In Antonio Gramsci’s “Formation of the Intellectuals”, Gramsci identifies two different kinds of intellectuals: organic intellectuals and traditional intellectuals. He categorizes intellectuals based on certain skills that these intellectuals have to fulfill a function in society. Humans are classified by how they function or choose to function in everyday life. Gramsci states that “All men are intellectuals” and everyone must be able to practice intellectualism however they see fit in society. These intellectuals lay the ground for hegemony, the social, cultural, and ideological impact that an intellectual has on society. There must be a healthy balance of traditional and organic intellectuals in society for hegemony to be present.

Organic intellectuals are entrepreneurs and organizers of the mass population. They organize a new culture, social class, and they can act as a voice for the working class. According to Gramsci, “it can be observed that the “organic” intellectuals which every new class creates alongside itself and elaborates in the course of its development, are for the most part “specializations” or partial aspects of the primitive activity of the new social type which the new class has bought to prominence”. Organic intellectuals are special individuals who give a voice to those who need one and can inspire a group of people to fight for something worth fighting for. One example of an intellectual thinker is Kendrick Lamar. He is not a traditional intellectual in the sense that he was never part of an “elite” belonging. Even as his fame and fortune rise as he gets more popular, he remains true to his roots of growing up in Compton, California. He is a voice for the African- American community, communicating the overall feelings of injustice, yearn for equality, and letting the working class African- American community know that they have a spokesperson. He makes music that connects with his community of people and beoynd. He is truly a once in a lifetime talent that uses his platform to draw attention to various social issues.

Traditional intellectuals have “espirit decorps” which is a sense of elitism in society. These intellectuals tend to be the professors, doctors, lawyers, businessmen, scholars, scientists, philosophers, preachers, and media of today’s age. Traditional intellectuals tend to believe that they are independent of the dominant social group in society when in fact that is not true. According to Gramsci, “There is no human activity from which every form of intellectual participation can be excluded”. Gramsci is saying that all intellectualism, no matter if it is Traditional or Organic, feeds off of each other.

Education is crucial in modern society and is usually the groundwork for most Traditional intellectuals. These individuals usually come from an institute of higher learning (college) in order to prepare them to be a doctor, lawyer, etc. These individuals sustain the “long- lived tradition” that these jobs have. These are the jobs that are considered part of the social norm and the jobs that tend to make more money than most organic intellectual jobs. There are plenty of individuals who want to have the financial means to support their families as well as help society in the field that they have chosen. Some families encourage their children to take the traditional route because it can be more financially stable and it encourages higher education. This need for education is especially seen in today’s society where children can start school younger than pre -kindergarten and young adults often need to go school beyond their typical four year college.  Education can be seen as an indication of social status. A goal for many parents could be to prepare their children to get into an Ivy league school because those colleges are seen as the “elite” schools for those of high educational aptitude. The traditional intellectuals tend to live above the fray of society.

One of America’s most controversial Ivy League graduates is now our President. President Trump is the quintessential Traditional intellectual. He has often been seen as an “elite” because of his wealth and his business acumen. Furthermore, President Trump is an example of Hegemony. Hegemony is executed throughout society with direct domination through the government onto those who do not give consent. Although any president can not have a satisfaction rating of one hundred percent, President Trump often uses his elite image to force things upon people who do not give consent. He constantly tears down a group of people almost every day and asserts himself in a way that is not needed from the leader of the free world. There is an irony with the supporters of Donald Trump that Gramsci would probably find hilarious. Donald Trump the ultimate elite Tradtional intellectual has gained the loyalty of millions of Organic intellectuals (intellectual being used loosely).

In Antonio Gramsci’s, “The Formation of the Intellectuals,” Gramsci identifies that each social group has its own particular specialized category of intellectuals and the two main forms are: organic and traditional. Gramsci’s concept recognizes social function and hierarchy with regards to skill and implication of those skills to influence society in a way that can be measured quantitatively, thus placing individuals into different categories of functional human beings. What makes an intellectual is their social function. As Gramsci states, “All men are intellectuals, one could therefore say: but not all men have in society the function of intellectuals. Thus because it can happen that everyone at some time fries a couple of eggs or sews up a tear in a jacket we do not necessarily say that everyone is a cook or a tailor.” (1004). What distinguishes an intellectual and non intellectuals is the social function of the professional category of the intellectuals.

