Æstetiseringens dynamik: Walter Benjamins teser om æstetisering

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Standard

Æstetiseringens dynamik : Walter Benjamins teser om æstetisering. / Fausing, Bent.

I: Akademisk kvarter, Bind 19, 29.12.2019.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningfagfællebedømt

Harvard

Fausing, B 2019, 'Æstetiseringens dynamik: Walter Benjamins teser om æstetisering', Akademisk kvarter, bind 19.

APA

Fausing, B. (2019). Æstetiseringens dynamik: Walter Benjamins teser om æstetisering. Akademisk kvarter, 19.

Vancouver

Fausing B. Æstetiseringens dynamik: Walter Benjamins teser om æstetisering. Akademisk kvarter. 2019 dec 29;19.

Author

Fausing, Bent. / Æstetiseringens dynamik : Walter Benjamins teser om æstetisering. I: Akademisk kvarter. 2019 ; Bind 19.

Bibtex

@article{58b671227adb4f04988e16ade086f0b3,
title = "{\AE}stetiseringens dynamik: Walter Benjamins teser om {\ae}stetisering",
abstract = "The industrialization produces a veil in its aesthetization, and in this lies a criticism and heterotopia in its images of dreams and illuminations. This is the dynamic duality in Walter Benjamin’s incomplete project, ‘Paris. Capital of the nineteenth century Paris’. Benjamin deals especially with the so-called passages or arcades in Paris. They are new architectural phenomena that connect streets with each other through alleyways with shops. Passage has a more spacious meaning with Benjamin, pointing to the way he reads the metropolis. Passage means in Benjamin's optics threshold or transition, namely between nature and history, I and things, awakening and dream, potential and realization. ‘I and things’ are essential to keep in mind, when it comes to exhibitions of commodity in the passages, where you try to make things personal and particular. The personification or anthropomorphication of things plays an essential role in Benjamin's analysis of the metropolitan aesthetics. The article seeks to answer why and how Benjamin sought this path in his mapping of modernity's aesthetization and finally how it manifests itself in the digital passages now.",
keywords = "Det Humanistiske Fakultet, Walter Benjamin, passager, arkader, vare{\ae}stetik, metropolis, modernitet, storby, antropomorfisering, ting, fantasi, heterotopi, billede, dr{\o}mmebilelder, imagination, affekt, atmosf{\ae}re, sanselighedens teknokrati, W. F. Haug, affekt, atmosf{\ae}re, Gernot B{\"o}hm, Ann Friedberg, influensere, W. F. Haug, digitale passager, influenser, algoritmisk vare{\ae}stetik, unpacking, unpoxing, YouTube",
author = "Bent Fausing",
year = "2019",
month = "12",
day = "29",
language = "Dansk",
volume = "19",
journal = "Akademisk kvarter",
issn = "1904-0008",
publisher = "Aalborg Universitetsforlag",

}

RIS

TY - JOUR

T1 - Æstetiseringens dynamik

T2 - Walter Benjamins teser om æstetisering

AU - Fausing, Bent

PY - 2019/12/29

Y1 - 2019/12/29

N2 - The industrialization produces a veil in its aesthetization, and in this lies a criticism and heterotopia in its images of dreams and illuminations. This is the dynamic duality in Walter Benjamin’s incomplete project, ‘Paris. Capital of the nineteenth century Paris’. Benjamin deals especially with the so-called passages or arcades in Paris. They are new architectural phenomena that connect streets with each other through alleyways with shops. Passage has a more spacious meaning with Benjamin, pointing to the way he reads the metropolis. Passage means in Benjamin's optics threshold or transition, namely between nature and history, I and things, awakening and dream, potential and realization. ‘I and things’ are essential to keep in mind, when it comes to exhibitions of commodity in the passages, where you try to make things personal and particular. The personification or anthropomorphication of things plays an essential role in Benjamin's analysis of the metropolitan aesthetics. The article seeks to answer why and how Benjamin sought this path in his mapping of modernity's aesthetization and finally how it manifests itself in the digital passages now.

AB - The industrialization produces a veil in its aesthetization, and in this lies a criticism and heterotopia in its images of dreams and illuminations. This is the dynamic duality in Walter Benjamin’s incomplete project, ‘Paris. Capital of the nineteenth century Paris’. Benjamin deals especially with the so-called passages or arcades in Paris. They are new architectural phenomena that connect streets with each other through alleyways with shops. Passage has a more spacious meaning with Benjamin, pointing to the way he reads the metropolis. Passage means in Benjamin's optics threshold or transition, namely between nature and history, I and things, awakening and dream, potential and realization. ‘I and things’ are essential to keep in mind, when it comes to exhibitions of commodity in the passages, where you try to make things personal and particular. The personification or anthropomorphication of things plays an essential role in Benjamin's analysis of the metropolitan aesthetics. The article seeks to answer why and how Benjamin sought this path in his mapping of modernity's aesthetization and finally how it manifests itself in the digital passages now.

KW - Det Humanistiske Fakultet

KW - Walter Benjamin, passager, arkader, vareæstetik, metropolis, modernitet, storby, antropomorfisering, ting, fantasi, heterotopi, billede, drømmebilelder, imagination, affekt, atmosfære, sanselighedens teknokrati, W. F. Haug, affekt, atmosfære, Gernot Böhm,

UR - http://www.akademiskkvarter.hum.aau.dk/?fbclid=IwAR0BXN5lxgg829wFtDaD1IU94vP_c7wD8szMhxIsLHYYenu2469TWSCqZgI

M3 - Tidsskriftartikel

VL - 19

JO - Akademisk kvarter

JF - Akademisk kvarter

SN - 1904-0008

ER -

ID: 222410356