Week 3 Robotics and Art

Mechanization brought by industrialization promise us a better and easier life, but Walter Benjamin criticized that because of technical reproduction, art and its authenticity is jeopardized by the mass production (1). In early ages of manual production, the aura of the art work is interrelated with traditions and rituals, but in the era of mechanical production, the function of art has lost its authenticity and turned to the practice of politics.

http://www.mrvanduyne.com/industrialization/stations/3_CY-R/images/r052_jpg.jpg

Indeed mechanization and mass production are so integrated in our lives, everything that we wear, see or eat are produced or processed from a mechanized factory. When everything that we come into contact with is replicable with the same standard of quality, we have grown to neglect the originality that we use to appreciate in early times.

http://th05.deviantart.net/fs4/200H/i/2004/246/0/7/The_Agreement_Of_the_Machines.jpg

Wall-E envisions the future where the Earth is no longer habitable, but the underlying theme portrayed in the movie is that the image of humanity, where human race are obese and moves around in robotic loungers with robotic servants. Same as many Hollywood Sci-fis, this movie vividly portrayed the concerns of heavy reliance on machines, to the point that we lose sight of our own individuality and physical independence.

https://www.youtube.com/watch?v=h1BQPV-iCkU

Similarly, Sigfried Giedion critically examines mechanization and its effects to modern communities, he concludes that “Never has mankind possessed so many instruments for abolishing slavery…but the promises of a better life have not been kept.” (Giedion 715). Giedion suggests that we must look at machineries with the consideration of its social implications, not only the immediate benefits that they provide.

http://www.ediblegeography.com/wp-content/uploads/2010/08/Mechanized-Bakery-Mouchot-Bros-EG.jpg

Douglas Davis’ arguments build on Benjamin’s idea of authenticity, he argues that the digital reproductions has changed the means of delivery for art and consequently eroded the aura of art morally (Davis 381-383). Charles Hirschkind applies this idea into cassette sermons and found that because of the repeatability and replication of these tapes, it poses a moral challenge that taped sermons erode pious living for believers as well (Hirschkind 626-628).

http://www.likecool.com/Gear/Pic/Gif%20Cassette/Gif-Cassette.gif

It is apparent that scholars have successfully mapped out the love-hate relationship toward mechanization. Yes, mass production gives us efficiency at a lower cost, but at the same time low-skilled and under-educated workers became the collateral damage in the name of progress, which can lead to increased poverty and widened wealth gap (MacEachern). In all, mechanization is a grand promise, but only suitable with moderate use or eventually we will all get kicked in the teeth.

Works Cited

Benjamin, Walter. The work of art in the age of mechanical reproduction. Penguin UK, 2008.

Davis, Douglas. "The work of art in the age of Digital Reproduction (An Evolving Thesis: 1991- 1995)." Leonardo (1995): 381-386.

Gideon, Siegfried. "Mechanization takes command." A Contribution to Anonymous History (1948).

Hirschkind, Charles. "The Ethics of Listening: Cassette‐Sermon Audition in Contemporary Egypt." American Ethnologist 28.3 (2001): 623-649.

MacEachern, Doug. ""Living Wage" a Mandate for Youth Unemployment." The Arizona Republic, 17 Apr. 2015. Web. 20 Apr. 2015. 

Stanton, Andrew, Jim Morris, John Lasseter, Pete Docter, Jim Reardon, Thomas Newman, Ralph Eggleston, Stephen Schaffer, Alan Barillaro, Steven C. Hunter, Jeremy Lasky, Danielle Feinberg, Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, John Ratzenberger, Kathy Najimy, and Sigourney Weaver. Wall-e. Burbank, CA: Walt Disney Home Entertainment, 2008.