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Video tags
Subtitles
Russian
00:00:03
[music]00:00:09
[applause]00:00:16
now I would like to talk about the dispute00:00:20
that took place in the00:00:23
thirties in the mid-s of the 10th00:00:26
century between the famous Germans00:00:31
Walter Benin and Theodor Ador,00:00:34
representatives of the so-called00:00:35
Frankfurt school, that is, the movement of00:00:39
German00:00:41
intellectuals of the left, even Marxist00:00:43
orientation, who created their own00:00:45
original teachings Well, at that time, as00:00:50
such, this theory had not yet00:00:52
been formed, they were just friends, in00:00:55
this case, Benjamin would have been00:00:58
Odor00:01:00
Le’s senior friend and In a sense, Benjamin was his00:01:04
teacher And in the thirties It was already the00:01:07
period of Nazism, both Benjamin and Dorna00:01:10
were Jews and had to flee from00:01:13
Germany, so both were in00:01:16
exile and00:01:19
Benjamin wrote texts in a journal of00:01:22
social research that was00:01:27
published by one of them00:01:31
in New York, he was already in00:01:35
New York before he was in Oxford. And Benjamin00:01:38
was in Paris and in this difficult00:01:41
situations Benjamin is actually entering a00:01:44
very productive period, well,00:01:47
historically the situation is very tense and00:01:51
interesting. He needs to earn money by00:01:53
writing00:01:54
texts and he writes in particular. This is00:01:57
his now famous work, one00:02:01
of the main00:02:03
manifestos of art of the 20th century, a00:02:06
work of art in the era of its00:02:08
technical reproducibility and for this00:02:11
the text00:02:12
Adorno first responds00:02:16
with letters,00:02:20
then Benjamin dies and00:02:23
commits suicide during an00:02:25
unsuccessful attempt00:02:27
to emigrate, and Adorno throughout his subsequent life00:02:31
returns to this polemic, to this00:02:34
dispute,00:02:36
therefore an important continuation of his thoughts00:02:40
about this very art in the00:02:42
era of technical reproducibility00:02:43
is in the book about Dorno’s aesthetic00:02:46
theory Well, I must say that this Dispute00:02:50
was also central to the 10th00:02:54
century, it is00:02:58
VSK00:03:00
practical historical meaning and an00:03:04
intellectual00:03:06
century in general, in many ways it is a century of art, an00:03:11
aesthetic age. Let’s say the00:03:13
10th century was in00:03:17
Europe.00:03:19
When Renaissance painting appeared,00:03:22
also in the 10th century, firstly, there were OTK00:03:25
absolutely new forms of art in00:03:28
nono00:03:30
secondly, the00:03:32
previous forms00:03:34
of art announced a00:03:36
radical transformation of the Revolution and,00:03:40
in general, laid claim to the00:03:43
discovery of the real as00:03:46
such, thereby fitting into this00:03:50
general trend of the 20th century, the tendency of00:03:52
passion for the00:03:54
real, you know00:03:56
about the concept of Avant-garde or something else the concept of00:04:01
modernism at the beginning of the 10th century,00:04:04
these pictures appear where nothing is drawn or00:04:07
some spots are painted,00:04:09
works appear that set their goals00:04:11
to mobilize people for some kind of00:04:14
activity, to castigate some kind of00:04:17
reality. That is, art on the00:04:19
one hand, ideologists of the world on the other00:04:22
hand00:04:25
avant-garde art arises, independent of anything, which very00:04:27
often has an abstract character;00:04:30
we are familiar with the names of Kandinsky, Malevich,00:04:34
many of00:04:36
their Western contemporaries, that00:04:39
is, humanity00:04:42
is gradually freed from being tied to a00:04:45
sensual analog perception of the world00:04:48
and reaches an absolutely conventional00:04:50
abstract level of perception both in00:04:53
science and in art art00:04:58
abstract freedom of man And at the same00:05:01
time, the penetration of man into the00:05:05
infinity of the infinite essence of the world00:05:08
in this situation,00:05:11
art is closely intertwined with the00:05:14
political revolution00:05:16
and Many Avant-Garde artists00:05:19
mentioned by Malevich, for example,00:05:22
consider themselves the jurist of the Revolution00:05:27
and are involved in political activities00:05:31
in the service of this very00:05:33
revolution in revolutionary Russia itself,00:05:37
various aesthetic00:05:39
trends of the school, these ideas00:05:42
were naturally familiar to Western intellectuals, in00:05:44
particular Ben Amin, who00:05:45
traveled to Soviet Russia and was very00:05:47
interested in its00:05:49
aesthetics; at the same time, Benjamin00:05:52
observed00:05:55
global trends related to the technology00:05:57
of art. With the development of cinema, in00:05:59
particular photography, also to a lesser00:06:02
extent,00:06:04
he saw that indeed, in addition to00:06:07
avant-garde movements and abstract00:06:10