Organic intellectuals are entrepreneurs who are specialists in organizers of a new culture, organizers of masses of men, organizer of the “confidence” of investors in his business, and of the customers for his product. The elite among the organic individuals are entrusted to organize the general system of relationships in order to expand their own class. They have the potential to be anti-hegemonic. Gramsci states, “it can be observed that the “organic” intellectuals which every new class creates alongside itself and elaborates in the course of its development, are for the most part “specialisations” of partial aspects of the primitive activity of the new social type which the new class has brought to prominence” (1002). Organic intellectuals are those that can move and inspire a crowd and influence people to take up their cause. One example of an organic intellectual is Eminem. He has millions of fans, he’s a top selling recording artist and he has broken through the barrier of his social class, being a Caucasian in the hip-hop scene whose majority of artists and the community are predominately African American, gaining fame, fortune, and a wide variety of people as followers. He has risen and became a leader who uses his poetic vernacular to seduce fans of the hip-hop community, a person who represents the working class, who grew out of the struggle and become something for himself.

Traditional intellectuals are regard themselves as autonomous independent of the dominant social group, and endowed with a character of their own. They are the formation of noblesse de robe, they are a stratum of administrators, scholars, scientists, theorists, non-ecclesiastical philosophers, artists, and men of letters. These traditional intellectuals believe they are independent when in fact, they do contribute to the ruling group in society, as Gramsci states, “There is no human activity from which every form of intellectual participation can be excluded: homo faber cannot be separated from homo sapiens (1004). Traditional intellectuals are the teachers, scientists, doctors, priests, and anyone under an umbrella of a dominant group (board of education, church, etc.).

Educational institutes build and create these intellectuals. These institutes promote high culture in all fields of science and technology. The more extensive the area covered by education, the more complex the cultural world. Education defines how industrialized a country is. Gramsci compares it to industrial technology, the more a country can produce with its machines, and the production of machines to produce more, makes the country best equipped and most complex. Similarly, the preparation of intellectuals and schools dedicating to the preparation, allows quality intellectuals to emerge. Because of the wide spectrum of education across the country, it allows countries to produce and pick high quality intellectuals of various branches.

These intellectuals are the “functionaries” of superstructures. Gramsci states that two major superstructural levels need to be fixed, the first is “civil society,” and the other is an ensemble of organisms called “private”, “political society” or the “state”. Hegemony is executed throughout society and direct domination is executed through the state and juridical government. Gramsci states that the intellectuals are the dominant group’s “deputies.” Direct domination is run by coercion and force and it operates within groups who do not consent. Hegemony is run by consent and it operates within the great masses of the population. One example of a hegemony is Trump. He uses his wealth, power, and loud voice to exert his hegemonic attributes. He uses his masculinity and image to constantly exert himself in front of media. He is constantly building up himself and putting others down. In recent news, Eminem has released an anti-Trump video, “The Storm.” In the video, Eminem criticized Trump and his policies, his actions as a leader of the country by using his vernacular folklore to speak to the hearts and the souls of the people— to help them realize the truth of the hegemony that Trump has been leading. Eminem called out Trump’s racism, his distractions from agendas he should be paying mind to, and his childish-like behavior. Towards the end of the video, he calls out the civil society, saying that if they support Trump, they will be ousted by him– to make a choice. These intellectuals are the perfect example of Gramsci’s explanation of intellectuals and how they function in society.

Here’s the thing. An ideology may exist, regardless of pragmatic engagement upon the platform of a part of the world. And ideology does not need to inconspicuously convert external pedestrians into subjects to validate an ideology. In general, an ideology may manifest, and remain in the cognitive-imagination household, just wandering the streets in secrecy.

Before I go any further, it’s important to understand a key lenses. Althusser’s funneled definition of ideology is the “Representation of the imaginary relationship of individuals to their real conditions of existence.” (p.1350), where he gives the example of a three-way hierarchy relationship of God-Priest/Despots-Laity (Proletariat) (51). God’s words recorded/transcribed in “stone” and scripture, appears to validate for example, a moral maxim of “Thou shalt not kill”, which is uttered by priest, and propagated to the church masses. However, the paradox is the objectiveness of a pre-existing monotheistic “God”, but none the less, the human faith lynch-pins thy relationship between God-priest/despot-laity subjects, for right or wrong.

