'The transformation of the superstructure, which takes place far more slowly than that of substructure, has taken more than half a century to manifest in all areas of culture the change in the conditions of production. Only today can it be indicated what form this has taken. Certain prognostic requirements should be met by these statements.
However theses about the art of the proletariat after its assumption of power or about the art of a classless society would have less bearing on these demands than theses about the developmental tendencies of art under present conditions of production. (How this society and conditions of development challenge our view on art) Their dialectic is no less noticable in the superstructure than in the economy, It would therefore be wrong to underestimate the value of such these as a weapon. They brush aside a number of outmoded concepts such as creativity and genius, external value and mystery - intrinsic - concepts whose uncontrolled (and at present almost uncontrollable) application would leave to a processing of data in the Fascist sense. The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism. They are, on the other hand, useful for the formulation of revolutionary demands in the politics of art.'
'One might subsume the eliminated element in the term 'aura' and go on to say: That which withers in the age of mechanical reproduction is the aura of the work of art. This is a symptomatic process whose significance points beyond the realm of art. One might generalise by saying: the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence, And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced. These two processes lead to a tremendous shattering of tradition which is the obverse of the contemporary crisis and renewal of mankind. Both processes are intimately connected with the contemporary mass movements. Their most powerful agent is the film. Its social significance, particularly in its most positive form, is inconceivable without its destructive, cathartic aspect, that is, the liquidation of the traditional value of cultural heritage.'
'Earlier much futile thought had been devoted to the question of whether photography is an art. The primary question - whether the very invention of photography had not transformed the entire nature of art- was not raised. Soon the film theoreticians asked the same ill-considered question with regard to the film.'
'Mechanical reproduction changed the reaction of art towards the masses towards art. The reactionary attitude toward a Picasso painting changes into a progressive reaction toward a Chaplin movie. The progressive reaction is characterised by the direct, intimate fusion of visual and emotional enjoyment with the orientation of the expert.'
'For twenty-seven years we Futurists have rebelled against tthe branding of war as anti-aesthetic... Accordingly we state:.. War is beautiful because it establishes man's dominion over the subjugated machinery by means of gas masks, terrifying megaphones, flame throwers, an small tanks. War is beautiful because it initiates the dreamt-of metalization of the human body. War is beautiful because it enriches a flowering meadow with the fiery orchids of machine guns, War is beautiful because it combines the gunfire, the connonades, the cease-fire, the scents, and the stench of putrefaction into a symphony, War is beautiful because it creates new architecture, like that of the big tanks the geometrical formation flights, the smoke spirals from burning villages, and many others... Poets and artists of Futurism!... Remember these principles of an aesthetics of war so that your struggle for a new literature and new graphic art... may be illumined by them! (Marinetti)
'Fiat ars - pereat mundus', says Fascism, and, as Marinetti admits, expects war to supply the artistic gratification of a sense of perception that has been changed by technology. This is evidently the consummation of 'l'art pour l'art'. Mankind, which in Homer's time was an object of contemplation for the Olympian gods, now is one for itself. It's self alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order, This is the situation of politics which fascism is rendering aesthetic. Communism responds by politicising art.
Notes...
- New technology threatens the 'aura' of the original work.
- The original work has - presence. authenticity, authority; its special.
- Blind acceptance.
- Thinking for yourself- reproduction free's art, re-modification means we make it our own - rewriting and challenging the balance of power.
- How this society and conditions of development challenge our view on art.
- Not just a speculation- discerning knowledge that can be used as a weapon.
- Our relationship to the world, culture and power.
- Galleries with rules and structures.
- Possibility of loads of versions of art.
- Can access art in our own sphere - re-understanding our own.
- Shift is cathartic - we are active players in the world
- New technologies challenge our tradition.
- Steps - libraries, uni, galleries - you have to raise yourself to that level of culture.
- Power, repression, individuals responsibility,
- Mona Lisa T-shirts - bottom up
- The base can change rapidly.
- The super structure has a gradually slow effect.
- He's making a prognosis- set of ideas.
- Someone more special or important than us - top down authoritarian - technology changes that - now there is digital reproduction.
Marx's Concept of Base
- Base
- Forces of production - materials, tools, workers, skills etc
- Relations of production - employer, employee, class, master, slave etc
- Super structure.
- Social instituations - legal, political, cultural
- Forms of consciousness - ideology
- Society, class.
- Marx 1848 - Communist Manifesto - 'The history of all hitherto existing society is the history of class struggles.'
New technology introduces a different way of making art and design- actively reshaping culture - Mongrel Creative
Don't have to make work that they (rich gallery owners) choose - the more you can get work out to people the more democratic the world becomes.
Abstract - Ad Reinhart
Retreat back to the cult of the individual - the aura of art - the only way to understand it is to read up about it.
In the digital world- with democratic possibilities - people that reject digital and into the craft of making art are retreating into the cult of the individualistic art aura.
View cinema collectively - negotiate together the humour etc of the film - create the meaning yourself.
TASK:
Find something- illustration- that can link to 5 quotes
Galleries - illustration
Collective projects due to internet
Famous illustration/art challenged by the internet
Artists who challenge the aura of art.
