When you mentioned that to you it was unclear if the random collection of facts was a negative thing to Benjamin... He further explains this in a veeeery critical light in "Paris: Capital of the 19th Century" when talking about collectors. Its an amazing text that ellucidates some aspects of his thesis of history, I really recommend it
Yeah, in " Dialectic of Seeing", Susan Buck-Morrs, one of the scholars on Benjamin, said that the " Arcade Project" can somehow help us understand his philosophy of histtory. Rokem's paper on " Dramaturgy in Exile", moreover, pointed out that Beech's influence to Benjamin is evident in their usual pastime of playing chess ( referring to his preoccupation with theater performance, which pertains to practice) and his his interest in philosophy,( referring to his Anti-Aristotelian plays, which let actors communicate with the audience a script: , " theory"). Plus we also need to read his philosophy of language ( non-human entities that speak through language), and " The World of Art in the Age...that explains ' montage ' that shows the interaction of machine and man, e g, movie production). Constellational reading gives us clue. In fairness to him, his simplistic reading is another attempt to interpret Benjamin, and there's nothing with that. Benjamin even admitted that his fragmentary writing is intention because it is an invitation to realize that revolutionary potentials of " the ugly new" ( Terry Eagleton).
you're doing great work! Benjamin is my favourite author of that period. Would have been extremely intersting to see what his later work would have been.
My take on the underlying theology influencing historical materialism is that up to that time philosophy had not been completely successful in separating from the unavoidable influence of God in their thinking. Maybe that’s wrong, but you’re correct in that Benjamin is extremely difficult and at times almost completely opaque. I’ve been trying to crack his thinking for a few years and now have the position that he was profoundly influenced by Gershom Scholem. I finally found a way into his mind via his writing on mimesis. He’s using new language to describe the ideas underlying the Emerald Tablet of Trismegistus, or, As Above, So Below. It’s a non-causal way of looking at interrelationships. Maybe.
I need to add that the JudeoChristian view of history and time is eschatological - time is god’s stage upon which his drama plays out, ending in the end of time. Benjamin is noting how difficult it is to release that paradigm - god’s qualitative view of history.
And as per the Angel, there is no Progress. Only disaster. The weak messianic principle is a mystery to me. Is this linked to a utopian Marxism that everyone can bring into existence?
I think you implied that the Mechanical Turk was so named because it was carried around by a Turk. But it was in fact, invented in Austria. I think the reason it was called the turk is that the puppet that seemed to be playing chess was dressed like a turk.
The issue is: why do historians choose to focus on some things, at the expense of others? The answer will tell you what is important in the present state.
Wait… historical materialism… theology… science & religion…. oh god, no, not again, please “myth (religion) is already enlightenment (science) and enlightenment reverts to mythology” - Dialectic of enlightenment
When you mentioned that to you it was unclear if the random collection of facts was a negative thing to Benjamin... He further explains this in a veeeery critical light in "Paris: Capital of the 19th Century" when talking about collectors. Its an amazing text that ellucidates some aspects of his thesis of history, I really recommend it
Yeah, in " Dialectic of Seeing", Susan Buck-Morrs, one of the scholars on Benjamin, said that the " Arcade Project" can somehow help us understand his philosophy of histtory. Rokem's paper on " Dramaturgy in Exile", moreover, pointed out that Beech's influence to Benjamin is evident in their usual pastime of playing chess ( referring to his preoccupation with theater performance, which pertains to practice) and his his interest in philosophy,( referring to his Anti-Aristotelian plays, which let actors communicate with the audience a script: , " theory"). Plus we also need to read his philosophy of language ( non-human entities that speak through language), and " The World of Art in the Age...that explains ' montage ' that shows the interaction of machine and man, e g, movie production).
Constellational reading gives us clue.
In fairness to him, his simplistic reading is another attempt to interpret Benjamin, and there's nothing with that. Benjamin even admitted that his fragmentary writing is intention because it is an invitation to realize that revolutionary potentials of " the ugly new" ( Terry Eagleton).
you're doing great work! Benjamin is my favourite author of that period. Would have been extremely intersting to see what his later work would have been.
I've come here from watching your series on Guy Debord's 'The Society of the Spectacle'
These videos are so informative and eye-opening! Thank you for making. I had never even heard of Walter Benjamin!
The best part is the part where he compares redemption to the hapiness when you pick a woman 😂
My take on the underlying theology influencing historical materialism is that up to that time philosophy had not been completely successful in separating from the unavoidable influence of God in their thinking. Maybe that’s wrong, but you’re correct in that Benjamin is extremely difficult and at times almost completely opaque. I’ve been trying to crack his thinking for a few years and now have the position that he was profoundly influenced by Gershom Scholem. I finally found a way into his mind via his writing on mimesis. He’s using new language to describe the ideas underlying the Emerald Tablet of Trismegistus, or, As Above, So Below. It’s a non-causal way of looking at interrelationships.
Maybe.
I need to add that the JudeoChristian view of history and time is eschatological - time is god’s stage upon which his drama plays out, ending in the end of time. Benjamin is noting how difficult it is to release that paradigm - god’s qualitative view of history.
And as per the Angel, there is no Progress. Only disaster. The weak messianic principle is a mystery to me. Is this linked to a utopian Marxism that everyone can bring into existence?
If one understands the motives, the conditions, the factors, which inform human activity, one has thereby already risen there above.
I think you implied that the Mechanical Turk was so named because it was carried around by a Turk. But it was in fact, invented in Austria. I think the reason it was called the turk is that the puppet that seemed to be playing chess was dressed like a turk.
Please continue with the videos on Benjamin!
The issue is: why do historians choose to focus on some things, at the expense of others? The answer will tell you what is important in the present state.
Also I think you were looking for the term preterist?
What's the name of the song in the beginning?
Thanks for your efforts.
Thank you, sir.
I'm hearing your summation of this chronicler and this all sounds like the plot of Bionicle: Mask of Light 😂
the comments of a podcast/lecture on walter benjamin is the last place i expected to find a fellow bionicle fan
Fantastic. Thank you.
The Chronicler: Bartleby the Scrivener...
Interesting text
Great video!!
Fantastic analysis
We are aware of nothing but what has passed.
I remember reading him 6 years ago. The part where you discussed Benjamin's take on Paul Klee's painting made me happy. Good job, man!
Bravo.
LET'S GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Without meaning, there is no history.
Lewis Linda Williams Christopher Taylor Betty
Wait… historical materialism… theology… science & religion…. oh god, no, not again, please
“myth (religion) is already enlightenment (science) and enlightenment reverts to mythology” - Dialectic of enlightenment
Hey you should make a video on julius evola
...Albeit in a negative manner...
The Mechanical Turk was built and exhibited by a Hungarian, then a German who brought it to the US after his (von Kempelen) death.