文化研究论文 The Politics Of The Reproducibility
Reproducibility is the ability of something to be accurately reproduced or replicated by another individual working independently. It relates to the agreement of the results with different operators using different tools at a different location. The results are always reported as a standard deviation from the original plan. In Benjamin works of art, reproducibility is a process that occurs slowly and may take a long time. Benjamin discusses the reproducibility in the works of art and the entire world of photography and film. It is all about the modern age and its effects on the work of arts. How art has been changed by the perception of the humans through time. Reproducibility changes the original piece of art through the change of the originality or aura of the artistic image, the real message put across and the cult value of the original art. The reproduction of pieces of art causes a total change in the perception of the art and can send a total different meaning to the observer. Reproducibility is an inevitable process that takes place over time and it serves to bring a lot of change in the meaning of art. It overshadows the concepts of originality and creativity of art. It can therefore be said that reproducibility is one big enemy to the world of art and the divine talent requirement to be artistic.
重复性是一种能被另一个人独立工作的东西准确地复制或复制的能力。它涉及到的协议的结果与不同的运营商使用不同的工具在一个不同的位置。结果总是报告为一个标准偏差从原来的计划。在本杰明的艺术作品中，再现性是一个缓慢而可能需要很长时间的过程。本杰明讨论了艺术作品和整个世界的摄影和电影的再现性。这都是关于现代的，它对艺术作品的影响。艺术如何改变了人类的感知通过时间。再现性改变了原作的艺术形象，通过艺术形象的独创性或灵气的变化，真实的信息传达和原始艺术的崇拜价值。艺术作品的再现，使艺术的知觉完全改变，并能给观察者发出一个全然不同的意义。再现性是一个不可避免的过程，随着时间的推移，它会带来很多的艺术意义的变化。它超越了艺术的原创性和创造力的概念。因此可以说，再现性是艺术世界的一大敌人，神圣的天赋要求是艺术的。
A look at the photography of today, there is so much reproducibility of photographs of various places and features that the real image or the original item cannot be defined. It is not easy to tell anymore if the items in photographs are really as represented. Photography can be said to leave out a lot of details of the original thing. For example details such as the distance, vegetation and the color are completely distorted. With the advances in technology photographs can be used to represent an image of a certain thing just like in a painting. This also leaves out a lot the originality of the image displayed. For example the photographs of the mountain like the Alps remove the concept of space and time.
看看今天的摄影，有这么多的可重复性的照片的各种地方和功能，真正的图像或原始项目不能被定义。这是不容易告诉了，如果在照片中的项目是真的。摄影可以说省去了很多细节的原创东西。例如，细节，如距离，植被和颜色是完全扭曲的。随着技术的进步，照片可以用来代表一个图像的某一个东西就像在一幅画里。这也省去了许多显示的创意。例如，像阿尔卑斯山这样的山的照片，去除了空间和时间的概念。
According to (Blunden ii), even the most perfect pieces of art that are reproduced are lacking in the element of space and time. The technology of the modern times in photography renders the work of art impure. While some pictures will want to portray the mountains to have peaks that are slightly steep and have very green vegetation others show complete different imagery of steep peeks and no vegetation. This technology of photography renders the works of art impure and changes the original forms of the art. Photography can be said to make the work of art loose the aura or the authenticity through the mechanical production. While the photograph of the mountain will be representing an image of another image, a painting will be the original mountain.
根据（Blunden II），即使是最完美的艺术作品，转载缺乏时间和空间的元素。摄影中的现代技术使艺术作品不纯洁。虽然有些照片会想描绘山有峰，稍陡，有绿色植被的人表现出陡峭的山峰完全不同的意象和无植被。这种摄影技术使艺术作品不纯净，改变了艺术的原始形式。摄影可以说是使艺术作品松散的光环或通过机械生产的真实性。当这座山的照片将代表另一幅图像的图像时，一幅画将是原始的山。
Paintings would capture the concentration and contemplation of the viewer unlike photography. The paintings would be fascinating and inviting to the observer. The cult value that would have been in a painting is replaced by the exhibition value in photography. The cult value does not disappear suddenly but in a shadowy manner. The cult value is still represented in photography but in a far distant manner because just like the portraits, photography is also meant as storage of memories. Photography as a replacement of painting brings out a distant political significance through the creation of memories. The images of photography also bring out a very different side of the original. The photographs are meant to capture what the original person and the photographer want to portray to the viewer; therefore the original thing is not what the viewer sees but the viewer is subjected to a totally different concept.