Now let’s say that an individual, one day is listening to his professor from his desk, and gradually zones-out (daydreams) midway thru his lecture. He gets the thinking about collegiately dropping out, he recalls many modern-day entrepreneurs or artist, performing the act in a sort of bricolage composition. Maybe he’s doodling in his book, or finally returns late into the discourse of lecture. But soon the class will end, and it’s off he goes through the hallway. He has another class, but he can’t stop internally justifying his ideology: finding “myself”; unless he detaches from the college, where he assumes the answer doesn’t lie in the intra-semester-by-semester process. In truth, he hasn’t run the practical issues, like consent from his guardians (if any); who will support his growing rebellious ideology; or if he should finish college first, and to take time to explore after.

The point is, the genesis of ideology will soon come into fruition, and whether he acts or engages in it’s material existence (52), or not, doesn’t diminish the fact that consciously & subconscious, it’s there. And if stubbornly, you’re holding on to Althusser’s unintended stipulation: that the individual must act upon ideology, otherwise it’s “wicked” (53), fails to zoom-in psycho-physiologically, since that primordial bubbling in his cortex: has already indirectly influenced his behavior through the hallway, especially on future lectures where he’ll selectively engage, or daydream away, again consciously or subconsciously.

Furthermore, the great indirect influence upon his body, will: reverberate through his diction-usage, to what he digest in media like YouTube, or the literature in Barnes & Nobles. So in fact, in pursuit of understanding himself, he has already engaged in material existence. Thus, at a certain degree, but not accepting the “textbook” lenses of Althusser’s unintended stipulations, he does engage and actually he has already interpellated (56) individuals to subjects, just not external people.

Consider Pessoa’s “The Book of Disquiet”, where found in the intro, the editor uses a text in the book to express Pessoa’s idea of “self”:

Each of us is several, is many in a profusion of selves. So that the self who disdains his surroundings is not the same as the self who suffers or takes joy in them. In the vast colony of our being there are many species of people who think and feel in different ways. (text 396)

Later, the editor quotes the main character de Campos: “Be what I think? But I think of being so many things!” So, returning to my brief allegory of the college student, and interpellating individual to subject: linguistically speaking the prefix in-dividiual—of the “colony” of species in his being—they may have well responded to his internal hail (56), thus never needing: the external pedestrians, schoolmates, or friends.

In his essay, The Work of Art in the Age of Its Technological Reproducibility, Walter Benjamin comments on technology’s effect on art and how it alienates and dissolves meaning from the works and those involved with it. Discussing a critical history of the reproduction of art and the invention of film, the critic shows us how technology has changed our relationship to art similarly to how capitalism has changed the relationship between the worker and his product.

One of Benjamin’s most significant ideas from the piece is that of cult value versus exhibition value in art. Cult value, which he describes to be the significance of the art to a culture or religion, is gained through keeping artistic works from being seen, bringing it out only to serve the purposes of said culture or religion. Technological reproduction, through copies, pictures on the internet, or simply the ability to hop on a plane and visit the art heightens exhibition value (the ability to view the work of art), and diminishes the “aura” of the work, created by its special tie to its origin culture.

This is an especially Marxist argument, because it shows how an institution such as artistry, seen as one of the most disinterested areas in which to work, is subjected to capitalist ideals. Marx, in Capital, Volume I, discusses the value of commodities and the connection between that value and the time it took to produce them. He also examines how value through price does not do justice to a product’s value as a whole (i.e. use value, the narrative behind how a product was created etc.) With a capitalist society’s ability to produce a large number of products in a small amount of time, the value of said products drops, especially their qualitative value. The same happens when art is able to be seen by a great variety of people; art loses that special quality found in something that is rare or scarce.

Film, a different kind of art because it can only be produced by technology (whereas a painting can exist without it), is also discussed by Benjamin. While film is also subjected to the idea of mass reproduction and the loss of “aura” that other works of art are, the writer takes his argument further by stating that “The stage actor identifies himself with a role. The film actor very often is denied this opportunity. His performance is by no means a unified whole, but is assembled from many individual performances”(Benjamin 1061). Like the laborer Marx describes who cannot take ownership over his work because he has only a small part in creating the product, a film actor cannot take ownership over their performance because the film is not a direct representation of what he does. He will perform for the camera, and he will say all of his lines, but the end result is a series of videos and close ups edited together. Five minutes of a movie could be a compilation of a month of these different takes and shots, and is likely to have no correspondence to the actor’s experience of acting.

