The influence technological advancement has had on human art
and life is indisputable. It is interesting to consider, however, that the
initial reaction to industrialization was one of apprehension. The idea that mechanization
would drain the essence from mans’ art and life, and even threaten human
existence itself, is not uncommon. Walter Benjamin captures this sentiment, claiming “even the most perfect
reproduction of a work of art is lacking in one element: its presence in time
and space” (Benjamin 1). Benjamin argues that mechanization diminishes the
value and meaning of art by stripping away this presence, what he terms its “aura”
(Benjamin 1).
 |
| Ford assembly line |
In the times of Gutenberg’s printing press, Ford’s Model T, and
assembly lines, it is easy to see how the focus on streamlined processes and rote,
repetitive mechanisms seemed to indicate a bleak future where the material
reigns supreme. However, rather than destroying the humanity within life, this
increased efficiency of creation and dissemination instead revitalizes and
propels it. For instance, although the printing press might make the production
of a book a mechanical, lifeless process, mass-producing the work allows its
words and messages to reach more ears. Douglas Davis expresses this idea,
redefining the “aura” of art as residing “not in the thing itself but in the
originality of the moment when we see, hear, read, repeat, revise” (Davis 386).
The meaning of art does not lie in its physical state and authenticity, but in
the emotions and actions it evokes in those who interact with it.
 |
| Microbots being used in an attack |
The fears of industrialization infringing on human life also
translate to robotics. Works like Mary Shelley’s Frankenstein express the eeriness and danger of these mechanized
versions of humans, the fear that they may rise up to overtake their human
creators. However, as Machiko Kusahara mentioned, this threatening depiction is
less prevalent in Japan, where robots are portrayed as friends to humans. The
film Big Hero 6 captures this
conflict in our evolving conceptualization of robots. Hiro’s microbots represent
the immense potential robots can have in improving our lives through areas like
architecture and infrastructure. However, in the wrong hands, they can be used for
more nefarious purposes. Similarly, Baymax embodies the positive role robots
can take as our friends and companions, crossing the line between man and
machine. In this way, similar to art, the significance robots will take on relies
on how humans capture and interpret their potential.
 |
| Baymax from Big Hero 6 |
References
Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Germany, 1936.
Big Hero 6. Directed by Don Hall and Chris Williams, Walt Disney Animation Studios, 2014.
Davis, Douglas. “The Work of Art in the Age of Digital Reproduction.” Leonardo, vol. 28, no. 5, 1995, pp. 381-386.
“Ford River Rouge Plant.” History, https://cdn.history.com/sites/2/2014/01/Ford_river_rouge_plant-P.jpeg. Accessed 22 April 2018.
Kusahara, Machiko. “Robotics MachikoKusahara 1.” YouTube, uploaded by uconlineprogram, 14 April 2012, https://www.youtube.com/watch?v=xQZ_sy-mdEU.
Vesna, Victoria. “Robotics Lectures.” YouTube, uploaded by uconlineprogram, 15 April 2012, https://www.youtube.com/watch?v=cRw9_v6w0ew.
“Yokai Big Hero 6.” Pinterest, https://i.pinimg.com/originals/d5/7e/fc/d57efce1130df3bf958aeff86a8c2d3d.gif. Accessed 22 April 2018.
No comments:
Post a Comment