绘画将捕捉到的观众不同的摄影的浓度和沉思。这些画将是迷人的，并邀请观察员。将在绘画中的崇拜价值被摄影作品的展览价值所取代。邪教的值不会突然消失在朦胧的方式。邪教的价值仍然是代表在摄影，但在一个遥远的方式，因为就像画像，摄影也意味着存储的记忆。摄影作为绘画的一种替代，通过记忆的创造，带来了一种遥远的政治意义。摄影的图像也带来了一个非常不同的一面原来的。这些照片是为了捕捉到原来的人和摄影师想描绘给观众，因此，原来的东西不是什么观众看到的，但观众是受到一个完全不同的概念。
文化研究论文 The Politics Of The Reproducibility
Photography has led to the shift between the original, authentic value of what the viewer is subjected to, to a more modern way of view. The paintings displayed the original view of the items with the same color, creativity and authenticity were also very much a part of the paintings, but with photography most of these aspects are lost in the modernity part. Photography values the exhibition value more than the cult value. The photographs do not evoke the free contemplation that a painting will. They both portray the past events but paintings have the free flowing contemplation and concentration in the viewer compared to a photograph that will carry less of such value. Photography is a reproduction of the paintings and therefore fails to achieve the original basis of paintings. The photographs shape the original political meaning of paintings through randomness storage. Unlike the historical times when the paintings were done according to specific occasions or factors, photography is done at any particular time with little consideration to reasons.
摄影已经导致了原始的，真实的价值的观众受到的转变，以一个更现代的方式。绘画作品中表现出的原始视图具有相同的色彩、创意和真实性也很是绘画的一部分，但随着摄影的这些方面的大部分都在现代性的一部分迷失。摄影价值的展示价值超过了崇拜的价值。这些照片并没有唤起人们对绘画的自由思考。他们都描绘了过去的事件，但绘画有自由流动的沉思和集中在观众相比，一张照片，将携带较少的这样的价值。摄影是绘画的一种再现，因此未能达到绘画的原始基础。这些照片通过随机性存储，塑造了绘画的原始政治意义。不同的历史时期，当绘画是根据特定的场合或因素来做的，摄影是在任何特定的时间，很少考虑的原因。
Photography also presents a distraction with mixed ideas and presents the perception of avoidance of difficult tasks. The works of art will generally capture the most difficult of tasks and will aim at the presentation of the most important factors of an item. Art is able to bring the masses together; it acts to mobilize the people through getting their attention to a particular thing. Photography on the other hand falls below these perceptions and always takes the easiest way of artistic representation. The photographs tend to present a distraction instead of a pull and these shows that the master of the art is just but a habit than really the creativity and talent in it. The public is therefore made as an observer but only absent mindedly without the proper concentration that the works of art expects. The idea is to capture and satisfy the human interest which could simply be the removal of the special function from the field of view. The images of photography therefore leave out a lot of the important details of art meaning the concept of reproducibility leads to the distortion of the original concept.
摄影也提出了一个分心与混合的想法，并提出了避免困难的任务。艺术作品一般会捕捉到最困难的任务，并会在一个项目的最重要的因素的介绍。艺术是能够把群众聚集在一起的，它的行为，动员人们通过把他们的注意力到一个特定的东西。另一方面，摄影低于这些看法，并始终采取最简单的艺术表现方式。照片往往呈现出一种分散的注意力，而不是一种拉拽，这表明，艺术大师只是一种习惯，而不是真正的创造力和人才。公众因此作为一个观察者只是心不在焉地没有艺术作品预计适当浓度。的想法是捕捉和满足人类的兴趣，它可以简单地从视图中删除的特殊功能。摄影的图像因此留下了许多艺术的重要细节，意味着再现性的概念导致了原始概念的扭曲。
The mechanical change noted in the photography means that the reproduction of the works of art leads to the change in the method of exhibition. Photographs simply change the reaction of the public to works of art and change the perception of the works of art. It gives the masses an option of critics. The historical work of arts like the paintings and the portraits were easily accepted by the masses but the photography technology of the modern day has been faced with a lot of critics. For example in Blunden essay, he says that the 19th century disputes to whether photography is a work of art, (part 7). This shows that there is doubt in people at the authentic value of photography in comparison with art. Photography fails to create the subtle effect in the viewers that a simple portrait would. On the other hand, this mechanical production of the works of art is bound to change the public reaction to the particular piece of art, (part 12).
在摄影中指出的机械变化意味着艺术作品的再生产导致了展览方式的变化。照片只是改变公众对艺术作品的反应，改变对艺术作品的感知。它给大众一个批评的选择。艺术如绘画和肖像画的历史艺术很容易被大众接受，但现代的摄影技术却面临着许多的批评。例如在布兰敦的文章，他说，争端的第十九世纪摄影是否是艺术作品，（7）。这表明，人们在与艺术的比较中的真实价值的人有怀疑。摄影未能在观众中创造出一种微妙的效果，一个简单的肖像会。另一方面，这种艺术作品的机械生产必将改变公众对特定艺术作品的反应，（12）。
It can therefore be concluded that the effects of reproduction are adverse to the work of arts. It is quite unfortunate that reproducibility is inevitable especially with the new technologies that come daily with the modern world. The technology is bound to change the works of art and bring a different representation of art. The political significance shifts with every new introduction to the original piece of art. The works of art space and time concept are totally changed in the same manner.