating on spe beryors a decay {nda sures He bik the Ss fl sao, the Bos Maras 1893, ad ae founded his own company forthe producion cf projected ls. On the acerpnorama sete section Berita ame Belin Choad rowed 1900 mtv. Trane] ons Aep (1887-1966), Alan pine, clu, nd poe, wat 2 founder of tse = 1956 ‘he Zach Dade group ia 1916 an eslborato with the Sure time aer 1925. Sagas Stamm (1874-1915) wae an catty Express td demain «member tec ofan pred ound the oral Stormin Bei, Andee Deraa (1880-1984) French pies was eer of Pontmpreonis schol and ater, one of te Fait Rainer Mass (08751926), Auseo Geman ly pox and water pulsed his Elsi (Dino Ele 20d Sones ax Orpbou (Sonne o Ore) 192 Lets compare he sree [Lames] on whch ly tlds ithe [Lsinusnal ots paning The image onthe ln sren changes, wear imap on he ana does ot. The pit ines the viewer fo conten bear, becan ve hielo this wait of asocitons, efor fin Ie cannor dao. No sooner he sen thant a led changed. be fied on, The tun of sociation othe person contempating ‘ely inerrpted by new tapes This comets the shock et of rich te al shock fie, eka oindace ephened teton Fm th form cmeponing to he poms nat fe which people ie os Iecorresprds to polound change in he pparats of aperepion that are expesienced on the sale of eve exten y each pasty in thy eatin on the cl of world tory by enc ger apie te Soci ede [Benjamins noe. A more eral eansatin ofthe st pre fee te secs in ai “sch to be bleed by intend pron sind (Geiergegeneart "Tras. Scone XVl and XVI of “The Work of Artin she Age of Is Teta epeodactley”setrdace the ena = produive “reception in disacti (Reception odor Zerstrewng), a iea eed tothe werings of Sep acts sod Lois Aragon. Thi postive ea of datacom Zero ‘means “enteraiment™-conteaste withthe agate Hen of von Tenjamin develope in sch exe at Theater and Rio” (1932 and ‘Author a roduc” (1934), bth in Volume 2 ofthis eon the ae associated withthe deory and pace of Bele Bec epic shee theory of Deaton” nth volume ‘Bexar eats the eed ofthis Chee pioer in heater vtsion of Ti ‘Murimeehen” a seion of Bele Chisdod arcund 1900 (eae slum. 36, The ser “shea” ie 3 derivaie of Gres aithithoy, “of sens pens ‘so, from authanath, "to perce” ‘Atechologi fois imporean ere especialy with eae othe ‘whos spbcnce ov popassnds proses can arly Pe overs Ma Prsncom is expecay favored by he reproduc ofthe masses. net onal precetons an rales and or spotng event and in a li ‘wich are now fl ito the camera the masses come face to face wih ea Tee. Tis procs, whom significance need not be emphaned, » ound up withthe developmen of reproduction and recording techno feral, mas monement are more eri apprchende by the camer fhe pe A birdveye ew best caus asembles of hundreds of thou ‘Andes when dhs puspecite no less accessible othe human ee hi fh camer, he image forme by he ee cannot be enlarge the se as x. The Work of At inthe Age of ts Reprod = 133 4 phtopagh This sw say tht mass movements and above all war are 3 etm of man behavior spl suited vo the eames [Benjaie’ te Gable D' Annus (1865-1938), weer, sry hr, snd poll le, was an arene advocate of Tay’ entry ito World Wat Lad few Ye tera ardent Foci ad spore of Manolis, Hi if nhs work tre buch inrceaed by supestison, amoral sed lsh 26 vio ‘Gi Fuuram wer an are ovement whose hm was oops tational {im by clminang cometomal form, balance, and shy, abd 9 exprest Sie dgmame and won ualityof comtemporary Me special as model Se moun and force of modern machinery and masern wate, It wt feuded bythe Hain weer Emo Figpo Tomaso Maine (1876-1984, ‘howe "Manderte de Fourie” (Manteo of Furi, publ! inthe Pars jou Le Figaro 1908 calledforsrevlaonary ar and ol endo sfeqesion. Matnets ideas had a poweda ences aly and Resi, oh he msl afer serving at a fer in WodsWar went ono Factz payin 1919 and vo became an extn supporter of Malin. ‘ong his other works nea