the french edition in 1936 was the work of art in the age of its technological reproducibility second version.
the french edition in 1936 was the work of art in the age of its technological reproducibility second version.
the work of art in the age of its technological reproducibility second version?
the french edition in 1936
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in 2017, art historian gerald hartnett finished a doctoral dissertation on maxfield at the state university of new york, stony brook. hartnett places maxfield as a crucial contributor to the experimental art and music of the late 1950s and early 1960s, placing him in the context of guy debord, william burroughs, and samuel beckett. hartnett wrote about "...experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent 'the real'... [in which] ...vectors of influence between art and the cybernetic and computational sciences...responded to technological reproducibility in three ways. first of all, writers guy debord and william burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. second, western art music composer richard maxfield mobilized chance techniques and indeterminacy to resist scientific and philosophical determinism’s pervasive influences upon post-1945 art and life. third, author and playwright samuel beckett conjectured that ubiquitous recording might become problematic to the quality of experiential life in technologically mediated environments."
richard maxfield