Despite these arguments through which I have made Benjamin’s attitude towards technological reproduction seem very negative, it is important to note that Benjamin’s application of the ideals of capitalism to a product (his being art), is not entirely pessimistic. The critic’s idea of value is fluid, and he sees the usefulness in being able to reproduce art for the entire world to see, rather than just in its exclusivity for a certain “cult”. Film’s ability to be slowed and played over again allows us to notice details we would normally miss in a play only seen once or irreproducible human interaction. Film allows us to see “what happens during the split second when a person actually takes a step”(Benjamin 1066). The wonderful qualities of reproduction are not lost on Benjamin, and show us that the value found in scarcity is not necessarily diminished in reproduction, but transformed.

During this time when this piece was written, Benjamin has been exiled by Nazi Germany. He moved to France which left him deeply affected by the politically tumultuous situation in France. In this piece he explores how Marx capitalism would cause exploitation of the proletariat which would conclude in destruction. He claims that a change in the mode of production demands the construction of a new concept that would flesh out the predisposition behind creation of art within an economically driven climate. He claims this new concept would render facism dysfunctional because it would only obliterate the importance of creativity associated with the work of art.
Benjamin admits that art has always been reproducible. He references traditional forms of reproduction within art such as etching, monoprints, lithography, and other forms of printing. But the technological reproduction of art is something different in it’s own right. Benjamin explains the two manifestations of reproducible art using technology such as photography and film: 1) technological reproducibility of art affects the authenticity of the original work. The technological modes of reproduction obliterates the authenticity of the work of art yet it’s different from replicas made by hand which would be considered “counterfeit copies”. As discussed, in the Effects of The Work of Art in the Age of Mechanical Reproduction, the same applies with technological reproduction because the aura becomes displaced or lost. When referring to film, the aura is lost and the reproducible image itself exemplifies a subtle shift. 2) the process of technological reproduction renders itself as a work of art such as the art of the film or photo.
Benjamin explains the subtle changes that may affect the way people consume reproduced technology:
1) technological reproduction often emphasizes aspects of a work of art which might not be easily seen by the human eye.
– What immediately comes to mind are directors like David Lynch, Hitchcock, Kubrick, Wes Anderson. Directors are that known for their distinct style of cinematography. As the audience, we  come to assign specific scenes that each director has created that defines their style as directors. But rarely do we come to realize that their acclaimed artistic eye within the realm of film is really just a lens in which we view the film. We willingly and excitingly wait to see films made by these director and willingly accept the type of reality that they produce. In Psycho we only see certain scenes of the murder through the victims perspective until Hitchcock decides to show subtle cutaway scenes of a knife or chocolate syrup as blood. The director makes the decision and calls the shots over our perception. It makes me question if as humans, are we almost subconsciously willing to accept other realms of reality for entertainment? Or does it go deeper to quell a sense of insecurity or escapism?
2) it has the ability to be accessible through the reproduction. Allowing a wider audience to to consume the piece, further prolonging the physical lifespan of the reproduced work, making the original work irrelevant.
– I can definitely agree to this notion especially with the age of the internet where everything is obtainable with just a click. But it makes me wonder about bootleg films that tend to have certain subtle technical aspects changes such as the lighting or volume due to poor reproduction under illegal  channels. Does this then undermine or challenge the first subtle change listed where a certain lens is established by the director? Does a warp in the director’s lens and authenticity of the reproduction? How severe can a change in the lens be to the audience and to the authenticity of the original work?
-It also makes me question if due to the over accessibility of the work, does it lose its aura or speciality? It reminded me of Bogost with “Egg McNothing” of how the change in the McDonalds chain, allowing breakfast all day became a sign of a subtle shift to how we consume items and deal with our own patience. Similar to the egg mcmuffin being only available at breakfast time, movies (for a long time now) are no longer captive within movie theaters. There is no longer a singularity of a product and it’s intensity dies out. McDonalds and technological reproduction are somewhat parallel because they change the way people are conditioned where Egg McMuffins and movies in movie theaters obtained a tiny bit of aura within their products of production only to be abolished.
These subtle changes contends to the devaluation for the here and now which decays the aura of the art. Though technological reproduction also liberates the work of art from it’s subservience to the ritual roots of making replicas in a secular setting (which had become one of the purposes behind the creation of art). Once detached from it’s roots, it’s social function can be politically manipulated. Technology allows artists to constantly make modifications and improvements, creating more eternal value.
The piece switches from the person holding the camera to the person in front of the camera- the actor. The duty of an actor is to perform in front of a “mechanical apparatus” which allows it to capture the actor’s movements and replicate it across multiple screens. The replication dissolves the aura of the actor’s performance. Does this mean that the only way to receive the true deliverance of an actor is only through seeing plays in person?
A distinction between the art lover and the mass audience is then explored by Benjamin. The art lover closely observes the work of art in order to appreciate the aesthetics value. An art lover becomes absorbed by the work of art. The mass audience approaches art for distraction or entertainment. The work of art becomes assimilated into the mass audience, almost into the background of their presence. It counters the art lover where the piece of art is the focus and reason to their presence. Though the masses become utilized as an instrument of political mobilization. This lends a subtle authority to the masses because of their lack of authentic appreciation for the piece of art. This becomes almost like a void that is usually fulfilled by the artist but since they don’t appreciate it’s aesthetic value or become absorbed by the piece, politicians and campaigns look to fill this void. They politicize pieces of work so that the masses are able to react to it. They are unaware of it’s aesthetic value that art lovers are aware of. Benjamin shows how a piece of work has the ability to absorb or be absorbed by the viewer.

