It argues that art, largely because of its past placement in religious ritual, acquired a kind of ‘aura’ giving its products an unique status. Benjamin claims that the authority or autonomy of original works of art derives from their non-reproducibility (except as fakes) which gives them a magical aura, a charismatic halo that surrounds authentic art objects making them seem like holy relics; unique, irreplaceable and hence priceless, produced by the hand of genius. He argues that this aura is eliminated by mass reproduction; appearing in widely-distributed books, posters, postcards, T-shirts, etc. However, it is important that these reproductions should not be seen as lesser copies. In fact, some recent commentators would have it that reproductions have become so much a part of our experience that the copy exists without an original.
Earlier forms of reproduction, such as woodcuts, etching, lithography, and so on, could replicate objects, but photography was different: “From today, painting is dead!” claimed artist Paul Delaroche on seeing his first Daguerreotype in 1839. Photography took over traditional roles of painting, immediately depicting landscapes, the still life and making portraits, etc; doubtless making portrait artists such as Delaroche redundant.
“For the first time in the process of pictorial reproduction, photography freed the hand of the most important artistic functions which henceforth devolved only upon the eye looking into a lens”. by Walter Benjamin and published in 1936
In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. by Paul Valéry,
Performative art comes from two major ideas. One concerns the performativity as what happens in the collaborative action of human and computer; the other, the doubleness of technology as one insight overcoming the human-subject centered dichotomy. As the linking point where two ideas meet, performative art critiques the politics of contemporary technology-based art in the humanist context.
the relationship between the performative, the reproducibility of the work of art theory which Walter Benjamin pointed out in his essay (The Artwork in the Age of its Technical Reproducibility), and Mitchell’s collaborative art media work is clearly can be seen, heard through watching the video clip about the robots. and study of happiness video clip which about having a rewarding engagement with the world around us.
“This World made of robots and it switched off. But power down the main there still shocks in the rain and something of me remains” William’s poem, see the video clip on his website.
William Stopha… has an interactive website, he created a wall you can put your imagination and thought on. He love to imagine and he wants we imagine with him through his collaborative poem project. he interpreted his imagination to a poem while he sat on his chair.
“I’ve sat back in front of flat screen
And I’ve been everywhere.
I’ve sat back in front of flat screen
and I’ve seen everything”
through this poem he points out to the adaptation of existing language metaphor to the cyberspace domain and the function of computer in our lives, or attitudes toward them. which taken from Cyberspace is a Parallel World- A Metaphor Analysis’ James Q Jacobs.
Reading the texts, watching the video clips on his website reveals the meaning of his poem clearly and clear view about the performative, the reproducibility of the work of art.
As simple interoperation of his media work can be seen as a casual daily issue with computer crèche by virus, or in bigger picture I see it as a symbolic picture to show how our lives depends on the technology and when we don’t know how to use the system we will simply crash or been crashed by failure system.
watch and read more
Click on me to see the video clip “Hope for Robots”