Friday, 9 September 2016

Theme 2: Critical media studies

When going through the essay of Walter Benjamin and Adorno och Horkheimer’s Dialectic of Enlightment I found that the topics discussed in both of them can be related to the concepts, which were displayed in Theme 1.

In both works the reader is shown how knowledge and enlightment are being used for certain purposes and how culture, which up to this point is seen as a source of knowledge, transforms and takes slightly different turn.

1. In the beginning of the essay, Benjamin talks about the relation between "superstructure" and "substructure" in the capitalist order of production. What do the concepts "superstructure" and "substructure" mean in this context and what is the point of analyzing cultural production from a Marxist perspective?

In the beginning of his essay while investigating the cultural transformation, Benjamin mentions the terms substructure and superstructure as he follows Marx’s paradigm. The way I understand those terms within the context of his work is as he is opposing the subjective world of art versus the economic world of the society.
It is the substructure that defines the economical sphere in means of production and machinery. While on the other hand the superstructure defines everything, which cannot be categorized with the substructure such as culture and art.
In my opinion it is presented via a Marxist’s perspective because art is shown as a basis which is being tied into the web of industrialization and the substructure in specific and from there creates a construction which is later seen as the new cultural transformation. Furthermore, the mechanical world absorbs the identity and uniqueness of the art, tuning it into material for mass consumption. 

2. Does culture have revolutionary potentials (according to Benjamin)? If so, describe these potentials. Does Benjamin's perspective differ from the perspective of Adorno & Horkheimer in this regard?    

I think that Benjamin acknowledges film and photography as means that are easier to reach the masses due to fast distribution. He more or less emphasizes on the aim of propaganda, which films and photography are being used for in many cases, as they can easily filter reality, showing to the spectator the one thing visible to and through the lenses and cutting certain parts of an entireness.  The knowledge they bring to the public can be edited. 
Following those thoughts of Benjamin, I think that he reveals the revolutionary potentials and the power that those sources hide as they can create an entirely new vision on what something is - an alternative reality. Those ideas are further analyzed in more detail in Dialectic of Enlightment. Benjamin reveals their potentials and Adorno and Horkheimer summary them and disclose the effects of their hidden power.
The modern аge goes through a metamorphosis in which culture becomes a whole new industry losing its independent character and depth of its ideas. It becomes an instrument which establishes ideologies in a way which is comfortable for the social system and helps to set control over the mindset of the masses. The technological development leads to a strict organization so that people’s attitude and actions can be planned and anticipated.
It is in the first chapter – The Concept of Enlightment that the reader is given the definition of enlightment and how it has become a main breaking point from exploitative point of view. One starts using his knowledge not just to answer some main existential questions and interpret the reality, but also to settle and be of service of the bourgeois economy.

3. Benjamin discusses how people perceive the world through the senses and argues that this perception can be both naturally and historically determined. What does this mean? Give some examples of historically determined perception (from Benjamin's essay and/or other contexts).    
 For Benjamin the way a work of art is perceived happens in two controversial between one another ways. The first one observes the cult value of an object while the the second one is about the exhibition value. The author underlines that an important contribution for the existence of those two accents are the social reforms through history. Those reforms make it easy for art to be brought closer to the public and not remain hidden for the eyes of the unenlightened and uneducated but also changes the way a work of art is perceived and valued.  
At first the works of art serviced the religious cult - Gods and spirits, with their hidden secretive meanings. What is important for such art is its existence in the name of those Gods rather than being accessible for spectators. 
With the technical reproduction, however, there is a significant change. The value starts being measured by its possibilities to be exhibited. This is especially demonstrative with the settlement of the photography and film.
In other words, one's perception is dependent on the social norms that are characteristic for the certain period of time. 

4. What does Benjamin mean by the term "aura"? Are there different kinds of aura in natural objects compared to art objects?

The Aura is used as a term to explain the link between art and the unique natural world. If we are enjoying a landscape looking at a mountain for instance we enjoy and appreciate the landscape’s aura.  During this experience we are aware that the mountain exists independently from us and that it is one of its kind. The experience of looking at a painting is similar to the landscape’s one as it posses the qualities of the aura. It cannot be reproduced nor duplicated to its original form. Its value hides in the exclusiveness it posses.
The whole idea of the aura can be easily linked to the Kant’s conceptions about one’s way to perceive the world. What he tries to determine in his Critique of Pure reason is the idea that a person can gain knowledge of the world through perception and investigate this knowledge - conception. If something is to be reproduced it starts to lose its aura simply because of the lack of authentic feel. Due to Kant the time and space are the forms to which we create our self impression but when we are given a copy of a painting for example we are experiencing an object that lacks its original value and we cannot gain knowledge about it from historical and ritual point of view - knowledge about its aura. 











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