paintings, something else is happening, the00:06:17
transition of art to the masses,00:06:20
art is becoming not only in00:06:23
Soviet Russia but also in00:06:25
the West, a fact of the everyday00:06:27
existence of a common person has00:06:30
never happened before. That is, art00:06:31
replaces religion to a certain extent, it00:06:34
becomes such a universal00:06:36
symbolic language thanks to the development of00:06:38
cinema in particular. It is precisely this kind of00:06:41
art, as Beniamin believes, that is00:06:43
the most radical, that is, the avant-garde00:06:45
is closing in on the trend00:06:50
of mass democratization of art. In this00:06:55
situation, there are nevertheless some00:06:58
fundamentals and00:07:01
the danger for Beniamin is00:07:03
that you will treat this new00:07:05
art just like the00:07:07
old one. That is, they00:07:09
deified it from all sides,00:07:12
and walking around this work of00:07:15
art and saying how00:07:18
beautiful it is. This way of behavior,00:07:21
Benjamin says, in relation to a new type of00:07:22
art is completely inappropriate No00:07:26
matter how abstract it may be or no matter00:07:29
how00:07:33
innovative it may be one way or another, it must00:07:36
become a part of00:07:37
life, an element of some activity and00:07:41
not a fetish that hangs on the wall, and for00:07:45
this00:07:47
Beniamin says, you need to reject what he00:07:50
calls aura, so He introduces this00:07:52
concept of00:07:53
aura, you need to reject the aura of a work00:07:57
of art, this fr, as it were,00:08:01
unusual originality, and so on00:08:03
which was previously inherent in art and00:08:06
instead, that instead, instead of00:08:09
this, he says, art should, as it were,00:08:12
immerse the mass into itself, and that is, one must00:08:15
think of art not as a00:08:18
piece of fabric on the wall, but rather as a00:08:22
house, as an architectural work, for example, a00:08:25
work Where you turn on, it00:08:28
absorbs you and not you,00:08:31
and this is the kind of00:08:56
entertainment that immerses him in art,00:09:01
the possibility of being absent-minded, unfocused00:09:10
And in the world like this In some way utopian00:09:15
Actually, the avant-garde text itself00:09:17
is written by Benjamin, published in this00:09:19
journal of social research in00:09:21
New York and Adorno I repeat it by the student and00:09:25
a friend writes to Him quite critical and00:09:28
even00:09:30
early00:09:33
words from the point of view of Arn,00:09:38
Benjamin00:09:42
unreasonably criticizes autonomous as00:09:45
he calls art, that is, art.00:09:47
We would call it elitist art,00:09:49
which is not accessible to everyone, radical00:09:53
art00:09:54
because00:09:58
Privat shi works of00:10:01
art of the present Yes, such an00:10:04
authentic one speaks of dor not have auras00:10:07
That is, for example, the music that he loves,00:10:09
here is the atonal music of Schonberg, it is not auch, it does00:10:12
not have this very aura, the same thing is00:10:16
there Roman and Kafka Ador objects00:10:21
that it is completely wrong to build an opposition00:10:24
between mass non-auras00:10:28
culture and00:10:34
autistic is00:10:36
intended, in general, for experts and so00:10:38
on Ador calls it autonomous00:10:41
art and so he says the music of00:10:44
Schonberg and the novels of Kafka They are autonomous,00:10:48
in general, at the moment, of course, they are00:10:50
only interesting to connoisseurs and elites They do00:10:54
not have a mass character And at the same00:10:55
time they are not00:10:57
outy But just some00:10:59
Disney cartoon in NM there is more than00:11:02
enough aura there, and there are princesses there, there00:11:07
is a sentimental experience that00:11:10
is given through very emotional music,00:11:13
it all looks like an00:11:15
aura. Not to mention the cult of stars,00:11:17
for example, of00:11:19
course it is a reduced Aura. But this is Aura,00:11:22
that is, Benjamin00:11:24
confused if the00:11:26
aura00:11:28
and I repeat, of course, in such a reduced and00:11:32
vulgar form, this is precisely mass00:11:33
culture, and00:11:36
so Adorno contrasts00:11:39
Benjamin with a slightly different aesthetics, he00:11:42
says that I certainly share00:11:44
revolutionary00:11:46
impulses. I also believe that art00:11:48
should be the property of the masses and that it00:11:52
should not just hang on stack as a fetish00:11:55
we agree and Aura is truly00:11:57
a cult Aura about but unfortunately in the00:12:04
torn unjust society in00:12:06
which we live there is00:12:10
only radical art modernism00:12:12
which goes for experiments which00:12:14
resorts to the aforementioned for example00:12:16
abstraction but at the same time combines00:12:19
this formal experimentation not with00:12:22
expression with the expression of00:12:28
bestiality through a formal00:12:30
construction It’s just this kind of art00:12:34
that has revolutionary utopian00:12:37
