If art can be a set of relations, what happens to those relations when they become data as in the case of digital video? What distinguishes digital media from analog media embodies the notion of data.
Walter Benjamin grew up in a time characterized by historical narrative and analog technology. Every story has a beginning, middle and end. Benjamin died in 1940. He was a man before his time. His writings and theories still inform new media/digital media studies.
Walter Benjamin grew up in a time characterized by historical narrative and analog technology. Every story has a beginning, middle and end. Benjamin died in 1940. He was a man before his time. His writings and theories still inform new media/digital media studies.
If we think of a work of art in its cult value and exhibition value, the relationship between these two is changing with the improving process of mechanical reproduction.
Digital video is one good example. Compared to traditional analog media, which makes recording linear and literally, digital video is an electronic medium that is the simultaneity of recording and reproduction. The way the electronic signals are processed and transformed alternately into audio and video is full of possibilities. It is no necessary to be linear and literal, or in other words, relays on facts. Digital video, as “transformation imagery”, distinguished itself by the fact that the transitions between images is “central and, even more so, that these transitions are always explicitly reflected and tested in new process”. For example, we can put multiple shots in just one frame with hundreds of different sounds editing options. Therefore, this transformation imagery means flexible, unstable, changing-forever forms of images.
Digital video is one good example. Compared to traditional analog media, which makes recording linear and literally, digital video is an electronic medium that is the simultaneity of recording and reproduction. The way the electronic signals are processed and transformed alternately into audio and video is full of possibilities. It is no necessary to be linear and literal, or in other words, relays on facts. Digital video, as “transformation imagery”, distinguished itself by the fact that the transitions between images is “central and, even more so, that these transitions are always explicitly reflected and tested in new process”. For example, we can put multiple shots in just one frame with hundreds of different sounds editing options. Therefore, this transformation imagery means flexible, unstable, changing-forever forms of images.
Since the massive mechanical reproduction challenged the notion of aura and the “pure” essence of the work of art, Benjamin responded a little negatively toward this trend in his article. That’s because in any period of time in human history, media imagery influence people’s understandings toward this world in a great way.
However, the development of technology, like the modern digital video, released fine art practice from its cult permissions. Instead of recording what is the world looks like, modern art practice rarely works on the facts or the reality. That why Benjamin concerns about the future work of art because it may affect the perception of our own experience of reality. And that kind of media imagery can easily controlled by government.
Benjamin grew up in a time characterized by historical narrative, and he killed himself in 1940. Considering about Benjamin’s living time, I think his concern may come from his bad memories about Nazis. However, Benjamin’s theory of aura is very related to contemporary world of art. The changing relationship between cult value and exhibition value of a work of art is still worth concerns in today’s fine art practice.
However, the development of technology, like the modern digital video, released fine art practice from its cult permissions. Instead of recording what is the world looks like, modern art practice rarely works on the facts or the reality. That why Benjamin concerns about the future work of art because it may affect the perception of our own experience of reality. And that kind of media imagery can easily controlled by government.
Benjamin grew up in a time characterized by historical narrative, and he killed himself in 1940. Considering about Benjamin’s living time, I think his concern may come from his bad memories about Nazis. However, Benjamin’s theory of aura is very related to contemporary world of art. The changing relationship between cult value and exhibition value of a work of art is still worth concerns in today’s fine art practice.
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