ILLUMINATIONS WALTER BENJAMIN Edited and with an In Hannah Are duction by Translated by Harry Zorn 4]CONTENTS Wales Benjamin: 1992-1940, by Hannah Arendt “A Tale cout Bost ‘An Iniraduction tthe Translation (f Bandelai's Tables parisins eft on the Works of Nikolai Lest ‘nthe Trth Aniooary of His Death dnd Some of My Our Raft 108 4 a 256,210 involuntary memory, one in which the materials of memory no longer appear sing). imager, but tal us about a whole, lmorphouly and fees, indefinitely and weighty, in the tinny as the weight of hit net ells a fisherman about bis atch, Smell ~ that the sense of weigh of someone who cats ina into the aca ofthe fomps pod, Ao his sentences are {he entire muscular activity the ttle body they contain the whole enormous effort to raise this catch or the Te the closeness of the symbiosis between thie parcala creativity and this particolar malady is demonstrated Pas cleuly by the fact that in Proust there never was a Tcakthraugh that heoie defiance with which other creative rcpt have ran up agent her infrmiis. And therefore one Perm, tom another point of sie, thats close a complicity RHE and dhe couse ofthe word as Proust's would inevitably Tented to ordinary indclent contentment on any basis but that SEch great and Constant sullering, Asi was, however, this ‘alady was destined to have place nthe great work process Sasgned to it by a furor devoid of desires or regres, For the ‘edn time there rope a sealed ike Michelangelo's on which ‘heart his head thrown back, painted the Creation on the ‘ling ofthe Stine Chapa: the wckbed on which Marcel! Prout onaserates the countless pages which he covered with his ftandwriting, boing thera up in the i, to dhe eeation of his The Work of Art in Age of Mechanical Reproduction “Our feats were doped, hr psa ss were abs, ‘tee diferent pe of ation on Hg wer geil is eomprinn ah are th tonaing growth of our techy, te adelbiiy ond brsion they hv tind, he idee ed abit they ave ceting, ma i ‘cea thatprofand changes re impending in he amin ft {fhe Boia mall te art this pha component which ran ele bce ors es a ehh oe tenia ence by nr adie bce nd pr. Fo te taewd yt ete atresia hl a fro te iene Wel xe gnats asm thetic of heats, hereby afiting arti inention Gee eee When Marx undertook his critique ofthe capitalistic mode of producion, this mock was tein. Mare dreted Mr eflorts Titech a way nota pire them progoosie vale. He went back 1o the basic conditions undevying capitalistic production and through his presentation showed what could be expected of Qed om Pat Vliy, Anti, “The Corta Mminains n the future, The result was that one could expect eri wih eng ny, tions which 001d make i pombe The transformation of th apersructure, which ake place far more slowiy than that ofthe suberture, has taken more ‘han halls centryto manifest in all areas ofcalture the change inthe conduion production. Only day can it be ndcsted ‘nator this as taken. Certain prognostic eqiements shuld Teter by thea statements: However, theses about the at of the proltaat fer ausimpion af power or about the art fs nl socley would have ew earng on tee demands {han theses about the developmental tendencies of art under captain ble inthe sper te wrong to tnderetimate the value of such these ab & weapon They broth side numer af outmoded once sch erat a ce preset eens eee pee lead o a procenng of data in the Fasc sets. The concepts fron the more Gallas termn i tha hey are comply wclon the plrpocs of Fac, They ae, onthe thes ad afl Soh rmulaton of evainary dena oi fa. 1 {In principle a work of art has always been reproducible, Man: made arifacts ould always be imitated by men. Replicas were made by pullin practice of thee craf by maser for diffusing their works, and finaly, by third parties the pursuit of gain Mechanical reproduction of work of art, however, represents fomething new Historically, i advanced fovermitenty and in leaps at long interval, but with aceerated intensity. The Greeks knew ony two procedure of technically reproducing works of sr founaing and samping Bronae, era cttas, and cine were the only artworks which they could produce in quantity All fathers were unique and could not be mechanically reprodiced ‘With the woodet graphic art became mechanically reproducible The Work of Artin the Age of Mechaial Reproduction 213 for he fr ime, long before srg became reproducible by print ‘The enormout changes which priming, the. mechumieal reproduction of wring, has brought about in Hterature are a familar story. However, within the ptenomenon which we are here examining from the perspective of word hry, pin merely a special though particulary important, ese: During the Middle Ager engraving and etching were ded tothe oodeut at th beginning ofthe nine ery Htography Made its appearance With ithography the technique of ception ceached an cosenialy new stage. This tuch tore diver proces was ‘ivinguished bythe acing of the design on x one rae han its incision ona block of wood ori etching on 1 copperplate and permite graphic a Tor the rat ime to pute products on the marke, not onl in lage numbers as hitherto, but also in day changing forms. Lithography enabled graphic ast to ilestrat everyday He, and it egan to keep pace pisting ‘Bat only few decades afer hs invention, Ithography a surpaned by photography. Forte a tine in the proces of Pictorial reproduction, photography feed the hand ofthe mot Inypoant arin functions which henceforth devalved only wpe theeye looking into lens. Since the eye perceives more fui than the hand can draw, the proces of pictorial reproduction ws accelerated 50 enormously that could Kec pace wth Speech, A fm operator shooting a scene in the suis eapares Aheimages atthe mpc of an ators speech, Jus a lithography ‘nual implied he stated nevapaper, sod photography Toresadow the oud fm. The technical reproduction of oul ts tacled a the end ofthe a century. “These convergent Sndeavours made predictable a sation which Paul Valen ted up in thin sentence: “oat a water gaa, and electric fae bought ino our houses fom fa off to atty our needs Fesponeto minimal efor, 0 weal be supplied wit vi raudiory image which wil appen and appease Imovement ofthe hand, hardly more han a Sgn (0. tp 2). Around 1900 technical reproduction had rete! a std that not only permite it to reproduce lensed works of artand thus cause the most profound change inte mpect Upon the publi i lio had capured a place of ta own amonga laminations the arta processes. For the study ofthis standard nothing is tore revealing than the natere of the repercussions that these {wo diferent manifestations ~ the reproduction of works of rt id the art ofthe film ~ have had on arin ts traditional form, u ven the most perfect reproduction of a work of ais lacking Jnvone element is prescnce in time and rpact, i unique “orstense at the place where Kt happens to be. ‘This unique nistene of te work of art determined the history t0 which ‘as subject throughout the time ofits existence. This includes the changes which it may have sfered in phyieal condition ‘ver the yeass aswel a the varios changer int ownership.” The tract of the fr can be revealed only by chescl or physi snalyaes which i impossible to perform on 3 production ‘hanges of ownership are subject toa tradition which