and that it is 91.5% more colorful (that is, with more precision)

he

42291

One mightsubsume the eliminatedelementinthe term“aura” andgoontosay:thatwhichwithersinthe age of mechanicalreproductionisthe aura of theworkof art.Thisisa symptomatic processwhose significance pointsbeyondthe realm of art.One mightgeneralize bysaying:the technique of reproductiondetachesthe reproducedobjectfromthe domainof tradition.Bymakingmanyreproductionsitsubstitutesa pluralityof copiesfora unique existence.Andinpermittingthe reproductiontomeetthe beholder or listener inhisownparticular situation,itreactivatesthe objectreproduced.Thesetwoprocessesleadtoa tremendousshatteringof traditionwhichisthe obverse of thecontemporarycrisisandrenewalofmankind.Bothprocessesare intimatelyconnectedwiththe contemporarymassmovements.Their mostpowerfulagentisthe film.Itssocialsignificance,particularlyinitsmostpositive form,isinconceivable withoutitsdestructive,cathartic aspect,thatis,the liquidationof the traditionalvalue of the culturalheritage

he equipment-free aspectof realityhere hasbecome the heightof artifice;the sightof immediate realityhasbecome anorchidinthe landof technol

ulpturesonmedievalcathedralsareinvisible tothe spectator ongroundlevel.Withthe emancipationof the variousartpracticesfrom ritualgoincreasingopportunitiesfor the exhibitionof theirproducts.Itiseasier toexhibita portraitbustthatcanbe senthere andtherethantoexhibitthe statue of a divinitythathasitsfixedplace inthe interior of a temple.The same holdsfor thepaintingasagainstthe mosaic or frescothatprecededit.Andeventhoughthe public presentabilityof a massoriginallymayhave beenjustasgreatasthatof a symphony,thelatter originatedatthe momentwhenitspublic presentabilitypromisedtosurpassthatof themass

Magicianandsurgeoncompare topainter andcameraman

Atanymomentthereaderisreadytoturnintoa writer.Asexpert,whichhe hadtobecome willy-nillyinanextremelyspecializedworkprocess,evenif onlyinsome minor respect,the reader gainsaccesstoauthorship.Inthe SovietUnionworkitself isgivena voice.Topresentitverballyispartof a man’sabilitytoperform the work.Literarylicense isnowfoundedonpolytechnic rather thanspecializedtrainingandthusbecomescommonproperty

Thisismostobviouswithregardtobuildings.Architecture hasalwaysrepresentedthe prototype of a workof artthe receptionof whichisconsummatedbya collectivityina state of distraction.Thelawsofitsreceptionaremostinstructive

The horrible featuresofimperialistic warfareare attributable tothe discrepancybetweenthe tremendousmeansof productionandtheir inadequate utilizationinthe processofproduction—inother words,tounemploymentandthe lackof markets.Imperialistic war isa rebellionof technologywhichcollects,inthe form of“humanmaterial,” the claimstowhichsocietyhasdenieditsnaturalmaterial.Insteadof drainingrivers,societydirectsa humanstream intoa bedoftrenches;insteadof droppingseedsfrom airplanes,itdropsincendiarybombsover cities;andthroughgaswarfarethe aura isabolishedina newway

War isbeautifulbecause itinitiatesthedreamt-of metallizationof the humanbody.War isbeautifulbecause itenrichesafloweringmeadowwiththe fieryorchidsof machine guns.War isbeautifulbecause itcombinesthegunfire,the cannonades,the cease-fire,the scents,andthe stenchofputrefactionintoa symphony.War isbeautifulbecause itcreatesnewarchitecture,like thatof the bigtanks,the geometricalformationflights,the smoke spiralsfrom burningvillages,

The growingproletarianizationof modernmanandthe increasingformationofmassesaretwoaspectsof thesame process.Fascismattemptstoorganize the newlycreatedproletarianmasseswithoutaffectingthe propertystructure whichthe massesstrive toeliminate.Fascism seesitssalvationingivingthese massesnottheir right,butinsteada chancetoexpressthemselves.21The masseshave a righttochange propertyrelations;Fascismseekstogive them anexpressionwhile preservingproperty.The logicalresultof Fascism isthe introductionof aestheticsintopoliticallife.The violationofthe masses,whom Fascism,withitsFührercult,forcestotheir knees,hasitscounterpartinthe violationof anapparatuswhichispressedintothe productionof ritualvalues

Receptionina state of distraction,whichisincreasingnoticeablyinallfieldsof artandissymptomatic of profoundchangesinapperception,findsinthe film itstrue meansof exercise.

Buildingsareappropriatedina twofoldmanner:byuse andbyperception-or rather,bytouchandsight.Suchappropriationcannotbe understoodintermsof the attentive concentrationof a touristbefore a famousbuilding.Onthe tactile side there isnocounterparttocontemplationonthe opticalside.Tactileappropriationisaccomplishednotsomuchbyattentionasbyhabit.Asregardsarchitecture,habitdeterminestoa large extentevenopticalreception

Clearly,thisisatbottom the same ancientlamentthatthe massesseekdistractionwhereasartdemandsconcentrationfromthe spectator.Thatisacommonplace.