Antonio Gramsci brings up two interesting concepts in “The Formation of the Intellectuals,” they are the organic and traditional intellectuals, which are formed from social groups. He begins by explaining the organic intellectual by pretty much saying that an organic intellectual would be someone with both the knowledge of industry technology and someone involved in labor. In addition, organic intellectuals are spotted easily when new social classes rise to power since organic intellectuals could be considered revolutionaries. Gramsci’s concept of the “organic intellectual” shows his support for the working class, it shows that he believed in the capabilities the working class had to offer. The traditional intellectuals can be seen as the people in power, or the people who support the system in power. Traditional intellectuals are significant in the way hegemony operates because for an emerging class to entirely overthrow the ruling class, it becomes necessary for the traditional intellectuals to come under the influence of the emerging class ideology (1006). In other words, it becomes necessary for the traditional intellectuals to change their usual linear way of thinking and doing things.
Furthermore, Gramsci critiques the usual definition of intellectual which is associated with the traditional intellectual (teachers, doctors, etc) because he claims, “in any physical work there exists a minimum of technical qualification, that is, a minimum of creative intellectual.” In other words, an intellectual can not only be defined by how “book smart” he or she is or it can’t be exclusive to only “book smart” people. The definition of intellectual has to fit those who are intelligent through other forms such as music, art, etc. This old definition shows that the classification of a person within society is more linked to their social function (profession) than their unique humanity. Gramsci states, “All men are intellectuals, one could therefore say: but not all men have in society the function of intellectuals” (1004). In other words, society does not let many people fulfill their paths of intellectualism. For example, money stops a lot of people from continuing their education, preventing the existence of future doctors or lawyers. Plus, many people don’t fulfill their roles as intellectuals in a society because they never discover it. Think of them as undiscovered artists. I think the fact that Gramsci is challenging the definition of intellectual, opens the door for the working class to gain power and respect. He is speaking for the working class that was not given the opportunity to be part of the traditional intellectuals, but that nonetheless are intellectuals.

Walter Benjamin’s “The Work of Art in the Age of Its Technological Reproducibility” delves into how modern innovation since the industrial revolution, and thereby the beginnings of capitalism as we know it, has changed the status of art. Benjamin invokes Marxist concepts as the ability to mass-distribute art amongst the people and dissolve the ‘aura’ that surrounds a work appears progressive upon first inspection. When we change how we consume art, and therefore how we view art, it leads to the creation of new artforms, like film. Yet, as methods to reproduce art have become increasingly sophisticated, new mediums emerge and consumers of ‘art’ continue to grow, they have also been largely co-opted by capitalism. Benjamin discusses film in particular and how it comparatively differs from painting in its reproducibility, production and utilization.

Reproducing art is not just limited to nineteenth century innovations with photography. It has a long history that spans back to days of wood etching to lithography. But, the relatively newfound ability post-industrial revolution to reproduce works photorealistically has stripped away what Benjamin refers to as the ‘aura.’ Art has always been shrouded in some sort of distant, mythical ‘aura’ and was often tied to religious or ritualistic meaning. In reproduction, this is stripped away. “The stripping of the veil from the object, the destruction of the aura, is the signature of a perception whose ‘sense for sameness in the world’ has so increased that, by means of production, it extracts sameness even from what is unique.” (1055-1056) From this, a newfound focus on authenticity emerges, a concept that is wholly dependent on the creation of copies to compare to the original and therefore more ‘authentic’ work. This is only further complicated by the ability that I could walk up to a painting, take a picture of it with my phone and be able to zoom in on all the texture, the gradient of colors, the figures and see the painting for what it is. It is an accurate representation, but its ‘authenticity’ is debatable.

