1 ICJ

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, , What is the pursuit of aesthetics, if not a willing mediation of experience
through indulgence in the sensory (55)?
, , Through the mediations of their chosen new technologies
(film, photography, innovative typographic design), the
so-called G-Group sought to engineer a visioning-and
experiencing-process that emulated the prec1s1on,
standardization, and nonsubjective universalism of a machine

, , G's contributors extolled the virtues of a world wrought of

expert construction, both in terms of its tangible
infrastructures and its assimilation into consciousness
through cultivated perceptual abilities (36).

, , From that longer manifesto statement, G excerpted short claims about the task of the
artist to expand all aspects of modern life: expressive, spatio-temporal, and material.
For material, think the materialism of lived, social realities, as well as the material of a
medium in serving as a means for art (38).

, , Significantly, for this sensorial , , By producing new sensations, and

apparatus, Benjamin uses the word inflecting experience, the camera
Medium (medium): 'The way in which expanded the topography of reality,
human perception is organized rather than simply replicating (or
-the medium in which it occurs-is diminishing) it (47).
conditioned not only by nature but by
history.' A historically produced con-
sciousness, for Benjamin, is a
medium that mediates the world,
not through technological operations,
but through the filter of experience
(46).

, , The world is framed as a proposition

both inflected by and revealed to
perception through the actions of
humans, who may desire to train
sensitivity to durations of change
consequential on a planetary scale
(55).
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Nathaniel A Rivers, 2020