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#Post#: 20--------------------------------------------------
The appeal of the inorganic
DIR By: Abu raihan
Date: September 10, 2023, 4:41 am
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We buy it only for its performance, for its functionality or for
its intrinsic attractive force? And therefore, when two
subjects, or a subject and an object, or two bodies in general,
"meet" do they meet for a simple utilitarian calculation or
because a game of similarities is taking place between them? And
if it's not just for utilitarianism, then we need to understand
what forces underlie the object we want, buy or from which we
are attracted. These forces are ultimately aesthetic forces, and
by aesthetic we mean what expresses one's own inner strength,
and in a harmonious way, or rather in a way that harmonizes with
our own interiority, and always according to the law according
to which "the similar like attracts like, like awakens like,
like complements like.
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after having broken with the typical
mentality of his cultural area of ​​origin, the
Frankfurt School 7 , reviewing the conception of the media, no
longer as a simple service of the capitalist system, but as a
possibility that opens holes in the processes of democratization
8 ; in Passages (1982) he arrives at the reconstruction of the
history of culture according to the "visual" dimension . Through
a collection, cataloging and bricolage of themes, images and
characters.
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Benjamin elaborates a sort of 19th century encyclopaedia, a
"philosophy of history" projected into the 20th century. Here
Benjamin makes use of the fusion of technologies and cognitive
devices, to which he pays close attention . In the Passages
Benjamin will speak of the "sex appeal of the inorganic", or the
fascination of what is not in life or, more precisely, taking a
cue from Shakespeare's The Winter's Tale (1611), the fascination
of death, of dissolution, of silence. This fascination includes
fetishism, attention to detail and objects, seen by Benjamin as
his "vital nerve".
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