Benjamin Cheverton, mid 1800's
a) Walter Benjamin's definition of what the Aura of work art is, is based on the presence a piece takes from the time and space in which it was created. It seems a work's aura exponentially increases over time as the work is immersed in a more and more historical context. The Aura is based in the works authenticity and is the origin of who the work is 'valued'. With mechanical reproduction comes a negation of a works authenticity of a work as duplicates can be made and therefore diminishes or distinguishes the aura of the original.
b) With the influx of film and photography into the mass populace came a progressive stance towards film and a reactionary stance towards art. As Benjamin explains with the introduction of photography, painting is released from its responsibility to depict life in a realistic method and allowed to lean towards abstraction. The lens now takes on the role of the surgeon; of depicting life in an ultra-realistic perspective. It seems the reactionary stance the general populace takes towards art is because art's abstraction creates a muffled barrier of our experiences compared to the immersion of film's deceptive reality.
c) As stated above, mechanical reproduction relinquishes art's responsiblity of depicting life realistically. Art is no longer expected to duplicate life. With this freedom also came an emancipation from the bonds of the ritual and the cult; this power transferred to that of the museum. In essence the museum is the modern cult of art. Through this emanciaption the theology of art was created, art for art's sake. However with art's departure from the cult came a new influence, that of politics.
d) Auto-CAD, laser printing, 3-D pringting, interactive art/gaming, online social networks, 3-D movies, 3-D TV's and networks, and mobile technology.
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