The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses. – Walter Benjamin
Due to the details of a scene, form reveals itself in a manner that is unique to the occasion. A flower in a vase takes part of its destined backdrop, while its existence undergoes the process of decay. There is an ongoing variant of its form that proceeds in one series of metamorphoses. Subtle to the eye, the object in question may seem silent. Its message may vary, due to the projection of ourselves upon the petals. The abstract “aura” discussed by Benjamin pertains to an individual work of art, in the same way, an object belongs to a moment. The duplication of imagery due to its absence of space and time loses the “aura” that is authentic to the object’s direct interaction with the environment. Mechanical reproduction dulls down aesthetics, which is so dear to the eyes.
In a book of essays, entitled “The Work of Art in The Age of Mechanical Reproduction” the author Walter Benjamin, a prominent mind of the early 21st century, highlighted various psychological processes that lie behind camera and film. Each means of artistical expression had its own debate full of philosophical objectivities and schools of thought.
First published in the 1930s, the thoughts are still visible, and unacknowledged by most in our contemporary age.
“The film is the first art form capable of demonstrating how matter plays tricks on man.”