El arte reproductivo desde la era digital: Breve historia filosófica y análisis de la actualidad de la categoría de 'arte de masas'
As Walter Benjamin envisioned in his renowned essay The Work of Art in the Age of Its Technological Reproducibility, the technological transformations of the late 19th century shook the art of the 20th century. The new reproductive technologies led to an unprecedented mass dissemination of artworks...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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ARFIL y UNL
2025
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/13457 |
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| Sumario: | As Walter Benjamin envisioned in his renowned essay The Work of Art in the Age of Its Technological Reproducibility, the technological transformations of the late 19th century shook the art of the 20th century. The new reproductive technologies led to an unprecedented mass dissemination of artworks worldwide, which prompted the proposition of a new sphere of art in philosophical aesthetics that modified the traditionally dual understanding of the artistic scene: mass art. Reflection on the artworks included under this category, equally tied to their widespread reach and the proliferation of the culture industry, engaged Clement Greenberg, Dwight MacDonald, R.G. Collingwood, Theodor W. Adorno and Max Horkheimer, and Benjamin in the first half of the last century, and decades later, sparked renewed interest in Noël Carroll, Roger Pouivet and Jean-Pierre Cometti. In this article, I aim to trace a philosophical genealogy of mass art by reconstructing the approach of the aforementioned thinkers, and then, based on the evaluation of their thoughts, analyze the current relevance of the category and the consequent division of art into classical, popular, and mass art. |
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