Chapter two. Analog in the Age of Digital Reproduction: Audiophilia, Semi-Aura, and the Cultural Memory of the Phonograph

Adler, Anthony Curtis

doi:10.1515/9780823291052-004

Cited by 1 publication

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“…Scholars from various fields use the term ‘digital reproduction’ to carry Benjamin’s theses to their reception on digitalization (Davis, 1995). The scope of these studies ranges from printing technologies (Grishko et al, 2020), photography (Sassoon, 1998; Whyte, 2009; Romanato, 2017; Josephy, 2020), video (Van Dijck, 2005), film and cinema productions (Mattock 2010), digital mobile media (Agista and Handajani, 2019), material culture, archive and digital history (Bartmanski and Woodward, 2015; Robinson, 2016; Choi, 2018; Goulding and Derbaix, 2019), art and criticism (Hall, 1999; Latham, 2004; Burns, 2010; Frischer, 2011; Emison, 2021), music (Adler, 2012; Green, 2017), literature (Stroud, 2003; Bury, 2019) to theology (Gedicks and Hendrix, 2005), politics (Breckenridge, 2014), and education (Peim, 2007). There is also scholarly research that revolves predominantly around Walter Benjamin’s own theses and concepts such as ‘thought image’ (Tschofen, 2016), ‘storyteller’ (Gratch and Crick, 2015), ‘aura’ (Akin and Kipcak, 2016; Betancourt, 2015; Humphries, 2020), and ‘technological reproduction’ (Sigurdsson, 2001; Bruce, 2000), as well as the ones that focus on the effects of digital technologies on spatial reproductions (Bolter et al, 2006; Brillembourg et al, 2016; Schweibenz, 2018; Kane, 2020).…”

Section: Introductionmentioning

confidence: 99%

Digital reproducibility in locative media: Atatürk, his mother and women’s rights monument, İzmir

İnan

Yılmaz

2023

Convergence: The International Journal of Research into New Med

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This research delves into the digital reproductions of a specific monument in locative media employing Walter Benjamin’s conceptual framework presented in ‘The Work of Art in the Age of its Technological Reproducibility’. The monument in question, namely, the recently reconstructed and rescaled Atatürk, His Mother and Women’s Right Monument in İzmir, Turkey serves as an exemplary case for examining the reproducibility of monuments within both physical and digital environments. Its significance lies not only in the ongoing political and scholarly debate revolving around the decision of local municipality to undertake its reconstruction, but also in its growing popularity in social media as a consequence of this debate. The analyses of digital reproductions of the monument in the paper are twofold: The first gives insights into the effects of digital reproductions on the aura and authenticity of the monument in locative media. The second focuses on how the local municipality and individual users instrumentalize these productions to perform official and mundane rituals and aestheticize not only their own political agendas but also their everyday life.

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