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SzymonWróbel,AdamCichoń
2008,19–56).Duetotechnology,areproducedworkofartisincreasingly
becomingaureproduction,”whichstrivesonlytobecomemorereproduc-
ible.Inplaceofgroundingofworkinritualthereappearstobegrounding
ofworkinpoliticsandtechnology.Theudisplayvalue”(Ausstellungswert)
oftheworkreplacesitsucultvalue”(Kultwert).Theucultvalue”gives
awaythetheologicalfoundationoftheworkaswellasitsafliationtothe
ritualandplace.uDisplayvalue”marksthework,itspublicationandlack
ofapermanentsetting.ForBenjamin,theturningpointinreproducibility
istheemergenceofthereproductionofcinematographicworksdirectly
groundedintheproductiontechnique.Before,inbothphotographyand
thenfilm,udisplayvalue”defiedtheucultvalue”explicitlyanddirectly.
Whileasocietyoverwhelmedanddominatedbyudisplayvalue”olersthe
individualanewrighttoconstantreproducibilityinthesphereofvisibil-
ity,itrefusestherighttosleepandinvisibility.
uSocietyofdisplayvalue”is,therefore–toreferheretothecategory
proposedbyStiegler–uasocietyoftheendlesscarnivalofreproduction”
whichnowadaystakesplacewithinthescreennetwork(Stiegler2009,
40–59).Thenewsubjectofmassreproductionfindsitselfuinfrontofthe
opticalapparatus”toperformautest,”i.e.,numerouslyexposingitsimage
andthusverifyingthevalueofitsuownreproduction”fortheaudience.
Thenewsubjectactsanddisplaysitselfonlyuinfrontoftheapparatus”
andufortheapparatus,”providinglivingproofthateveryhumanhasan
inalienablerighttobefilmed.
AccordingtoBenjamin,theimportanceofthecinema,withitsexalta-
tionofdisplayvalue,resultsfromthefactthatitisonlyfilm–secondto
architecture–thatcanproducethesubjectofasimultaneouscollective
reception.Thepoliticalpowerofcinemaisthepowertocreateacollec-
tivesubjectandmanageitsalects,hence,tolethumanityucomeoutof
suppressions,”explodingtheunconscious,replacingclassconsciousness
withthefascistsubject,oryetmergingmassreproductionwiththerepro-
ductionofmasses;cinemaalonecanfinallyredefinetheimageandthe
veryopticalunconsciousandformanewtheframeworkofwhatisvisible.
Thelatterisofutmostinterest.Iarguethattherearesolidreasonsforre-
-readingTheWorkofArtofBenjamin,andthattherearestrongreasons
weshouldtrytorethinktheveryconceptofreproducibility.Whatdilers
thecontemporarydigitalreproducibilityfromtheoneknowntoBenja-
min?Inwhatsenseismanexposedtoaumachinetest”today?
Perhapsweshouldarguethatthe19th-centurydigitalnetworksdis-
rupttheorganizationbroughtuponbytheaudiovisualapparatus,which
appearedalreadyinthenineteenthcenturyandspreadonamassivescale
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