mast be traced from the station ofthe orignal “The pretence othe orginal is the prerequisite tothe concept ‘of authenticity, Chemical analyses ofthe patina of bronze ean help to extablich chis, ar does the proof that a given manuscript tithe Mid Ages stems from an archive ofthe eras centr. The whole sphere of authenticity ir outside technical ~ and, ofcourse, not only technical ~ reproducibility * Confronted Srith its manal reprodicon, which was ually branded as = Tongery, the original preserved all ite authority; not soe diz technical reproduction. The reaton is ofall. Fist, procs reproduction a more independent o the original has taal ‘reproduction. For example in photography, proce reproduction ‘an bring out thor aspects of he orginal that are unatalsable fo the naked oye yet seeeable tothe lens, which i adjurable tnd chootes ts angle at wil. And photographic reproduction, ‘rth the aid of certain processes, such a enlargement oF slow ‘motion, can capture images which escape natural vision (Secondly, See tea areas reeeel ito situitons which would be out of reach for he original al ‘Above al itenabls th original ro met the beholder hall thei in the form of a photograph ora phonograph record. Tae ‘cathedral leave its locale tobe recived inthe tudo of lover The Work of Artin the Age of Macaricl Reproduction 215 the choral production, performed in an auditorium or Jn the open air, reounde inthe drawing room ‘The situationt into which the prediact mechanical repreducton ean be brought may not ouch the actual work of far, yet the qualy of is presence is aways depreisted, This holds ‘not only forthe art work but alo, for instance, for & landscape which pastes in review before the spectator in ainovie Inthe cae of the at objec, a moat strive muceus ~ namely, its authenticity ~ ie interfered with whereas no natural object is vulnerable on that score. The authenticity of thing is the cswence of all that i tranamisible fen ts beginning, ranging from ts ulstantve duration tt cen tothe history which ichas experienced. Since the historia tetimony rst onthe futhentiey, the former, to, tf jeopardized By reproduction when substantive duration ease to matter: Aad what i feally Teopardized when the hiorel testimony iv affected isthe authority ofthe objec” Ce and go onto say that which withers in the age of mechanical ‘epradcton isthe aura ofthe work of art. This asymptomatic process whose significance points beyond the real af st, One ‘might generalize by saying” the technigue of reproduction ‘detaches the reproduced object from the dotnsin of tation By making many reproductions i subattutes a plurality of copes for a unique exitence. And in petmiing the represtaction meet the beholder or listener in is own particular situation Feactvates the objet reproduced. These vo proceses ead i 2 remendous shattering of tradition which she obverse fh onenborar iad eval askin, Bats poe ae Their most powerfl agent isthe film, le soca significance paniculaly in its most postive forts, ie inconceivable without Ks destructive, cathartic aapect, tha the liquidation of the tational valve of she cltual heriage: This phenomenon ie mos palpablein the gret historical fis: I extends to ever new Positions |In 1927 ‘Abel ance ‘exdaimed enthusiastically fespeare, Rembrandt, Beethoven will make films - all legends, all ythaogis and all myths, all founders of ligion, ithe very reigns. await ther exposed resurrection, and216 Huminaions the heroes crowd each other atthe gate'* Presumably without Intending t,he ved an invitacion toa far reaching liquidation m1 Daring long periods of history, the mode of human sense _pemmgtion changes with humanly’ exlve rode of exten, (The msnner in which human sense perception ix organized, Th medium in which tis accomplished, is determined not only by [nature but by histriclcinaumstance as well The ith century, ‘ith its grea sis of population, sa dhe beth fhe late Roman tr industry and the Vienna Genesis, and there developed ot nly an at diferent frm that of antigulty but also «new kind st perception, The scholars ofthe Vientese school, Riegl and Wekholl, who resisted the weight of dasical tradion under which thee later art rms hed been buried, were the fet eww conclusion from them etaceraing the orguization of Pescpton atthe tne: Heneverfarseachtng tht taiht hese ‘Chola limited themselves to showing the sigaificant, formal hallmark which characterized percepion in late Roman times ‘They didnot atempt ~ and, perhaps, saw no way ~ to show the social transformations expresed by thee changer of perception. The conditions for an analogous inight are more Evourable in the present And if changes in the medion a (ntemnparaty perception canbe comprehended ax decay of the aura, iis posible fo show its social cause "The concept of aura which was proposed above wil ference to hioriea!objcta may asfuly be llustated wih reference to the aura of natural ones, We define the aura of the Inter a2 ‘he unique phenomenon of adstance, however clase it may be Tf, while reting on a sates aeracon, yo flow with your ‘ers mountain range onthe horizon of branch which carte \Gshadow over you, you experience the aura of those mountains ofthat branch. Tit image takes easy to conmpreend the sii bases of the comtemporary deay ofthe aura It rests on tw Srsumetances, both of whieh are pela ‘Henllieance Wi dhe roan in contemporary. Namely, the 7 The Work of Ain the Aare of Meche Reproduction 247 “aod fumanly, which jun as ardent a their Bent awa ‘vercoming the uniquencs of every realty by accepting is reproduction * Every day the urge gow 04a? wo ge AT “ol an objec at very coe range by way of ts Uhenc He reproduction. Unmnisalably, production as offered by pete Iagazines and newarecs differs from the image sen by the Unarmed ee, Uniquenet and permanence ae at lly Haked Inthe later a are tents Sed repre in the former To pry an objet fom ts shel to destroy its aura he mark of perception whose ens of the universal equality of things has increased to sch a degree that extracts even fromm & unique object by means of production, Thus i manifested in (he eld of perception what nthe theoretical yphere notable in the increasing importance of tatats, The adjustment of reality to the masses and of the masts (o reality it prcers ‘of unlimited scope, ax much for thinking at for perception ‘The uniquenes ofa work of 3 inseparable fom ts being imbedded in the fabric of tradition. Thit tation tell is thoroughly alive and extremely changeable. An ancient ae ‘of Venus, for example, stood ina diferent traditional context with the Greek, who made tan abject of veneration, than with the deres of the Middle Ages, who viewed ita an minor ial, Both of ther, however, were equally confronted with is ‘uniquenes, that ste ara. Originally the contenu negation ‘fart in taditon ound ite expresion inthe eal, We know that the esis artworks originated inthe eric of ritual ~ frat the magiel, then the religious Kind. It significant that the ‘eustence of the work of art with reference fits aura is never ‘ntrely separated from ttl function “In other word, the Unique vale of che autheni’ work of rt hast bassin ual, the locaton of its original use value. This ualisie bess however emote, sail recognizable a seculariced ritual ever in the most