potential, and mass culture talks00:12:41
about Dorna, it obeys other laws.00:12:43
It’s not that Yes, it’s00:12:46
entertainment, it’s entertainment,00:12:48
but it’s absolutely not necessary to00:12:52
defocus our00:12:54
lives mainly as a cultural industry -00:12:57
this is the enjoyment00:12:59
of a template, that is, this is how parts are planed in a factory00:13:03
using a machine, that is, they are00:13:07
all absolutely stamped the same, in the00:13:09
same way a Hollywood film stamps00:13:13
its images and it is this stamping. In00:13:17
a sense,00:13:19
people like it due to the fact that there00:13:22
is an element in it what kind of forceful suppression is the00:13:26
cultural industry - This is, in a00:13:28
sense, the Triumph of form over content, the00:13:31
suppression of matter,00:13:34
and it carries a completely00:13:37
repressive sadistic00:13:40
meaning, embodying00:13:42
power. Well, the impersonal power that capital00:13:45
has in a capitalist society is00:13:47
the state over the00:13:50
individual and Chaplin’s films, which are so00:13:52
loved after the Soviet ones00:13:58
Formalin00:13:59
Chaplin is a symbol of this sadis00:14:05
monotonous stamped art00:14:08
which actually makes a person00:14:11
enjoy violence,00:14:14
this dispute led to nothing except that00:14:17
history It would seem that history rather showed that00:14:20
Ador was right in the extreme, she went the way of Ador00:14:24
You know that it was after the Second00:14:26
World00:14:28
War that the tragic collapse the split of00:14:31
art into actually mass and00:14:33
elite, that is, well, in the00:14:35
twenties and thirties, it was just beginning00:14:36
to emerge. But after the Second00:14:38
World War, it is absolutely obvious that00:14:40
some people watch arthouse, others go to00:14:42
cinemas to watch mass films, this did00:14:44
not happen before and I repeat, both of them. in00:14:47
a sense,00:14:50
he plans the twenties as a new00:14:53
avant-garde art bringing a new00:14:56
sensuality, but this00:14:59
offensive split occurred. Although of course there are00:15:00
transitions here and there, I repeat in00:15:02
Hollywood films, tonal00:15:04
music plays, but nevertheless, from the point of view of the00:15:07
existence of this art, this does not00:15:09
negate a fairly rigid border and00:15:11
this, in a sense, is a catastrophe that00:15:14
also reflects the socio-political00:15:16
catastrophe that has occurred. Since then, there has been00:15:19
a split in society and a rollback of democracy of00:15:24
emancipatory ideas,00:15:27
so we can say that neither Ador00:15:30
won, he was right in that it is00:15:32
in00:15:34
art that I formally experiment in a way that is00:15:37
incomprehensible to the masses there remains, as it were, a share of00:15:41
truth and Freedom that is not very00:15:43
present in mass00:15:45
culture. But this is a00:15:49
completely abnormal situation00:15:51
and excuses about how things00:15:56
will be different someday, but they are somehow not00:15:59
very convincing; it is clear that mass00:16:02
culture also needs to be saved. on the other00:16:04
hand, arthouse, let’s say in cinema, is the way it00:16:07
exists. Today00:16:09
it is degenerating precisely because of its00:16:12
isolation from the life of the masses and from the mass00:16:16
audience from solving some large00:16:18
historical problems. Well, the same thing, to a00:16:21
certain extent, can be said about00:16:22
plastic art, where As you know00:16:26
no one draws pictures anymore, those who00:16:28
paint pictures They are just working for a00:16:29
mass audience00:16:31
And the so-called contemporary art00:16:34
is not like a spectacular spectacle for us, it00:16:37
has its own00:16:39
audience and is extremely interesting00:16:43
and politically acute and democratic, but00:16:46
unfortunately is divorced from some00:16:48
any real life processes.00:16:51
This is the split that00:16:55
Benjamin Idon’s polemics caught and00:17:00
formulated very well philosophically,00:17:03
but this debate accordingly becomes more and00:17:15
more00:17:27
urgent with every decade of the deepening of this gap between mass and elite art.00:17:32
EDescription:
Теодор Адорно против Вальтера Беньямина. Лекция №2 из курса «Главные философские споры XX века». Лектор — Артемий Магун, декан факультета политических наук и социологии Европейского университета в Санкт-Петербурге. Пройдите весь курс на Arzamas: https://arzamas.academy/special/euspb/sociology Arzamas — просветительский проект об истории культуры https://arzamas.academy./ Наши курсы и подкасты можно слушать в приложении «Радио Arzamas» https://arzamas.academy/radio. А чтобы не пропускать новые материалы, следите за нами в социальных сетях: FB: https://www.facebook.com/unsupportedbrowser VK: https://vk.com/arzamas.academy Twitter: https://twitter.com/arzamas_academy Instagram: https://www.facebook.com/unsupportedbrowser
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