volume of poems, Gusra i ten dl mando [Mate Only Hygiene ofthe World, 1915) and» plcal ey, Fusions © aco (1924), hich apes that Fac the atralestesion of Far isn Shwabing i's dsect of Munich fequemed by ate cerain of es Taurens and eer cellars were amecing pace for Hnles and ether Nazi aga trate nly 1920s and we terete tey Hote te unoucessflerl uns governmental autos how a the Ber Hal Pats (1923), Ged in Lz Stampa Torn. [Benmins note. The Geman eto of Tevamis Geammelte Sif argue tha th pang more iy to have fern encreed rom Pench newspaper than rom the alan newspaper ced sean “Tear flish—and the wold past wa." Thi: Siseanthcentury Holy Roman emperor Ferina ‘uns ("Let astice be done and the wow pao a2") onthe mot of the a usta et Peet uo 1856 Ta Germany, the tradition of Sehwabing has made its ceremonial polite n Tey, Futuris has discarded ie revolutionary element aim, inthe spit of the rabid. bourgeois plisioe Marl sestheticizng of polis.” Fragnent writen ben ate December 1935 anh ining of eran of Distraction Notes “This eagmeotisasoited with he composition of “The Work of Ain he [e Technlopea! Reproduce” facond reso 1 Scwabingita tof Manic hat wa equi by titi the teenth and ety enter: caer and beat halle wee ‘round for Nawal Soils nthe early 1920s, Fas was a a ‘en none aim was 0 oppose traisonlism by ciminting comers [tance and hye and exes he daar and lem gual porary ie, expecially ar emtoded inthe msion apd fore of moders ed moder ware twa Souded bythe alin ter Ei “Maries 1976-1944), whose "Manifest de Fue” (Mani ‘pushed inthe Pa joa Le igor in 199, cle for ‘tad tol radon of expeson. Marne ies had powestl Imly and Rusia thoaph he himsely ae serving aban fee in Wo ‘weno jon the Fast Paty in 1919 apd to become an ert Porer of Massa. Among his other works ar volume of poms {pen del manda Warde Only Hype ofthe Wel 1915) and Sy, Fri Faso (1928), which ages tht Fascism isthe ‘aon of Faroe of deacon’ 0 dete the elect ofthe work of art once its power of conse: has ben eliminated stence of art as based on the sacred rn with edvational value (Leber), “The Author as ro- segards consumer valu [Konsomavet? fn that the work of artis mos susceptible to becoming worn out aan indispensable factor inthe acsertion ofthe proces of be ‘of distraction should be defined with egard to fl, just asthe of catharsis are defined with cepard to wagedy ke catharsis, should be conesved as a physiological phenom: and destruction [word coniectured a the subjective and objec- es, espectvly, of one and che same process n of distraction to absorption must be examined? fof artworks shouldbe sepresented fom the standpoint of apie for exinence ms humanity consists in their walinitd adapeailiy con for judging the fuitfulnes oftheir elects the communia- this tec, tional value and ce consumer value of art may converge in cer optimal cases asin Brel), but shy don't generally coincide had only one form of (mechanical) reproduction: minting vas 1956 “They could not reproduce thee arwoeks, so these ha tobe lasing. Hence: eteral art “Justa the ar ofthe Greeks was geared toward lasting, so the art present is grated coward becoming wor out “This may happenin twa different ways through consignment ofthe ‘work to fashion or dhrough the work's refunctonng in plits* Reproducibiley-distraction-—polivcization Educational value and consumer value converge, ths making possible ‘new Kind of learing Art comes into contact with the commodirys the commodity comes ‘contact with a Storyteller tions on the Works of Nikolai Leskov Fragment wien mow Hhaly in 1955-1936; wpoblied in Bama {Goss Sdfion Vi, 679-69. Tate by Howaed Eid Notes “This feapene ie atacinted withthe composin of "The Work of Aint {e Techoolopeal Reproguiiy” (econd version. 1 Se Seton XVIT of "The Wock of Artin the Age of x Technolog

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