profane forms ofthe cult of beauty The secular ‘al of beauty, developed during the Renssance and prevaling for three centuries, clearly showed that ritualnie bai it218 amination, decline and theft dep eis which befel it. With the advent SF the fret tly revoiionary means. of eproshiction, fogeaphy, smulancouay wath he nf oda, assed Re ghetahing rte ic bs beore cient ncetury er Aedeime, ar reacted wit the dotrine of at poe, hat ‘aot theaogy of art This geve in to what might be called ‘Toguive theloy inthe form ofthe Hea fpr’ a, whieh tency deni any axl anton ofa bt al ny ctegoriing by sabject mater (ln pory, Mallarmé wan the st to take ths postion) "Abani at in the ag of mechanical reproduction mast do jue thse ei, forthe eno 0a a STopantinight othe fe hen world try, echnical ‘preduction emancipate she work of are rom fe praca {Ependence on tual To an ver gree degree the ork of Sr repraduced becomes the work of art dengned fr ‘prodacliy? From a photographic negative, for example ‘can make tny umber of prints f at forthe ‘authentic! print mae no sense. But the tant he een of athentity Esto be appleble to atti production, dhe tal fnetion et an x veversed aed of ting bse on ital, begin to ie based on nater practice polis v SES arte oer pieces pereae mena The Work of Artin the Age of Mechanical Reproduction 219 increasing opportunites forthe exibition oftheir products ‘Genser exhibits portrait bust that can be sent here and there than to exhib the matue of divinity that hat ied place in the interior of temple. The sume holds forthe painting as against the mosic or fesco that preceded it. And even though the public presenablity fa mact orignally may bave been just fs great as that of a syeaphony, the later originated at the ‘moment when its public presentablity promised to rarpae that ‘With te diferent methods of technical reproduction of «work cof at, its ftnes fr exhibition increased to such an exten that ‘he quantitative ahi between its two, poles turned ito & ‘qualitative transformation ofits nature, Thi comparable to the situation ofthe work of arin prehistoric times when, by the abeote emphasis ont cul vale, it wae, ft and orem, fn instrument of magic Only ater di cone tobe recognized Sra workof ar, Inthe same way tadsy, by te bate emphasis ‘on it exhibition value the work of at become x erestion with entry new functions, among which the one we re concious ff the ane fantion, Inter may be recognized as incidental? This much is certain: today photography and the film are the most serviceable exempliications of thie ew function, vl In photography, exhibition value begins to daplae cle value all slong the line, Bur cult value does aot gare way without resistance. It retires int an ulate retrenchmaent: the human ‘ountenance [eno accident ha the port was the focal pint ffearly photography. ‘The cult of remetbrance of loved Goes, Shien or dead fers ne efige forthe cult valu ofthe picture Forte lat ime the aura emanates from the eat photographs in the Meeting expression ofa aman face. Thi i what ovate (heir melancholy, incomparable beauty. But as wan withdraws {rom the photographic image, the exhibition value for the fist line shone sopertary othe ia vale Toe Rapid this new stage conaiter the incomparable sighiance of Age, ‘who, around 1900, took photographs of deserted Paris trees thas quite jus been sad of him that he photographed them220 Marinaions like scenes of crime. The scene ofa crime, ton, is deserted it ‘sphotographed forthe purpose of establishing evidenee. With ‘Aget, photographs become standard evidence for historical fesurtences nd acquire a hidden politcal signifiance. They demand serif hind of approse; ree-oating contemplation iS'not appropriate to them. They str the viewer he Tels Challenged By thea in a new way. At the ame time picture Imageines begin to pi up sgnpot fo hn ht ones oF wrong ‘nes, no matter. For the fn time, captions have become ‘bligatory, And ita clear hat they have an altogether difirent ‘harctr an the tie ofa painting. The dirctives which the ‘aptons pve to those looking a picare in Masrated magazines soon become even mone exp and more imperative inthe fm where the meaning of esch single picture appears to be presebed By the sequence of all preceding ones vu “The nineeenh-cenury dapat as tothe attic vale of painting ‘ers ptography today seem devious and confused. This docs tot danni a importance, however, anything it underlines ie The dapute was in fact the aymapiom of a historical ‘raneformation the universal pact of which wat not realized by ether ofthe rivals, When the age of mechanical reproduction prated at from ts bassin cal the semblance of autonomy tsppeared forever The euling change inthe function ofa transcended the peapective of the century; fora Tong time ie ten escaped that of te twentieth century, which experienced the development of the Sm ‘erlcr much file thought had Been devoted othe question of whether photography i an art. The primary question tnheter the very invention of photography had not transformed the entre natere of art wae Not raised. Soon the fl theoreicans ake he same itconsdered question with regard to the film, But the difcues which photography caused Ueditional aesthetics were mere chik's play at compared to those raied by the flim. Whence the insensitive and forced ‘Garacer of ealy theories of the fim, Abel Gance, for instance, ‘Compares the fn with hieroglyph: “Here, by 2 eemarhable The Work of Artin the Age of Mechanical Reproduction 221 regrenion, we have cone back 10 the level of expresion of the Egyptians -- Peoria! language has not yet matured because our eyes have not yet adjusted 0 i There i as yet inauficient respect for, innullicent cul of what i expretes "= ‘Grin the words of Séverin- Mar: "What art has been granted rea. more poetical and more relat the same time! Approched. in thi fashion the film might represent an incomparable means of expression, Only the most high minded person, inthe most perfen and mysterious moments oftheir lives, should be allowed to enter its ambience."f Alexandre ‘Aenoux concludes his fanary about the alent fm with the “question: ‘Do not all the bold descriptions we have given amount {othe definition of prayer?" Teisinmrucive to note how their {eset clase the film among the art forces hex theoreticians to read ritual cements int it~ with» wring lack of dacreson ‘Yer when these speculations were publihed, fim ike Opinion usc and The Gold Rash hd already appeared. This, however, id not exp Abel Gance from adducng heroglyphs for purpores comparison, nor Severin’ Mars fom speaking ofthe mat tne might speak of psincngs by Fra Angelic. Character, fven today ultrareactionary authors give the lm a similar fontexual significance ~ Hf not an outright sacred ove, then At Teta «supernatural one. Commenting on Max Reinhard's {lm version of A Midtmmer Night't Dram, Werle mates that Undoubtedly it was the serie copying of the exterior word ‘rth ite street, interior, railroad. stations, resaurats Thotoreas, and beaches which until now had obstructed the levaion ofthe film othe realm of ar. "The film has not yet fealzed its true meaning, is tel postibiliies these consist in ie unique faculty to express by matural means and with incomparable peesuasveness all tht is