Reviving the Archive Fever? The Digital Arcades
What is to be gained in digitizing Benjamin’s arcades? On the one hand, placing the Arcades in a digital medium increases access and allows reader the ability to construct their reading. Presented in visual display on the computer screen, the
Reviving the Archive Fever? The Digital Arcades
What is to be gained in digitizing Benjamin’s arcades? On the one hand, placing the Arcades in a digital medium increases access and allows reader the ability to construct their reading. Presented in visual display on the computer screen, the
>File> Open>“Arcades”
V. For the modern reader, the question now becomes, What is the work of the Arcades in the era of digital reproduction? In expanding access to the Arcades through re-presentation, a digital “translation” must then, necessarily, contend with its material contingencies. Lev Manovich reads
>File> Open>“Arcades”
V. For the modern reader, the question now becomes, What is the work of the Arcades in the era of digital reproduction? In expanding access to the Arcades through re-presentation, a digital “translation” must then, necessarily, contend with its material contingencies. Lev Manovich reads
The Arcades as a (Postmodern) Database
Is it possible to conceptualize The Arcades Project as a database? Or as a text that lends itself to translation into a database? Certainly it is not “searchable” in the digital sense. The catalogues give a preliminary sense of order, but
The Arcades as a (Postmodern) Database
Is it possible to conceptualize The Arcades Project as a database? Or as a text that lends itself to translation into a database? Certainly it is not “searchable” in the digital sense. The catalogues give a preliminary sense of order, but
The Arcades as Archives
I’ve explored the various ways in which The Arcades Project functions as a repository, a self-organizing system reliant upon catalogues, visual representations, and the montage effect. You’ll notice I say “I” here. Stepping back to analyze the work as a
The Arcades as Archives
I’ve explored the various ways in which The Arcades Project functions as a repository, a self-organizing system reliant upon catalogues, visual representations, and the montage effect. You’ll notice I say “I” here. Stepping back to analyze the work as a
Visiting Benjamin’s Archives
While the material form of Benjamin’s archive resides in the vaults of Berlin’s Akademie der Künste and requires special access, it was put on display for the public during a 2006 exhibition in Berlin. After the exhibition, Ursula Marx’s edited
Visiting Benjamin’s Archives
While the material form of Benjamin’s archive resides in the vaults of Berlin’s Akademie der Künste and requires special access, it was put on display for the public during a 2006 exhibition in Berlin. After the exhibition, Ursula Marx’s edited
Visual Poetics & Pedagogy
Viewing the Arcades through the lens of poetic composition helps illuminate aspects of Benjamin’s methods for text-presentation. In Benjamin’s fascination with the figure of the ragpicker in Baudelaire’s poetry we see perhaps a subtle indication that Benjamin went beyond a mere
Visual Poetics & Pedagogy
Viewing the Arcades through the lens of poetic composition helps illuminate aspects of Benjamin’s methods for text-presentation. In Benjamin’s fascination with the figure of the ragpicker in Baudelaire’s poetry we see perhaps a subtle indication that Benjamin went beyond a mere
Graphic Forms
It would hardly be a theoretical observation to note the presence of the “dialectical image” in the polemics of Benjamin’s work; however, focus in the sphere Benjamin Studies has been primarily directed at the dialectics of content. Little attention has
Graphic Forms
It would hardly be a theoretical observation to note the presence of the “dialectical image” in the polemics of Benjamin’s work; however, focus in the sphere Benjamin Studies has been primarily directed at the dialectics of content. Little attention has
On the Dialectical Image
III. Before launching into a discussion of The Arcades Project’s driving force–the “dialectical image”–, it is useful to establish a working definition of the phrase. The effect of the project is to use the technique of montage to narrate history, or rather,
On the Dialectical Image
III. Before launching into a discussion of The Arcades Project’s driving force–the “dialectical image”–, it is useful to establish a working definition of the phrase. The effect of the project is to use the technique of montage to narrate history, or rather,
Interior Spaces: Inside the Arcades
“The collector is the true resident of the interior” (Arcades Project, 9) Though The Arcades Project uses tools and classificatory methods rooted in Enlightenment organizational structures, thus vaguely resembling a massive 19th century encyclopedia or the bourgeois Victorian collector, at the
Interior Spaces: Inside the Arcades
“The collector is the true resident of the interior” (Arcades Project, 9) Though The Arcades Project uses tools and classificatory methods rooted in Enlightenment organizational structures, thus vaguely resembling a massive 19th century encyclopedia or the bourgeois Victorian collector, at the
Fragments of a general layout
While the project is, ostensibly ordered on the level of the Konvloluts, disorder lurks just beyond the catalogue. Though space has been left for them in the index, some Konvoluts are, noticeably, missing and the Arcades remains unfinished. In its
Fragments of a general layout
While the project is, ostensibly ordered on the level of the Konvloluts, disorder lurks just beyond the catalogue. Though space has been left for them in the index, some Konvoluts are, noticeably, missing and the Arcades remains unfinished. In its
Researching Benjamin Researching 