A Response Paper On Christopher Steiner’s

Christopher Steiners maneuvericle entitled Authenticity, Repetition, and the Aesthetics of Seriality talks about the mechanical re deed of subterfuge at the blossom of technological improvement and technical production nowadays.He discusses Walter Benjamins essay entitled The Work of cheat in the Age of Mechanical Reproduction in the issue that first, mechanical reproduction is not scantily a new form of technical production but engenders an on the whole new philosophy of production in which the work of art is emancipated (Steiner 88) and second, that the mechanical reproduction and consumption of art makes the object more(prenominal) accessible to wider population (88).His argument, therefore, is that to justify the receivedity of tourist art one must begin from an entirely different starting point (89), since tourist art should be viewed as a culturally valid, authentic art. He argues that mass-produced art carries an authenticity, which it sh bes with other mass-produced o bjects in the industry.What I argue, however, is that mechanical reproduction of art does not carry anymore the authenticity and validity of what a true art should bethat it should be an expression of views, beliefs, and cultivation of an exclusive or a number of individuals. Objects that submit to mass production are merely reproductions of the genuine item. The true art is in its originality.This means that, although the reproduced object is an exact image of the original object, it is merely a mimic and is not an expression of the self. When it comes to being culturally valid, however, I agree that objects that undergo mass production are, indeed, culturally valid, since it reveals a certain aspect of culture that, though reproduced again and again, silent holds the originality and the individuality that the culture and the people reflect.Art is like what a human being is it is a reflection of culture and society, yet it cannot be an exact replication of the otherfor there i s none like it. Mass-produced objects of art contain authenticity and validity in terms of culture art, but not as an individual art.Works CitedSteiner, Christopher. Authenticity, Repetition, and the Aesthetics of Seriality The Work of Tourist Art in the Age of Mechanical Reproduction. name of book. Ed. name of editor. Place publisher, year. 87-103.