A Work of Art in the Age of Mechanical Reproduction

a) What is the aura of a work of art?

While Benjamin never explicitly defines aura, he does give examples of aura, and conditional requirements for art to contain aura. He first mentions aura when describing that the term might suggest what is missing in reproduced artworks. This includes authenticity and historical testimony. With both of these things jeopordized the "quality of its presence is always depreciated," or it loses its aura. Later on he also mentions that aura is linked to a ritual function.

"that which withers in the age of mechanical production is the aura of the work of art."

b) In Benjamin's mind, what effects did the mechanical reproduction, such as film and the camera/photography, have on the viewer's perception of art?

Due to the invention of photography, he believed that it changed the viewers perception by fueling a desire to have things close, or a likeness of things within their possession. He also believes that mechanical reproduction created a desire to destroy aura. He states, "a perception whose 'sense of the universal equality of things' has increased to such a degree that it extracts it even from a unique object by means of reproduction." These are not neutral observations; he feels like they cheapen the experience.

When he moves onto dicuss what happens when there is a shift from theatre to film, he also contests that the experience is less genuine, and mostly changed for the worse. He identifies a disconnect between the actor and the audience that is present in theatre. In a live performance, the audience identifies with the actor, but in a film, they are unable to and instead they identify with the camera. The actor is also influenced by this shift. He claims both the character and the actor "lose their aura," or in other words, they don't perform as well. He also contests that while a painting invites the viewer in to contemplate, the movie moves too quickly and they have no time to think about what is happening creating a "shock effect."

He does point out a positive consequence of the more maleable film. Referencing psycholanalytical concepts, he specifically sites that the behaviors shown in film can be analyzed more accurately and from many vantage points. He also personifies film into a force that has "burst the prison-factories" meaning our offices and domesticated spaces, and allow us to travel, albeit virtually.

c) What was meant by the passage: "for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual."?

Benjamin writes that art work was originally made for magical or religious reasons. When making this point he cites cave paintings, which we now consider to be art, but they were not originally meant for the masses to see. Cult, or ritual value relies to a certain extent on imagery being hidden. With the wide distribution of imagery, there is less authenticity, and more opportunities to exhibit. He argues thatbecause of this change the function of art shifts. It no longer needs to be based on ritual, but it instead focuses on politics.

d) What mechanically or otherwise reproductive processes are changing the face of art today?

The amount of new technologies utilized by artists are growing exponentially. One of the earlier issues with technological advancement and artwork was the advent of digital photography and the use of photoshop. As time has passed, there are still divided camps, but in general people accept digital photography as a valid means to produce artwork.

In the field of metalsmithing, the controversies have unfolded from the use of CAD software, 3D scanning machienes, 3D printing machienes, and milling machienes. Like most crafts, metalsmithing has a deep history of apprenticeship, and a pride in personal skill and craftsmanship. Using these different technologies, a piece that would be literally impossible to make is now possible, without even getting your hands dirty.