firylike, marvellous, supernatural'S Ante ara ice p19 panme laminations vin “The ait performance ofa age ators defniely prevented tothe public by the actor in peon that of the szreen ator Iweve, is precntedbys camera, witha wold consequence “Thc camer that present the priomanceof the Bim actor fo the public eed nt rapes the pefonnance oan era whe Called byte comerenan, the camer coainaly ange position with spect tothe performance. The sequence of Fesidonal ewe eich th for compos fom the material Applic Re conti the compe Em 1 compres ean tatbre of movement which aren realty tow ofthe camern toto menton peal exer ange, oveupe ee. Hence the performance ofthe actor pojected toa sect opti te This the fe consequence of the fcr that the actors formance resented by means ofa camer. Ai, the fi Teor lnk the apportusiy of the nage actor to aj tothe diene during a perforanee, sce he des nt prsent is rrfraoes oie adccsn prion This permite diene Diath poston aac, wou experiencing any person Sores wih the aco The nudienos detiiaion wih the Stor yal an sentation with the camera. Consequently The sulcae ales the poiton ofthe camera approach that of tenting This othe appronch to which cl wake poy be eped x For the lin, what matter primarily thatthe ator represents htnselto the public belore the camer, rther than presenting Someone elie. One ofthe fist fo sens the actors metamorphonis by thir form of testing was Pirandello, Though his remarks on the ajc in his novel S Gia were mite to he negative aspects ‘ofthe question an tothe silent fm ony, eis hardy impales ‘hei validity.Forin thiereapec, che sound film did not change “tything esenial. What matters i thatthe parti acted pot foran audience but fora mechanical contrivance ~ inthe case tthe sound film, fortwo of them. "The Mm acto,” wrote Pirandello, fel ein exile ~ exiled not only from the sage The Wak of At in the Age of Mechanical Reproduction 223 but als rom himself With a vague sens of discomfort he feels inexplicable emptiness! his body lows its corporeality, i Sea ee ees “uted by hit moving about, in order tobe changed into a mate Image, flickering an instant on the seven, then vanishing ino sence. ‘The projector wil play with hi shadow before the Public, ac fe Kinecl? sat be Coniest to play before the ‘amera.* Thi situation might alo be characterized as flows: forthe rat ime ~ and thee the eflect ofthe fin ~ naan ha to operate with hin whol living person, yet forging its aura For trai ed to is presence; there can be no replica of i The aura which, onthe tage, emanates from Macbeth, cannot te seprated forthe spectator from that ofthe actor. However, the singularity ofthe abot inthe studi is thatthe camera is substitted for the publi. Consequently. the aura that enveops the actor vanishes, and witht the aura of the Gigure he portrays, Te is not murpesing that it should be a dramas such a Pirandello who in characterizing the ln, inadvertently touches fo the very cre in which we tee the theatre. Any thorough study proves that there is indeed no greater contrast than that, (ofthe wage ply fo a work of art that i coenpletely abject to or lite the Bln, raded i mechaniealveproducion Experts ve long recognized that in the fim ‘the greatest eflets are amon always obtained by “acting” a hte as posible in 1992 Rudolf Araeim saw "the atest rend. + in eating the actor a 8 stage prop chowen for es characteriaia aed inected tthe proper place,” With thin den something at incloriy connected. The sage actor identifies hima! with the sree ea el eT eae eee ‘pporanity, His eration is by so meats all ofa plore; [et composed of many separate performances. Besides certain eee et eaeee sere flow plyes Obcor, ete, there tre clement weesies of ‘equipment that pli the actor's work nto m series of mountable pisedes. In particular, lighting and its installation require the ‘resentation of an event that, onthe sreen, unfolds asa rapid [End unfled scene, ina sequence of seperate shootings which may hile myo2m eet {ake hours athe sudo; not to mention more obvious montage ‘Thar jump from the window ean be thot in the sudo at 2 jump fens ecalld, and the ening Bight, W word ber can tb shot weeko ler when outdoor scene ar taken. Far toe paradosical cases can easly be construed. Let ut assume that fan actor is supposed wo be warled by «knock atthe door. If his reaction is ot satisfactory, the dtector can resort 10 3 expedient when the actor happens to bea the studio gain be hha shot fied behind him without his being forewarned af ‘The tightened reaction can be shot now and be cut into the screen version. Nothing more suikingly shows that at has let the realm of the “beautiful semblance’ which, 0 fa, ad been taken to be the only sphere where art could thrive. x "The feeling of strangeness that overcomes the actor before the camera, at Pirandello describes ie baicly ofthe same kind ‘tthe estrangement fl before one's wn image in the mirror. ‘But now the elected image has become separable ranporable Azd where lsh wansported? Belore the pubic Never for ‘moment doer the rereen actor crate o be conscious of this fac. ‘While facing the eamera he knows that ultimately he wil face the public, the conaumers who consiate the market. This ‘market, where he offers not ony hit labour but als his whole ‘el is heart and sou, x beyond bis each. Ding the shooting Fhe hava ite contact with ax any article made in factory ‘Tals may contribute to that oppression, that new anxiety which, sccording to Pirandello, gripe the actor before the camera, The im responds tothe sriveling of the aura than arial uid ‘pel the ‘personality’ cutie the arco, The cult of the movic fa, fostered by the money ofthe fm industry, preserves not the unique aura of the perton but the spel of the personality, the phony spel of a commodity. So long asthe moviemaker? pital ses the fashion a rule no ther revoktionary merit fan be accredited to today's film than the promotion of & ‘evolutionary erica of traditional eomcept fet, We donot deny that in some cases today's Sime can alt. promote revolutionary crlica ef vocal conditions, even of the ‘The Work of Art inthe Age of Mechanical Reproduction 228 isitution of property. However, our present study i no more ‘peifially concerned with this than isthe fm production of ‘Western Europe Tis inherent in the technique of the film as well as that of sports tha everybody who witness ite accomplishments somewhat of an expert. This is cbvious to anyone listening to {2 group of newspaper boys leaning on their bicjles and ‘iscnsing the outcome of «bieycle race. I isnot for nothing that newspaper publabers arrange races fr their delivery boys These arouse great interest among the participants, forthe vor tas an opportunity to rie fom delivery boy to profesional acer Similady, the neweree offers everyone the opportunity t0 rire from panterby to movie esta Tn this way any man might even Find sel pao work of at a8 witness Vert Tow Soe ‘About Leino Ivens Brinage, Any man today can In lai £0 tring fimed, This claim can bet be elucidated by «comparative look atthe historiealsitwation of contemporary Heratre or centuries a small mabe af writers were confronted by many thousands of readers. This changed toward the end of the Tas century. With the increasing extension of the