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Jos de Mul, "The work of art in the age of digital recombination" in Digital Material: Tracing New Media in Everyday Life
and Technology, ed. Marianne van den Boomen et al. (Amsterdam: Amsterdam University Press, 2009), page 99.
2 Ibid., page 95.
3 Ibid., page 99.
4 Ibid., page 101.
5 Ibid., page 95.
6 Ibid., page 103.
is something that Benjamin gets worried in terms of human alienation in his dialectic approach, de
Mul is more optimistic about digital recombination.
The source of optimism of de Mul does not only come from the return of the aura effect of digital
recombination. It is also because of the other side of Benjamins dialectical analysis. The dialect
comes from Benjamins more optimistic point of view to the subject (compared to his
contemporaries such as Adorno7 and Horkheimer). Even though Benjamin on one hand suggests that
the technologically reproduced artwork lacks the aura and the authenticity unlike the original pieces
from previous ages, on the other hand, he acknowledges the new possibilities that the technology
provides. That way, the art is freed from the control of a limited cult and it becomes more
democratic in both manners as production and reachability. Benjamins statement that the
technological reproducibility of the artwork changes the relation of the masses to art8 summarizes
this dialect in the most compact sense. In the case of digital recombination, it is still a valid statement
according to the example from work of the Dutch computer artist and video jockey Geert Mul, as the
masses shape the exhibition by combining four posts (WHO, WHAT, WHEN, WHERE) in order to
function as a filter through a database of 80.000 photographs9.
Our period is indeed witnessing important changes in means of the medium of the works of art. As
the situation is different than the age of mechanical reproduction, new analyses and definitions need
to be made by building upon the writings of Walter Benjamin in order for us to understand and make
better use of the cultural progress. Rather than primarily focusing on the production process as
expected, Jos de Mul takes a more radical approach and builds his analysis on the ontological
structure of artworks. Therefore, he does not stick to the idea of the complete loss of the initial
material, which at least would exist in the mechanical reproduction, and does not fall into a
pessimistic attitude for a possible cultural decline. In this sense, his suggestion of digital
recombination instead of digital reproduction is innovative because by doing this kind of small
change in terminology, he points to the further opportunities provided by digital technology. In
addition, the term manipulation value makes sense when we think of the functionality of artworks
of previous ages: An artwork of cult value is meant to be ritualistic, exhibition value to be reached to
the masses. Then it is safe to say that an artwork of manipulation value is meant to be recombined,
as such statement conforms to the examples given by de Mul.
Bibliography
Benjamin, Walter. "The Work of Art in the Age of Its Technological Reproducibility." Chap. 1 In The
Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media,
edited by W. Michael; Doherty Jennings, Brigid; Levin, Thomas, 19-55. Cambridge: Harvard
University Press, 2008.
De Mul, Jos. "The work of art in the age of digital recombination". In Digital Material: Tracing New
Media in Everyday Life and Technology, edited by Marianne van den Boomen, Sybille
Lammes, Ann-Sophie Lehmann, Joost Raessens, and Mirko Tobias Schfer, 95-106.
Amsterdam: Amsterdam University Press, 2009
Rosen, Michael. "Benjamin, Adorno and the Decline of the Aura." [In eng]. The Cambridge
Companion to Critical Theory (2004).
7
See Michael Rosen, "Benjamin, Adorno and the Decline of the Aura," The Cambridge Companion to Critical Theory (2004).
Walter Benjamin, "The Work of Art in the Age of Its Technological Reproducibility," in The Work of Art in the Age of Its
Technological Reproducibility, and Other Writings on Media, ed. W. Michael; Doherty Jennings, Brigid; Levin,
Thomas(Cambridge: Harvard University Press, 2008)., page 36.
9
De Mul, "The work of art in the age of digital recombination", page 102.
8