answers: the French edition in 1936
context: tendency towards pixelated graphics and a retro 8-bit form. This is related to the idea of an episteme (or ontotheology) identified with relation to computation and computational ways of seeing and doing: "computationality". Michael Betancourt has discussed the New Aesthetic in relation to digital automation. The ‘new aesthetic’ provides a reference point for the examination of Karl Marx's discussion of machines in ‘The Fragment on Machines.’ According to Betancourt, the New Aesthetic documents a shift in production that is different than that described by Marx. Where the machines Marx described were dependent on human control, those identified with the New </s> free", for lacking the "aura" of the original work of art. The Work of Art in the Age of Mechanical Reproduction The Work of Art in the Age of Mechanical Reproduction (1935, "Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit"), by Walter Benjamin, is an essay of cultural criticism which proposes that the "aura" of a work of art is devalued by mechanical reproduction. The subject and themes of the essay have much influenced the fields of art history and architectural theory, and of cultural studies and media theory. During the Nazi régime (1933–1945) in Germany, Benjamin wrote the essay to </s> of revolutionary demands in the politics of art" in mass culture; that, in the age of mechanical reproduction, and the absence of traditional and ritualistic value, the production of art would be inherently based upon the praxis of politics. Three editions of "The Work of Art in the Age of Mechanical Reproduction" were published: (i) the original, German edition in 1935; (ii) the French edition in 1936; and (iii) the revised German edition in 1939, from which derive the contemporary English translations of the essay. The themes of "The Work of Art in the Age of Mechanical Reproduction" (1935) are
question: the work of art in the age of its technological reproducibility second version