pres, which Kept placing new politcal, eligi, cent, profesional, and local organs before the render a inrearing numberof readers became wnters ~ at fist, occasional ones, Ie began ith the ‘aly prev opening to is readers space fr ‘etters tothe editor ‘And today there i hardly a gainfully employed European who ‘oul notin principle, dan opportnity to publish somewhere ‘orother comments his work, grievances, documentary report ‘Seta sor of thing. Thu, the distinction between author and Publicis about to lost ase character ‘The diference becomes Irerlyfanctona tay wary from caseto ase, At any moment the reader in ready to turn ito a writer, Ax exper, bch he hd to become wily-nilly in an extremely speciained ork proces, cven if only in some minor respect, the reader gaine tecet {0 authorship. Inthe Soviet Union work il is given vate. To present it verbally spat of man's ably to perform the work. Literary licence ie now founded on polytechnic rather than specialized training and. thus becomes ‘common A this can ently be applied tothe film, where transitions226 Mlaminations that in literature took centuries have come about ina decade, Ininematic practice, particularly in Rusia, this changeover has partially become established reality. Some ofthe players ‘who we meetin Russian me are not actors in ou sense ut People who portray hm ~ and primary i thee own work proves. In Werte Europe the capitalitic exploitation of the lm denies consideration to modern man’s legitimate claim 10 boeing reproduced. Under these circumstances the film indy inrying hard eo spur the interent of the meas through sion promoting spectacles and dubious speculation. x! The shooting of a Gm, expecially of a sound fim, affords a spectacle unimaginable anywhere at any time before thi Tt Desens a process in which is impose to amin toa epectator Viewpoint which would exclude fom the actual scene such “ntrancou acceworion ab camera equipment, ighting machinery Salfansntans tc ~ uns his eye were on aline parallel wih the lea. This reumtanee, mre than any eter, renders superficial and insignificant any pouible smarty between a seene in the mudio and onc on the stage. Inthe theatre oe is ‘wellaware ofthe place from which the ply cane immediatly Dedetected aillusionary. Thee iso tuch place forthe movie sezne that sing abt Ts illsionary nature that ofthe second Alegre, the result of cating. That ht ay, inthe std the ‘mechanical equipment has penetrated so deeply into ceality that ity pure pec reed from the foreign substance of equipment Isthe rent of a speil procedure, namely the shooting by the specially adjusted camera and the mounting ofthe shot together With other similar oner. The equipmen-tce aspect of reality hete has become the height of artifice; the sight of immediate realty has become an ori in the land of technology "Even more revealing it he compariaon ofthese circintances, wich dflerso muck fom thor ofthe theatre, wih he station in painting. Here the question x: How docs the cameraman compare withthe painter? To anawer this we ake recourse to fn analogy with a surgical operation, ‘The nungen represents {he polar oposite af the magician. The magician hel ick The Wik of Ar in th Age of Mechanical Reproduction 227 person by the laying on of hand; dhe surgeon cuts into the putien's body. The magician maintains the natural distance Eecwcen the pen snd hrmlf though he reduce tery sight by the laying on af hands, he greatly increases by vires of his authority The surgeon docs exaclythe reverse; he greatly diminishes the distance between himself and the patient by penetrating into the patent's ody and increases it but ile By the caution wih which his hand moves among the organs Th shos, in contrast to the magician ~ whois ll biden in the medial practioner ~ the surgeon atthe decisive moment tbyains fom facing the patient man to man; rather, cs hrough the operation that he penetrates into him ‘Magician and surgeon compare to painter and cameraman. he painter nina in hie work a matural distance om reali the cameraman penetrates deeply int is web.” There is & tremendous dilerence between the pictues they obtain. That tthe painter is ttal one, that of the cameraman consists of tlle fragments which are artembled under new law. Thos, for comtemporary man the representation of ealty by the fim ‘sincomparably more signiinnt chan that ofthe painter, since ioflere, precsly because ofthe thoroughgoing permeation of ‘realty with mechanical equipment, an aspect of realty which {Slice ofall equipment. And tha is what one i ented co ask from a work of ar. xt “Mechanical reproduction of at changes the reaction ofthe mases toward at. The reactionary aide toward a Pcaso painting Changes into the progrenive reaction toward = Chapin movie The progesive reaction ie characterized by the diet, intimate fusion of visual and esntional enjoyment mith the oentation ofthe expert. Such fusion is of great socal signiiance. The treater he decreae inthe socal significance of sn at form, the harper the distinction between ericiam and enjoyment bythe public. The conventional ir uncritialy enjoyed, and the rly few is crtcined with aversion. With regard to the seen, the (iia and the recepuve atitudes ofthe public coincide. The ‘Seciive reason Tor thin is that individual reactions are228 Fomor predetermined by the mass audience reponte they are about fo produce, and this is nowhere more pronounced than in the frm. The moment hese esponses become manifes they contra ach other” Again, the comparison with painting Is ruth A Painting har always had an excellent chance to be viewed by ‘one person or by a few. The simultaneous contemplation of paintings by alarge public, ich as developed in the mieten ‘Century san early symptom ofthe cis of paintings a erst ‘which was by no means occasioned excluively by patogeaphy Du rather ina elatively dependent manne bythe appeal of aft wrt tthe soem Painting simp i no positon (0 present an object or frchitectre a al ines, for the ep poem in the pat, and for the movie day. Although his ceumsance i should not tead one to concusions above the socal cc of painting, does consttate a serious threat a8 ton as painting, under special direc by the masses. Inthe churches and monaserea ofthe Midale Ages and atthe princely courte up tthe end of the clghteenh century, collective reception of painting did pot Sceur simultaneously, but by graduated. and hich ‘mediation. The change that has Come about i an expression atthe particular confit in which puting was implcned by the mechanical sepraducbity of panting Although pti bean obepublly exhibited in galleries nd salons there wet no way forte mast to organiae Sn conta theres in ett reception.” Thus the same. public which responds in’ progresive manner toward» grotesque fm is bound respond xu ‘The characteristics ofthe film Ke not only in the manne in which ‘man presents himself to mechanical equipment ta la in the tmanerin which, by means of thi appara, nan a epreset his environment. A glance at cczupatonalpychology erates the esting eapaiy ofthe equipment. Paychoanalyautetes iin a diferent perspective: The film has coriched outfield of Tha Work of Artin the Age of Mehoical Reproduction 29 perception wth methods which canbe ilutrated by thove of Freudian theory. Fifty