Seeing through the Fog of Myth
Benjamin’s early aesthetics reconsiders the meaning of line and colour by observation of their relationships to the signs of guilt and the scrawls of ‘innocent’ children. Transparent colours found in illustrated children’s books and the transiency of facial blushing caused Benjamin to hypothesise ab...
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| Publicat a: | URI:https://journals.openedition.org/am, |
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| Autor principal: | |
| Format: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicat: |
Anthropology + Materialism
2014
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | Benjamin’s early aesthetics reconsiders the meaning of line and colour by observation of their relationships to the signs of guilt and the scrawls of ‘innocent’ children. Transparent colours found in illustrated children’s books and the transiency of facial blushing caused Benjamin to hypothesise about certain redemptive effects of invisible rays on the turbid appearance of sin-stained or disgraced creatures. He further developed these ideas by his critical reading of Simmel’s philosophy. Simmel used analogies of colour and blood circulation to characterise law and economy as special ‘forms’ of life which transcend life itself and impose their quantitative evaluations (fine, reward etc.) on individuals. In Benjamin’s view, those who become familiar with the notion of Schuld (guilt/debt) become obedient to those forms in the ‘fog’ of mythic fate. The ‘flâneur’ exemplified such obedience in the lap of the arcades. He was dependent, like an embryo, on the fertility of our debt-producing economy. Benjamin tried to expose flâneurs to awakening illumination by staging the arcades (together with his own bourgeois childhood) in a changing light. He forces us to read their reactions to the threatening forces in the colour of their faces. |
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