1. Dialectic
of Enlightenment
a.
What is "Enlightenment"?
I think enlightenment was a way to rely
more on knowledge than on myths and illusions etc. In the text, Adorno and
Horkheimer writes that enlightenment wanted to dispel myths and to overthrow
fantasy with knowledge. Later in the chapter they also writes that things which
does not conform to the standard of calculability and utility must be viewed
with suspicion.
b.
What is "dialectic"?
I think it means that you have to make
definitions and structures. Instead of just making assumptions based on myths
or fantasies, that might not be true. We need to believe in knowledge and to
make definitions and structures of what we know.
c.
What is "nominalism" and why is it an important concept in the text?
Nominalism means that the use of a
general word not implies the existence of a general thing named by it. It can
also refer to a position that denies the existence of universal entities or
objects, but accept that particular objects or entities. I think it is
important because it sometimes argues against knowledge and as an advantage for
myths. A nominalist could not believe in a whole myth but he could believe in
some of the things in the myth. Thereby he could question the knowledge and
argue that parts of the myth might be true. This might also refer to the fact
that enlightment became a new myth.
d.
What is the meaning and function of "myth" in Adorno and Horkheimer's
argument?
In their argument, myth is all forms of
knowledge that existed before enlightenment. I think it is a way of create a
definition of all the kinds of knowledge that existed before enlightenment.
Instead of having a lot of different words describing different kind of
knowledge they use “myth” as a way of representing all kinds of knowledge. Myth
in this case does not necessarily contain magic or mythical creatures, it can
be all kind of knowledge.
2. "The Work of Art in the
Age of Technical Reproductivity"
a.
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?
The substructure is the base of the
society, it is the means of the production. For example the tools, machines,
factories etc. The superstructure is built upon the base, it is everything that
not directly has to do with the production. For example art, family, culture,
law, media etc.
I think the point of analyzing this from
a Marxist perspective is that substructure and the superstructure needs to go
hand in hand. We need both for cultural production and we need them to be close
to each other. We need to think about the social relations, which is a main
topic in Marxism, because the social relations base the economic system and the
economic system forms the superstructure.
b.
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 think culture have revolutionary
potentials, the culture change all the time. One thing that Benjamin argues
about is art. A revolution in art culture is photography. When photography
entered the art culture art became less original. A painting, or other form of
“old” art, came in just one copy, the original. With photography you could
produce more copies of one picture, from the photo negative a picture could
become five, or even more, copies. That is one kind of culture revolution and I
think that we maybe can compare this to enlightment that Adorno and Horkheimer
talks about.
c.
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).
I think natural perception is about our
experiences. People experience things in different ways and all these
experiences is a natural perception. A historical perception is instead that we
gets influenced by historical events. For example, Benjamin talks about the
fifth century where it was a great shift of population which gave birth to the
late Roman art industry.
d.
What does Benjamin mean by the term "aura"? Are there different kinds
of aura in natural objects compared to art objects?
Benjamin means that “aura” is the
originality and authenticity of a work of art. It cannot be reproduced which
means that a painting has an aura but a photograph does not. Benjamin defines
the aura of a natural object as distance, however close it may be.