year ago, lip ofthe tongue pased more tr lets unnsiged. Only exceptionally may such »aip have ‘vealed dimensions of dept in convertion which had seemed fo be taking ite course on the rrface. Since the Pehpadalogy tf Enya Life things have changed. This book plated snd made cnalyzable things which had heretofore Nosed along wnnotced in the brond stream of perception. For due entire spectrum of ‘pti, ad now ako acoustics, perception dhe lm has brought “Shout a similar deepening of appereeption. I is only an obverse ‘this fac that behaviour tem shown na movie can be analyzed ‘much mere precisely and rom ore pols of view than thove presented on paintings or on the sage. As compared with painting, med behaviour lend lf moe readily to analysis Because of ite comparably more precise statements of the Situation, In compariton with the stage scene, the fled tehaviour item lends ise! more readily to analysis because it fan be isolated more canly. This circumstance derives its chet Importance from i tendency to promote dhe mutual penetration fofartand science. Actually, ofascreened behaviour tem which is neatly brought out im certain situation ike a muscle of 3 body i i diftel o say which i moe fascinating, its artic ‘alu ofits value for sience. To demonstrate the identity 0 the artiste and scientific was of photography which heretofore Cally were separated wil one ofthe revolutionary functions ofthe fm By close-ups ofthe things around ws, by focusing on hidden etal of familiar objects, by exploring commonplace miieus Under the ingenious guidance of the camera, the lm, om the ‘ne Hand, extends our comprehension of the necessities which fue our lives; om the ther hand, ic manages to aureus of an Immense and unexpected field of action. Our taverns and our tneropaitan sera our ofc and furnished rooms, our rand fations snd our factories appeared to have wr locked up hopelenly. Then came the fm snd bier this prion world arunder by the dynamite of the tenth of a second, so that nov. inthe midst oft farcflung ruins and debris, we calmly and saventurouly go travelling, Wit the clote-up, space expands wrth slow motion, movement it extended, The enlargement of20 lainaions a snapahor does not simpy render more presse what in any case wea visible, though unlear:K reveals ently new uructral Formations ofthe subject. So to, slow motion no ony presents familiar qualities of movement ‘bat reveals tn them carly unknown ‘ones “wih, far from looking like retarded rap movements, give the effec of sngulatly ging, flowing upematural motions" Evidently a diferent atre opens tei tothe camera than opens tothe naked eye ~ if only because onsciouly explored by. man. Even if one has a general Inowldge of the way people wal, one knows nothing of a person's ponture during the fractional necond of tide, The se of reaching for a igher ora spon i fain routine. yet wwe hardly know what really goes om between hand and mel oxo mento ow hi utes wah oe mont Here the xIV One of he fremont ta fat ha ways ben the creation ofa demand wich could be fly ented oly ler The Nstry of every art orm sows ral poche inhi cera form ance to ells which could be fly obained nly ‘vith a changed tcieal wandard tht io =, a new at Tor, The extravagances and rude of art wth tus ape Duraaly inthe scaled decadent peck, seul aie rom Dasara mere abundant Dada I only now thats impair crise Dahon temp ete by torial ~ and iterary = means the efits which tne pb today seeks in the film. is very fundamental new, plonceing creation of demands wil carty beyond ts gal Dadam did othe eter tha it The Wk of At in he Age of Mehaical Reproduction 231 sacrificed the market values which are so characteristic of the Fim in favour of higher smbiions ~ though of course it wa Sot consiou of uch intentions as here descrbed, The Dadaits tached much les importance to the sales valve oftheir work than tots ueesmea for contemplative immersion. The studied Ulgradation oftheir material was nor the leat oftheir means (ovechieve this uselessnet, Their poeme are “word salad Containing obscenities and every imaginable waste product of fanguage ‘The same ie tre oftheir paitingr, on which they mounted buttons and kets. What dey intended and achieved Mara teense destruction ofthe aura of ther creations, eich They branded ax reproduetions withthe very means of reduction. Belorea painting of Arps or a poet by August Strain iis imposible to take tie for contemplation and evaluation as ane ‘eould before a eanvas of Dersi’s or a poem by Ralke In the {tine of meddle can society, contemplation became a school for ascial behaviour; wax countered by datacom aa waiant faecal eonduct® Dadaitie ative actualy aaeured + rather Schement distraction by making works of art the centre of Nanda One requitement wat foremost to outage the publi From an alluring appearance or persasve structure of ound che workof arto the Dads Became an instrument a balls Tehit the spectator ike a bullet, i happened to him, thus Acquiring a tactile quality. Tt promoted a demand for dhe fin, the distracting element ol which is also primarily tactile, being thse on changes of place and focus which peetoically asl the spectator, Let us compare the ren on which lm unfolds tr dhe canvas ofa painting. The painting invites the spectator To contemplation; before ithe spectator can abandon hime tohisassoriaions Before the mv rae he cannot do x. No Soonce hes his eye grasped sacene chan ii already changed Teeannot be arrested: Dune, who detest the film and knows nothing ofits significance, though something ofits rructare ‘ote this ieumtance ar follows: ean no longer think what Tsant to think. My thoughts have been replaced by moving images." The spectators procs of asoration in view of these Images i indeed interrupted by their constant sudden change,This comsitues the shock fet of the film, which, ike ll shacks, should be cushioned by heightened presence of mind.” By ‘means oft echnical structure, the il has taken the physical ‘hock fleet out ofthe wrappers in which Dadam had, at were, Kept it inside the moral shock effect." xv “The mass isa mates fom which al radiionl behaviour toward Works of at issues today in anew form, Quantity has been UWansmuted into. quality. The greatly increased. mast of Pticipans has produced change im the mode of partipation, The fact thatthe new mode of partcipation frst appeared in a disreputable form must nt confuse the spectator Yet rome people have launched spinted attacks sgainn precisely this Superficial spect. Among these, Duhamel as expressed his inthe most radical manner. What be objects to montis the kind ‘of paicipatin which the movie ics from the mans, Duhamel ‘all the move 'a pave for helt, x diversion for uneducated, wretched, wom-out centres wh af cnumed by ther worries 1 spoctace which equres na concntration an presppaes tno intelgence "which Kindle no light inthe hear and awakens no hope te than the ridiculous one of someday brcoming a star in Los Angeles." Clearly, this at botor the same ancien lament thatthe masse eek distraction whereas art demands concentration from the spectator, That ib ‘commonplace. ‘The question remains whether it provides @ Platform for che analysis the fli. A closer loki needed here. Distraction and concentration form plar opposites