Nosooner hashiseye graspeda scene thanitisalreadychanged.Itcannotbe arrested.Duhamel,whodeteststhe film andknowsnothingof itssignificance,thoughsomethingof itsstructure,notesthiscircumstance asfollows:“I cannolonger thinkwhatI wanttothink.Mythoughtshave beenreplacedbymovingimages.”*The spectator’sprocessof associationinviewof these imagesisindeedinterruptedbytheirconstant,suddenchange.Thisconstitutesthe shockeffectof the film,which,like allshocks,shouldbe cushionedbyheightenedpresence of

Expertshave longrecognizedthatinthe film “the greatesteffectsare almostalwaysobtainedby‘acting’ aslittle aspossible....”

The directiveswhichthe captionsgive tothose lookingatpicturesinillustratedmagazinessoonbecome evenmoreexplicitandmoreimperative inthe film where the meaningof eachsingle picture appearstobe prescribedbythe sequence of allprecedingones

Namely,thedesireof contemporarymassestobringthings‘closer’ spatiallyandhumanly,whichisjustasardentastheir benttowardovercomingthe uniquenessof everyrealitybyacceptingitsreproduction.4Everydaythe urge growsstrongertogetholdofanobjectatveryclose range bywayof itslikeness,itsreproduction

The mannerinwhichhumansenseperceptionisorganized,the medium inwhichitisaccomplished,isdeterminednotonlybynature butbyhistoricalcircumstancesaswell.

For theentire spectrumofoptical,andnowalsoacoustical,perceptionthe film hasbroughtabouta similardeepeningof apperception.Itisonlyanobverse of thisfactthatbehavior itemsshowninamoviecanbe analyzedmuchmore preciselyandfrom morepointsof viewthanthose presentedonpaintingsor onthe stage.Ascomparedwithpainting,filmedbehavior lendsitself more readilytoanalysisbecause of itsincomparablymore precise statementsof the situation.Incomparisonwiththestage scene,the filmedbehavior item lendsitself more readilytoanalysisbecause itcanbe isolatedmoreeasily

the Psychopathology ofEveryday Life

Paintingsimplyisinnopositiontopresentanobjectfor simultaneouscollective experience,asitwaspossible for architecture atalltimes,for the epic poem inthe past,andfor the movie today.Althoughthiscircumstance initself shouldnotleadone toconclusionsaboutthe socialrole of painting,itdoesconstitute a seriousthreatassoonaspainting,under specialconditionsand,asitwere,againstitsnature,isconfronteddirectlybythemasses

Thegreater thedecrease inthesocialsignificanceof anartform,thesharper thedistinctionbetweencriticism andenjoymentbythe public.The conventionalisuncriticallyenjoyed,andthe trulynewiscriticizedwithaversion

For centuriesa smallnumber of writerswere confrontedbymanythousandsof readers.Thischangedtowardthe endof the lastcentury.Withtheincreasingextensionof the press,whichkeptplacingnewpolitical,religious,scientific,professional,andlocalorgansbefore thereaders,anincreasingnumber of readersbecame writers

The camera thatpresentsthe performance of the film actor tothe public neednotrespectthe performance asanintegralwhole.Guidedbythe cameraman,the camera continuallychangesitspositionwithrespecttothe performance.The sequence ofpositionalviewswhichthe editor composesfrom the ma

WithAtget,photographsbecome standardevidence forhistoricaloccurrences,andacquire a hiddenpoliticalsignificance.Theydemanda specifickindof approach;free-floatingcontemplationisnotappropriate tothem

uniqueness,thatis,itsaura

anever greaterdegree the workof artreproducedbecomesthe workof artdesignedfor reproducibility.7From aphotographic negative,for example,one canmake anynumber of prints;toaskfor the ‘authentic’ printmakesnosense.Butthe instantthe criterionof authenticityceasestobe applicable toartisticproduction,the totalfunctionof artisreversed.Insteadof beingbasedonritual,itbeginstobe basedonanotherpractice—politics

notsovisàvistechnicalreproduction.

If the injustice is part of the necessary friction

Babylon,

a celebrated female sculptor

“Locksley Hall”

“Properzia Rossi”

bil

Quam nihil ad genium, Papiniane, tuum!

Virgil

houseless wanderer

No, helpless thing, I cannot harm thee now;               2Depart in peace, thy little life is safe,               3For I have scanned thy form with curious eye,               4Noted the silver line that streaks thy back,               5The azure and the orange that divide               6Thy velvet sides; thee, houseless wanderer,               7My garment has enfolded, and my arm               8Felt the light pressure of thy hairy feet;               9Thou hast curled round my finger; from its tip,             10Precipitous descent! with stretched out neck,             11Bending thy head in airy vacancy,             12This way and that, inquiring, thou hast seemed             13To ask protection; now, I cannot kill thee.

the silver line that streaks thy back,               5The azure and the orange that divide               6Thy velvet sides

Use the tag #UPGHumDay

Hypothes.is:

wyrouance

dear

my allegiance (

A literary work is a document and as a document can be analyzed in terms of theforces that have produced it, or it may be manipulated as a force in its own right. Itmirrors the past, it may influence the future. These facts it would be futile to deny,and I know of no critic who does deny them. But the reduction of a work ofliterature to its causes does not constitute literary criticism; nor does an estimate ofits effects.

Byron, "Darkness"

RP 2 due

the goddess of chastity

newtFire.org

tostretch

         lovely Moony