「靈光」持存：重讀〈機械複製時代的藝術作品〉

'Aura' persisting: Restudy The Work Of Art In The Age Of Its Technological Reproducibility

本文試圖重讀（機械複製時代的藝術作品）中，關於藝術生產技術的改變如何改變藝術品的功能。班雅明並不是從作品形式媒材等進行詮釋，而是將藝術與生產藝術的技術之間的轉變，置入政治性的社會介入。藝術因為複製技術的提昇而能普及化，而後藝術成為打破高級與通俗藝術界限的工具。但是複製技術也從安迪．沃荷開始，有了生產藝術「靈光」的反轉：以「重複」來創造「差異」，進而形成一種風格。而更重要的是，藝術家與藝術品的風格在資本主義中成為觀念化的產物，並「異化」為「品牌」與「物神」。

This essay attempts to restudy how the function of art changed by the technical revolution of the artistic production in Walter Benjamin's 'The Work of Art in the Age of Its Technological Reproducibility'. The work of art and the technic of artistic production are political practice and break the line between high art and low art. Since Andy Warhol created his famous screen-printing works, the 'aura' of art could be produced by 'repetition' and the 'style' could be created by 'difference'. More important is, the 'style' of art and artist, has became the conceptual product and alienated as 'fetish' and 'brand'.