which may be ated as follows: A man who concentrses before work of arcs abtorbed by He enters inte this work of atthe way legend tl of the Chinese painter when he viewed hi finished painting, In contrat, the distracted aes abeorb the work of fr Thisis most obvious with regard to buildings. Architectore has always represented the proxtype of work of athe ection which is consuramated by a elective ina ate of distraction, The laws of ix reception are moe instructive The Work of Artin the Age of Mechanic! Reroducon 288 Buidings have been man’s companions ice primeval tines. Many atfonns have developed sd pesabedFragety begine Maite Gres, iscxinguibed wath hem and afer centuries {tals only are sevved. The opie oer, wich had it gin ie he youth of atoms, expires in Barpe at the end othe Renan, anc] png vs erent ofthe Mile Ages, iia noiing foaramer i uninerapied citence. But the ifm need for shelter lating Archtcerare ha never been te, Ts story i more stent than hao any ther and tScomprehend the clatonsipof he anes oar. Billings orcappropriated ina wolld anne: by sean by pereepion vac, by touch and igh, Such sppropriton cant be ilar‘ tamous bulding On the tac side heres m0 CGumerpan to contempion on the opdcal side. Tac Sppropaton i accomplished not x much by atenin a by ib ne reqnsacitecore, bbl determines toa age extent ‘Yen ote expion. The ner, 0, ocr mcm though tap seon then by tng te object indent fasion, tis mode of appropriation, developed with reference to Forde tasks which face the human appara of pereepon at theuarning poms ef history cana tle by optical means thats bycontemplavon, se They are mawered gradual ira under the guidance of tcl appropriation The dinate pron, to, on frm habs More the ability scluon has become s mater abi Diretion st provided ipa presents a covert come fh extent o which ne tasks Wee Geame ale by sperepton She, orn Indias re tempted to aves such tsk, amt wl ce the tr ical and nest portant ones wheter be o mb {he masses, Today h doce som he fm, Recrpion in a state Fdntracton, which snccaing noticeably i a lds of ar Sua symptomat of profound cheng in appercepon, ads inthe Hints meane of execs The fm with shock {Sheer mets this mode of reeepaon haliway. The is makes the Shit valve recede int the beetground ot only By puting thea estos public in the potion ofthe rite, but alo by the fact that at the movier thie potion equirs no attention, The publican ttaminer, but an abseotssided one The growing proltrianization of modem man and the increasing formation of masses are evo aspect of the same procesnFacinm attempts to. organize the newly created Droetarian masees without afleting the property ructare which {he mater strive to eliminate, Fasc wea alvation in giving ‘hese masses not their right, but instead a chance fo express ‘hemactves "The mass have right to change property ations; Fascism seeks to. give therm an expresion while Preserving propery. The logical result of Fascnm: iv the Introduction of tethtics into politcal life, The velation ofthe ‘masses, whom Fac, with it Pr ul fares othe knees has les counterpart inthe violation of apparatus which 1 presed into the production of ritual values, ‘Alleforts to render politics aesthetic culminate in one thing war. War and war ony can set gol for mass movements on the largest sae while respecting the traditional propery system ‘This isthe pliteal formula forthe situation. The technological formula may be tated fellows: Only war takes it posible ‘omobilie alo voday’s technical resources while maitaining the propery system. It goer without saying tht the Fart apotheosis of war doer not employ auch arguments Sil, Marine says i hi manifesto on the Ethiopian colonial wa For twenty-seven years we Futurists have rebelled agains the branding of war ar antiemetic. Accordingly we tte Waris beautfl beau i enablishes maa’ dorinion over the subjugated machinery by means of gat mas, terrifying Imegaphones, dame throwers, and small tanks, War's beatiful because i iniates the dreamtof metallization ofthe human body. War is beautifil because i enriches flowering meadow ‘withthe ery orchids of machine guns, Wari beaut because ‘Weombines the gunfire, the eannonades the eat, the sent and the stench of pueaction into a symphony. Wari beaut because i teats new architecture, like tht of the big tanks, The Wk of Artin the Age of Matanza! Reroduon 285 the geometrical formation fights the stoke spirals from burg Silages, and many others = Poets and ats of Futurism Temembcr thse princi of an aesthetics of war so that jour struggle for s new hterature and new graphic art Inay be mined by ther! This manifesto has the virtue of clarity. Its formulations verve to be accepted by dinlctiiane. To the Latter, the Sates of today's war appears a follows: It the nat ieston of priv forer impede by che prope sytem, the increas techneal devices, peed), ai the soarecs ‘ot energy will pres for an unnatural uizaton, and this iSound in war The dexuctvenes of wae Tunshes prof that sity has not been mature enough to incorporate technology a1 tngam, that technology has not been slficently developed ope withthe elemental forces of acer The horrible features st impeiainie warfare are atifbuable (© the discrepancy between the tremendout means of production and their inadequate utilization in the proces of production ~ in other ‘words to unemployment and the lack of market, Imperaistie rari a rebellion of techaology which collects, ia dhe form af Truman tateria the eat to which society has denied ie natural material, Instead of draining rivers, society diets human stream into bed of tence: itxead of dropping seeds thvough gar warfare the aura f abolished in & new way Pater ~ erat mand,” says Fascism, an, a3 Manet admits, expect wart upey the atic raifeaton ofa sense perception that hax bees changed by tehnalogy, This is cvideniy thecommummation oa pour art.” Mankind which in Homer's tine wan av abject of contemplation fr the Opmpian gad now {sone or ise TsslFlienation has reached much a degree hat ofthe ft order. This the situation of polities whieh Fascism is rendering aeatetic, Communinm responds by politcizing atNOTES ould nt er band oe mutha athent ony ding the seeding cee and perhap tos skogly so using thet 5."The poret provincial aging of Ft imperious on she breakin ale the mi fm, epic anon Heinrich Mend wlécn be’ represents ein bute forlion of te ‘al vale othe work atin categories fac aod ine eet Distance the oppose of cloenesr Te een dan sje ‘heunapproachableone. Unapproachabiliy idea major gusty The Work of Art inthe Age of Mechanical Reproduction 297 itmmay be The een which on My a rom tr jet mater rao of tebe the untucoes the phenomena which iP way nthe cal tnae i more and tore duplaced by the “pirat unique ofthe crestor or a hia creme achseemen Tole sre nvr coed my the ome fate ay anc, gt alle! oy painting no lege by sheer force led the endangered film capital © speed up the ‘rough soot oterporay rot not only broune gain brovght then bape onteranonae fm potion even more than238 aminations ‘his play announces ie ax lay ax pombe within he nto Weal, We quote fm hs Piply of Hay mages were knoe of hd it at ct mereuie thee soi tl ow bling Ta ght Something nonapial,nercy eternal but pr peat Iman throgh tr beauty, Woripping, convene