title: The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
author:  Walter Benjamin 
description: Until recently, Walter Benjamins seminal essay, <i>The Work of Art in the Age of Its Technological Reproducibility</i>, was available to English-speaking readers only in the version that appeared in the 1968 collection <i>Illuminations</i>. Harvards new volume of the German cultural critics writings on media offers as its title-piece an earlier, edgier incarnationthe second of three composed between 1935 and 1939in a superior translation Throughout <i>The Work of Art in the Age of Its Technological Reproducibility</i>, Benjamins startling, often oblique language reveals his subjects from unexpected angles This volume amply demonstrates the keenness and ingenuity of Benjamins intuitions at the dawn of modern media culture.<b><i></i></b><b>Ross Benjamin</b><b>, </b><b><i>Times Literary Supplement</i></b><br /><br />Freshly translated (it used to be called The Work of Art in the Age of Mechanical Reproduction, which, although more lumberingly Teutonic, has the virtue of evoking an image of robot sex) and newly packaged with an assortment of his other writings on media in a hipster-friendly paperback, Benjamins best-known work iswell, as they say on Facebook, its complicated. Man, is it ever complicated. The essay begins by describing the ways film and photography have changed human perception. Benjamin argues that because such exact simulacra of reality can be mass-distributed and mass-consumed, we have a new, more distant relationship to authentic realityand he concludes that these changes in perception clear a path for fascism. Not exactly cheerleadery, then. And while its easy to be distracted by Benjamins dusty examplesChaplins films and Picassos paintingsand therefore lulled into thinking hes describing a different worldwell, dont be. Substitute <i>blogs</i> and <i>social-networking platforms</i> and <i>Twitter</i> and <i>YouTube</i> and <i>Wikipedia</i> for <i>film</i> and <i>photography</i>, and the nearly century-old essay becomes a relevant, piercing alarm.<b><i></i></b><b>Emily Gould</b><b>, </b><b><i>Technology Review</i></b><br /><br />The editors and publisher of this volume deserve credit for organizing its contents thematically rather than chronologically. Such a format encourages readers to approach Benjamins work discursively, thereby fostering a superior sense of the recurrent ideas, themes, motifs and concepts that Benjamin employed time and again.<b><i></i></b><b>Noah Isenberg</b><b>, </b><b><i>The Nation</i></b><br /><br />A juicy selection of [Benjamins] many short pieces on pop culture.<b><i></i></b><b>George Fetherling</b><b>, </b><b><i>Seven Oaks</i></b><br /><br /><i>The Work of Art in the Age of Its Technological Reproducibility and Other Writings on Media</i> reflects Benjamins most salient thoughts on media and on culture in general in their most realized form, still maintaining an edge under the skin of everyone who reads it. The visual arts morph into literature and theory and then back to images, gestures and thought. Here the editors have situated this essay as the cornerstone of a vast collection of writings that demonstrates what was revolutionary about Benjamins explorations on media. He was so prescient, and mind you, Virginia, he was alive only until 1940. We are now talking about 2008 and his work is not just timely, but powerful, important, clairvoyant, and necessary. This is the second and most daring version of the Work of Art essay which tracks Benjamins observations on the production and reception of art; on film, radio, and photography; on the telephone, on childrens books, on Charlie Chaplin and so much more. He was not a critic for the 20th century, he was a theoretician for all time. This volume will probably become a text for some classes, but it is an introduction, a force that must be dealt with by anyone interested in culture, in the media, in the arts, to debates on the digital age. He could explore implications of these themes and be so prescient about what we are experiencing today. Oh, if he were alive today, he would tell us about the future, I am sure. This is a must for anyone who wants to be introduced to Benjamin, or one who wants more and more of what he has to sayand this one is thankfully in English.<b><i></i></b><b><i>Umbrella</i></b><br /><br />In recent decades, Benjamins essay on the work of art may have been quoted more often than any other single source in an astonishing range of areasfrom new-left media theory to cultural studies, from film and art history to visual culture, from the postmodern art scene to debates on the future of art, especially film, in the digital age. The antinomies and ambivalences in Benjamins thinking, his efforts to explore the most extreme implications of opposing stances, are still invaluable for illuminating the contradictions in todays media environment. Anyone interested in the fate of art, perception, and culture in the industrialized world must welcome this collection of Benjamins writings on media.<b><i></i></b><b>Miriam Hansen</b><br /><br />In wanting to be a great literary critic [Benjamin] discovered that he could only be the last great literary critic He explained certain aspects of the modern with an authority that seventy years of unpredictable change have not vitiated.<b><i></i></b><b>Frank Kermode</b><br /><br />Walter Benjamins work, fragmentary and partly esoteric as it is, fully withstands a comparative measure, and surpasses any of its rivals in philosophic consequences. There has been no more original, no more serious critic and reader in our time.<b><i></i></b><b>George Steiner</b><br /><br />This one-volume gathering of Benjamins dialectical writing on media of all kinds, ranging from childrens literature to cinema, has at its heart the second, most expansive version of his path-breaking essay The Work of Art in the Age of Its Technological Reproducibility. Readers familiar only with partial versions of this piece, where Benjamin began to record the melancholy loss of aesthetic presence at the turn of the twentieth century, will find their understanding transformedfor this second version, like all the essays and supplemental texts included here, explores a set of latent, utopian possibilities inherent in mechanical means of art-making. Benjamin, the visionary magus of particulars, reveals profoundly, and repeatedly, both the grounds and the consequences of our ever-changing image of the made world.<b><i></i></b><b>Susan Stewart</b>
zlib_text: 41
  THE WORK OF ART IN THE AGE OF ITS
  TECHNOLOGICAL REPRODUCIBILITY
  Second version
  Walter Benjamin
  Walter Benjamin analyses the changes of meaning that the development of “technological
  reproduction” wrought on works of art. He looks speciﬁcally at the effects of photography and
  ﬁlm during the nineteenth and early twentieth centuries. Benjamin introduces the concept of
  “aura” to describe our perception of a “unique object”. The “aura” of an object is inextricably
  bound up with a sense of “distance” from the beholder. In this extract from a much longer essay
  written in the 1930s, Benjamin examines the changes in perception brought about by the
  destruction of “aura” and cites the desire to bring things closer as an expression of the profound
  social transformations being undergone at that time.
  II
  In principle, the work of art has always been reproducible. Objects made by humans could
  always be copied by humans. Replicas were made by pupils in practicing for their craft, by
  masters in diss