Before Theme 2: Critical media studies

(N.B. This is the study blog for the course Theory and Method for Media Technology. More detailed information regarding the theme as well as the course is available on the course page [1]) 

In this blog, eight questions will be answered as the pre-seminar assignment. The first four questions are regarding book Dialectic of Enlightenment [2] which written by German Frankfurt School philosophers Max Horkheimer and Theodor W. Adorno, while the other four are related to German philosopher and cultural critic Walter Benjamin’s influential essay "The Work of Art in the Age of Technical Reproductivity" [3]. Accordingly, this blog will be composed of two sections focused on the two works, with different parts based on different questions.

Section 1 Dialectic of Enlightenment

1.      What is "Enlightenment"?

Honestly this question is exactly the first thing popped in my head when I read the instructions for the first time. The word ‘Enlightenment’ looks unfamiliar to me, especially when it connects with ‘dialectic’. Therefore, I did some search work on it. According to the dictionary[4], firstly it can be easily understood that it refers to the act of enlightening or the state of being enlightened from its origin; secondly it may refer to the Buddhist or Hindu concept ‘Prajna’ which sounds even more confusing to me; lastly it can be explained with a philosophical movement of the 18th century which seems to be the key I am looking for to the question. As a result, I look deeper to the ‘Age of Enlightenment’. Meanwhile, I also noticed that Kant had tried to answer this question as well. In his word, ‘Enlightenment is the human being’s emergence from his self-incurred minority’[5].For me, I believe that the meaning of ‘enlightenment’ here may refer to the insight or awakening to the nature of reality.

2.      What is "Dialectic"?

Developed from Ancient Greek, ‘dialectic’ comes from ‘dialego’ which looks similar to dialogue. Based on its definition, ‘dialectic’ is a method of argument for resolving disagreement. To be more specific, the purpose of the dialectic method of reasoning is resolution of disagreement through rational discussion, and, ultimately, the search of truth.[6] Some key words may need to be highlighted here include ‘resolve’, ‘disagreement’, ‘rational’, and ‘truth’. In other words, dialectic is different from persuading. Although it aims to resolve disagreement, the ultimately search of truth as well as through rational discussion may be more important to define it properly.

3.      What is "Nominalism" and why is it an important concept in the text?

Personally I think ‘Nominalism’ is a very interesting concept. It is “a metaphysical view in philosophy, according to which general or abstract terms and predicates exist while universals or abstract objects do not exist.” It is an important concept in the text since it can be seen as the basis of the theory in the text. That said, nominalism supports the key viewpoint in the text.

4.      What is the meaning and function of "myth" in Adorno and Horkheimer's argument?

In Adorno and Horkheimer’s argument, myth can be seen as the enlightenment. This can be understood as the way to improve argument of the enlightenment. On the other hand, they also mention that enlightenment can also be seen as the myth. This is the way to judge the development of the modern theory.

Section 2 "The Work of Art in the Age of Technical Reproductivity"

1.  In the beginning of the essay, Benjamin talks about the relation between "superstructure" and "substructure" in the capitalist order of production. What do the concepts "superstructure" and "substructure" mean in this context and what is the point of analyzing cultural production from a Marxist perspective?

Both “superstructure” and “substructure” are familiar concepts. The “superstructure” refers to the sphere of values, norms, institutions, and so on; while the “substructure” refers to the economic activity. Their relationship between these two concepts can be explained as the famous quote from Karl Marx that “substructure determines superstructure”. In Benjamin’s essay, ‘superstructure’ is related to ‘the work of art’, while ‘substructure’ maybe can connect to the ‘mechanical reproduction’. To analyze culture production from a Marxist perspective is a very good point of view to introduce the key argument and main discussion regarding the relationship of mechanical reproduction and the work of art in his essay.

2.    Does culture have revolutionary potentials (according to Benjamin)? If so, describe these potentials. Does Benjamin's perspective differ from the perspective of Adorno & Horkheimer in this regard?

(I am not sure with this question, and I will only try to answer it.)

Yes, culture has revolutionary potentials according to Benjamin. The potentials include matter, space, and time. All of them are immemorial. The great innovations of the technique will transform the art.

In this regard, Benjamin’s perspective differs from the perspective of Adorno & Horkheimer.

3.      Benjamin discusses how people perceive the world through the senses and argues that this perception can be both naturally and historically determined. What does this mean? Give some examples of historically determined perception (from Benjamin's essay and/or other contexts).

In my opinion, it can be simply understood as that people perceive the world through the senses like what they see, hear, taste, touch, and feel; or that people perceive the world from what they believe is real. And this perception can be both naturally and historically determined. That said, what we learn from nature and history means a lot when we are trying to learn a new thing. For example, if naturally we like sweet food, then we will believe the sweet food taste good. If historically we believe sweet food are good for our health, then we will think a new sweet food such as fruit benefits our body. Take another example in art, if historically we believe Shakespeare, Rembrandt, and Beethoven are great artists, we may think they will make great films too if film is available in their times. 

4.    What does Benjamin mean by the term "aura"? Are there different kinds of aura in natural objects compared to art objects?

The term “aura” is a fancy concept. In Benjamin’s words, the “aura” may mean the key element in a work of art which is lacking in the reproduction. That is the uniqueness of a work or art. To be specific, it refers to “its presence in time and space, its unique existence at the place where it happens to be.”

Yes, there are different kinds of aura in natural objects and art objects. Compared to natural objects, the aura of art objects includes not only the time and space but also the deeper connection to the artist. In other words, what and how the artists implement in the work of art or even the connection between the artist and the work of art can also be treated as “aura”. For example, if we go to visit the Fuji Mountain in person, we may feel the ‘aura’ of the Fuji Mountain if the time and space is right; but we cannot feel the ‘aura’ of a work of art based on Fuji Mountain if we just visit there. Instead, we have to stand in front of the work of art, and try to make a deep connection with the artist to feel the ‘aura’.

Note. All the words are just my personal views for now. Some of them may be updated or changed when I learn more in the future. Please let me know if you find anything interesting or want to have a further discussion. You are always welcome to comment on my blog. Thank you for reading.

Refences:

[1] https://www.kth.se/social/course/DM2572/page/theme-2-critical-media-studies-2/

[2] Adorno, T. W., & Horkheimer, M. (1997). Dialectic of enlightenment (Vol. 15). Verso.

[3] Walter Benjamin (1968). Hannah Arendt, ed. "The Work of Art in the Age of Mechanical Reproduction", Illuminations. London: Fontana. pp. 214–218.ISBN 9781407085500.