concerned sth he work na bjt, forte bet spin pra the ‘han lea gone beyond is pring a at Likewise, the flowing page rom The Papo Fie Anica gs Pe gy ‘abe demonstrate oreah work of art Tae he Stine Masanna ‘Since Hubert Grimme's research thar bsen known hat he Mado ‘Sigil was pine the puro of cciien, Gren’ ‘ea inird bythe quenion: What the arpa of the moulin the treground a the painting which the we cupid an upon? Hm, Grinme aed fre, id Repel comet fara hey wih rapes? Rescues proved ha the Madonna ha beens Torte publi yingstte of Pope Sits. The Popes ayn ste ‘ceran sd chapel ofS Pee's'O that secaion Raphael’ pctore had ee tne in ible background of the chapel, sported picasa ceive ec] oid peeeraeca) a prouhing the papal ola ince fom the background othe ie ‘ich ras marched by aren reper. At the sus of Str Preninent ation value f Raphac'sltre war ahem age {1 Some ume later ¢ wat plac on the high sar nthe church the Black Fare at Paco, The reason forthe to be found The Wark of Artin the Age of Mechanical Reproduction 239 the Roman ste which forbid the we of paintings exhibited at 2 Reais Bre, on ferent level, engaged in aalogous reflections." te concept o' work ofa can ha longer be appied cenmodiy: mvs wciinntc hs conrp wit cau ae bat ‘rthou eet gute the Tanton he very hing a wel Fort hart go Greuge tht phase witout mental servation, and aut fe plot ond sneer (lek Besa, Pom. ‘Ber Dregochenprosen”p. 258) The expansion ofthe ll the pee a eee y opee eee ene leant a cece ee rcatonal pttede tes become fonsany tore important: What The fm shor andthe vocstona spiude tex are taken before Crue ofenperts The camera etorin he mocap» pce ‘Sime wth tat othe examine daring spe ea TH Radlf Aram, Film rt Be, 1932 pp 1764. this conic ein semi unisportant dean wh te ‘vines to eage proicrs gsi tere, Such the temp 10 {citer stn lay witout ealeup,t made song eter by Dryer ints Jor. Dreyer pet tnt seshing the fot ctor hi enue the Ingato” tabuaal ‘The seach for thee sort Tesombled tht fr tage properties that ar hard to come by. Dreyer Fiorano has sme ge py,240 Muminaons om particu convincing one. A clock that ic working wil vay ‘menrng ve, Even nara fy, soem ne would ‘lah wit tenia! ime" Under thee ecumianes 8 highly ty ache. rom ths more than om many oh! oucheritmayceay ‘be recognised that under certain ceurrances ech od eer py in aim may isms portant tecons, From here bu ove cep 'o Padovkin'statement tat the laying fw cor nich connect! ‘than objet and bu aroved ie svayr one ofthe xrapgest tmehads of nematic contruction” (W Padesin, lng ad 2. The change noted hee Inthe method af eon caaed by ‘mechanical veprsaction pps opin wel The proc cs often demerit cries nie he conto ch become audi ad visble oan valine mune of pron the resentation of the man ef pais before camers a recor ulpment becomes paramount Parents ax much artes ar Stee Ra adn wt nite te aon of he psa eto thie mechani equipment, hae mo govern. Though her The tend i toward entalising conolible and tantra ils he rnpecive technique lon ‘eprsicion ‘ad the rotary press ave made posable the inline mation 6 wing tw pre” Une Julie who knowhow to read adam alld uy reaing aed Ptorial ater. A great industry ha been cle exec Im onder to soppy thee commis, Now, atic em ‘The Work of Artin the Age of Mechanical Reproduction 281 ‘vey race phenanenon; whence i flow ha, at vey spec inal ours, ost at bas ben bad. But he proportion ‘Fira in hn oa are ouput geste now tan ay ‘ter prod. That mus bem ta mater of ample artnet, ‘The pepulaion of Wenern Europe bara ide mor than dead uring ela cetury. But the amount fvening~ and cing ater has nee shuld imagine, at ea nen and sony iy or even hundred mer there were n men of {lenin population of niions, here wil presmably Be 2a ‘monet len among lin. Fhe situation maybe sumed Upttan For vey pg of rn and pictures publ x cemary es rety or propre aba epee. Bo Ge ey mano ae re nw only ‘Sure the, ta ther aro hor even four men of went {taopbone ah ra ave atl ine ‘AV hi hatin all che arts the output of teas i both abwutely esta gee eer eee ees ‘oun zd te Mie By AT "hs mode of ebervation i obviuly not progresive The bans and tov hich re requ in surgery ie ease fea iia operations. Tehoose sa examples eae of tinlaryng {eels of lary surgery whic have to be performed elon ‘evened actus in te aeyngoncope Tigh a speak of a ‘ich mages the peclon wor of watchmaters, Wha rangea2 Mluninetons ‘most sb uscalar acrobatic required rom te man who wants {ep or save the bum by! Weave only hin ofthe ean. falar where here tua debate fe! with nese Bud {at rf the mar soa persons Cpr) ae 15. This mode of oberon may seem cre, uta the gest ‘tearm Leonards har shown, crde moder yervation may at gerbe wy cd, oar cnpares niga me > ‘consumed in the very act of birth infer (o ping which ‘he eof varith as fendered eemal”(Teatta1,29), sl Renan pining realigning otis tot easton the integration a+ numberof new scence, or teat ‘new scientific data. Reninnce painting eae uo any sd ren: "Wht col bf ror han the enge ano & Utonardo to whom prising was s supreme goal and th late Aimonstrason of sawiedge’ Lsonard war convinced that pang anipecige ala, Pem ar Ata dC 17, be work of a says André Breton, i value oly is far sitiibrated bythe fever ned very eve ‘cfr intersects lines of development, Teshneloy werk tne {Nea frm of a Before the advent ofthe fim thar wee ota “hooks wih pictures which ited bythe olooker pon pres of ‘he dmb hy porting 2 Bsing ost teach Then Peace ing a ea aa Secondly, the tadional rt forms in erin phases of their evlproen steno work ord ee which ae ern tina by the new anes, Belor the reo the moe te Dada tedormancetnceta anne non wich Chapin ater Thr umspecaclr aoe changes often grate change in teceptiviy which wil beet te new for, Beet ov ha er ey pal eh we moe ‘apa an aed alee inthe mad Rarer, Here the public ascribed Before cron int which necncope wane he Work of Art inthe Age of Mechel Reproduction 243, [cures appeared til belore the sterencopen ten made way for ite Elton ail ad Youve srr vce it prenton te Sat ‘peas preven toa smal pac wind ware ino the appartes iach the suceion of pcre wat ein of. Inset, the ition ofthe Rairpnorone shows very early a dialect Ofte ‘Eeopment Shorty bere he move ured the reception af pres toa tobecive oe: he nda viewing of pret in hse willy ‘mpl otha ofan pre boing te wae of ity waeate {85 The elie archeyp of hia contemplation fhe awaroen ong sane wi one's Gad Such aware inthe Beja of the hurgesine went to atenghen he edo to shake OM eral lake inact the iden eneneyt tra from ‘howe rcs which he india ra upon is ome na 72, "The i shear form that veto hia which mover an ba face Mans ned expo Immo shock fishin ulstnee to the danger hetening fim, Te le soepon to profound changes i the ppereepive Apparat ~ changes that ae experienced onan indies by the am in he set in big aon hss ae by every ‘Sch rte ur rennin fray, tamed at ome sor a ‘Sy in the oi presentation of ray and apparta. In Gabi, ‘Se Peroni cin opparacs wl be artery bed on ps ttn parte whch te Drought et bythe ap eqeence of he ‘rermimaed, Mave feprodution. aided cape by the ‘production of mans, ig parades an monster rales, in pote ‘Went andin war alle wich nowadays re capured by camera and ‘Sun eondiag be ser are rough ce oa ith herman