When Benjamin raises questions about the most innovative art-form of the 20th century, its reproducibility helps and hinders conceptions of art. (I’ve yet to make up my mind on the matter.) Film is an artistic medium that is intended on being easily mass produced, being widely distributed and having as many eyeballs on it as much as possible. Film has effectively killed the ‘aura’. It’s not an abstract painting hanging up on a well lit museum wall, where this one frame can be stared at for hours to extract meaning and becomes revered and more distant in the process. Film consists of a succession of many, many frames that constantly move and are leaving in a blink of an eye. We are subject to the constant movement and it does not wait for us, which can either lend itself to a joyful acquiescence in front of a mindless 90 minute rom-com or we go back and deconstruct it and try to contextualize all of the frames. The ability for a filmmaker to produce a work with a specific perspective and vision that can critique society seems revolutionary (and within specific means Benjamin claims that it actually can be. Yet, the film industry and the (re)production of films has become a capitalistic process like any other. Benjamin invokes unique allusions to Marx when discussing the fragmentary nature of film (re)production and paints a picture of Hollywood as a factory. Film is unique in that its production is split up into small parts that are essentially glued together at the end, much like any mass-produced product that is assembled with new hands for every new bolt and nut. The alienation of factory workers draws a fascinating parallel to the alienation of screen actors. Stage acting is live, performed to an audience of people and runs through an entire work when performed, much like a cobbler guild master who makes the shoe from start to finish. Screen acting is broken up into scenes and parts, often performed out of sequence and into an object, the glaring lens of a camera. Acting is a complicated process and involves both difficult physical and emotional labor, and there is a peculiar emptiness to expending vast amounts of emotion into a camera and essentially delaying the performance. Thousands of films are mass produced this way year after year. The formulas/genres of films that are successful and fill the most seats are repeated over and over, and what could be ‘revolutionary’ is often kicked to the curb.

Film is a naturally mass-produced art form that could lend itself to progressive social analysis or critique. That doesn’t mean it never happens anymore, there are films made in 2017 like the recent Get Out that do this successfully. But, even those films who are tied to thoughtful social commentary are subject to the demands of capitalism, i.e selling more tickets, getting good reviews, then winning more awards, and selling even more tickets/DVDS/streams once those awards have been won. America’s most loved mass-produced art form is a complicated hing to reconcile with.

In the text “The Work of Art In The Age of Mechanical Reproduction”, Walter Benjamin talks about a change in the idea and the affects of the film and photography in the twentieth century. He also talks about the sense of changes in humanity’s way of existence. For example, the way we look and see the visual work of art is different. While reading, I wonder how does human perception relate to history? Is it a worldwide idea that is being discussed heavily. Can there be a worldwide idea the first place? Benjamin tries to show something specific about the modern age of the effects of modern work of art.  Mainly, Film and photography. Benjamin also talks about the loss of the aura through the mechanical reproduction of art. The aura for Benjamin is the originality and authenticity of a work of art that really hasn’t been reproduced.  If we think about it, a painting has an aura while a photograph doesn’t. The photograph is an image of an image while the painting remains  only original.The sense of the aura is lost on film and the reproducible image just shows a historical change that we have to take account of even if when we don’t really notice it. What does it mean when the aura is lost? How does it function and how does it come about? Benjamin writes of the loss of the aura as a loss of an authority within the work of art. But what comes through in this new space left by the death to the aura? How does the mechanically reproduced work of art manage to make up for this void?As Benjamin goes on, a tension between new modes of perception and the aura come up alot. As soon as you remove authority within the original work of art infers a loss of authority. The cameraman, for example, comes on with what we see in a way which a painting can never do. It directs the eye towards a specific place and a specific story; at the same time it happens to be very revolutionary and  it is also totalitarian. It guides us to a particular side of a story and leaves other parts out. It bores our perception towards the work of art and shows us distraction as a mode of reception. The location of anything we might call the aura has to be moved into a unique space, which I find deep and interesting.