“Knowing Together is a collection of sculptures designed to explore collaborative techniques for capturing three-dimensional images. Thirty-five participants collectively created these images by forming circles and passing a camera around. These images were stitched together to form 3D models whose distortions are preserved as artifacts attesting to their creation process, suggesting novel approaches to photogrammetry that do not treat photorealism as its ideal quality.”
Although Walter Benjamin’s ‘‘The Work of Art in the Age of Mechanical Reproduction’’ is a seminal essay in the study of media history, the work itself gives a surprisingly brief account of one of field’s core subjects: the printing press. Books and literature present only a special case of mechanical reproduction, accord- ing to Benjamin, but the implications of this point remain largely unexplored by scholars. The purpose of this essay is to ask why Benjamin would have considered print to be different or less historically consequential compared to photography and cinema when the revolutionary potential he ascribes to these more recent technol- ogies is also prefigured in his other writings on books and literature. Answering this question helps to create a sharper picture of what matters to Benjamin about new media and also points to figures like Georg Luka ́cs who influenced Benjamin’s account of technology and art. Ultimately, this line of questioning also raises con- cerns about the place of the ‘‘Work of Art’’ essay in the study of media history, a field in which the signal error is to treat new media as unprecedented developments.
Brideau, Kate, and Charles Berret. 2014. “A Brief Introduction to Impact: ‘The Meme Font.’” Edited by Laine Nooney and Laura Portwood-Stacer. Journal of Visual Culture 13 (3): 307–13. https://doi.org/10.1177/1470412914544515.