tailieunhanh - intellect Crash Culturesmodernity, mediation and the material phần 4

Điều này là lý do tại sao ngắm sự sụp đổ trở thành trường hợp mô hình Schaulust và sự tò mò đồng thời, Neugier Đức - những ham muốn, hoặc cảm giác ngon miệng (Lust), để xem (schauen) và ái dục (Gier) cho mới lạ, mới (nếu) Điều được chỉ định ngữ nghĩa những thú vui vật lý của tim. | Crashed-Out Laundry Vans Photographs and a Question of Consciousness The Fragile Body and the Urban War-Zone Writing after the First World War Walter Benjamin conjured a vividly modern scene in a field of destructive torrents and explosions was the tiny fragile human body Benjamin 1973 84 . The juxtaposition of an industrial technological and destructive force with the unprotected human body sets the scene not just for modern warfare but for modern life in general. In his essay The Storyteller Benjamin is puzzling how it is that the surviving soldiers of the first world war returned from the battlefield grown silent - not richer but poorer in communicable experience Benjamin 1973 84 . The reason for this is that for Benjamin modernity is the contradiction of communicable experience - here social being industrialized warfare determines a mute consciousness. In this same passage Benjamin relates the contradiction of communicable experience to traffic A generation that had gone to school on a horsedrawn streetcar now stood under the open sky in a countryside in which nothing remained unchanged but the clouds Benjamin 1973 84 . Of course Benjamin is talking about the battlefields of Europe but he could just as easily be talking about the modern city where an industrial technology had also left nothing unchanged. It is easy to imagine that when writing about the experience of the modern city writers such as Benjamin and Simmel were figuring the metropolis as the war-zone of modernity. The city as war-zone offers a compelling image of the urban pedestrian negotiating endless bombardments by cars laundry vans and a fully technologized image-track. In a passage from his writing on Baudelaire Benjamin recognizes that photography and the traffic of a big city image technologies transport technologies both combine in the general shock of modern life the camera gave the moment a posthumous shock . . Moving through this traffic involves the individual in a series of shocks and