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Art and Technology
Transcript of Art and Technology
The Work of Art in the Epoch of Technical Reproducibility
“Benjamin’s essay also scents possibilities for a post-bourgeois object, a non-auratic multiple, prefigured in photography and film. This technical multiple does not squash out authentic experience but translates it into object-forms and forms of experience appropriate for a modern age”.
'Traces of Craft’,
Journal of Design History
, 11/1 (1998), 8.
A Berlin Saying
5 Finger Hat Die Hand
– the campaign poster for KPD, the political party opposing the Nazi Party in 1928.
"The physico-spatial ‘bringing closer’ of new cultural forms allowed by mass reproduction provides a ‘re-modelling’ of pre-industrial folkloric relations of space. Crucial to the earlier epic tradition is a reliance on the propinquity of a collective of listeners. Industrial capitalist relations corrode the oral communicability of experience, but technical reproduction reimburses that change, instituting new potential for a familiarity between receivers and producers, once more in the form of collective experience: through mediated mass-produced things. Space is recovered technically." (8)
Man with a Movie Camera
Tacita Dean writes:
"Analogue, it seems, is a description—a description, in fact of all things I hold dear. It is a word that means proportion and likeness, and is according to one explanation, a representation of an object that resembles the original; not a transcription or a translation but an equivalent in a parallel form: continuously variable, measurable and material. Everything we can quantify physically is analogue: length, width, voltage and pressure. Telephones are analogue; the hands of watches that turn with the rotation of the earth are analogue; writing is analogue; drawing is analogue. Even crossing out is analogue. Thinking too becomes analogue when it is materialised into a concrete form ..."
Tacita Dean, ‘Analogue’,
Tacita Dean. Analogue
, ed. Theodora Vicher and Isabel Friedli (Göttingen, Steidl, 2006), 8.
HIRAKI SAWA at James Cohan Gallery, Particle Production, 2012
You are engaging in creative practice, how do you use with technological media in making? How do you use the powerful tools at your disposal? How do you take control of technologies in the creation of Kraftwerk?