EXAM STUDY PDF

Walter Benjamin’s Ideas Key Concepts: The Aura, mechanical Reproduction, cult value, exhibition value, aestheticization of politics, distraction vs. concentration, and shock effect vs. contemplation. 1. What is "The Aura"? Imagine you have a super old and unique family photo. It feels spec...

Walter Benjamin’s Ideas Key Concepts: The Aura, mechanical Reproduction, cult value, exhibition value, aestheticization of politics, distraction vs. concentration, and shock effect vs. contemplation. 1. What is "The Aura"? Imagine you have a super old and unique family photo. It feels special because it’s tied to a specific time, place, and memory. Benjamin calls this the "aura"—it’s the magic of something being one-of-a-kind and connected to its past. ○ What Happens to the Aura? When we make tons of copies of something, like printing that family photo on T-shirts or posters, it loses its special feeling. Benjamin says this happens with art when we can copy it easily. The unique aura of the original fades because now everyone can own or see a copy. 2. Mechanical Reproduction (Making Copies) Thanks to technology like cameras and printers, we can make endless copies of paintings, photos, or movies. Benjamin calls this "mechanical reproduction." For example, instead of traveling to see the Mona Lisa in a museum, you can buy a poster of it or Google an image of it. ○ Why is This Important? Making copies is good because it allows everyone to enjoy art, not just people who can afford to see the original. But it also changes how we think about art—what was once rare and special becomes ordinary and mass-produced. 3. Cult Value vs. Exhibition Value ○ Cult Value: In ancient times, art was often sacred, like religious statues or paintings in temples. These were hidden or only shown during special rituals. ○ Exhibition Value: Today, art is all about being seen by as many people as possible. We display art in museums, share it online, and print it on posters. Benjamin says the focus has shifted from mystery and ritual to visibility and popularity. 4. Aestheticization of Politics (Using Art for Power) Some leaders use art, like posters, parades, or movies, to make themselves look powerful and admirable. Benjamin warns this is dangerous because it can manipulate people into following these leaders without thinking critically about their actions. For example, in Nazi Germany, art and media were used to make Hitler seem like a hero. 5. Distraction vs. Concentration ○ Concentration: When you sit quietly and look at a painting in a museum, you can think deeply about what it means. ○ Distraction: Modern media, like movies or Instagram, floods you with fast-moving images. Benjamin says this makes people less focused and more distracted, which changes how we experience art and the world. 6. Shock Effect vs. Contemplation ○ Shock Effect: Modern media grabs your attention with quick action, loud sounds, and sudden surprises. It’s like watching a movie trailer full of explosions and twists.  ○ Contemplation: Traditional art encourages you to slow down and think deeply, like staring at a peaceful landscape painting and noticing all the little details. Why Does This Matter? Benjamin believed that copying art changed the way we experience the world. It made art more available to everyone, which is great, but it also made us think less deeply about it. He was also worried about how powerful people might use art to influence or control others. Byung Chul-Han’s Ideas 1. What Makes Something “Authentic” in Asian Traditions? In places like China and Japan, being "authentic" doesn’t mean being the only original version. It’s more about continuing the spirit or feeling of the original. ○ Example: The Ise Grand Shrine in Japan This is a temple in Japan that’s been rebuilt every 20 years for over 1,000 years. Even though the original structure is gone, people see the rebuilt versions as just as real and meaningful because they keep the tradition and spirit alive. It’s like planting new trees in the same place over and over—they’re not the original tree, but they still feel connected to the first one. 2. Making Copies is Okay in Asian Philosophy In Western cultures (like in Europe or America), originality is often seen as the most important thing. A painting by the original artist is worth much more than a copy. But in Asian cultures, making a copy is seen as a way to honor the original and keep its legacy alive. ○ Example: Chang Dai-chien’s Paintings Chang Dai-chien was a Chinese artist who made paintings inspired by older masters. His work isn’t seen as fake or less valuable but as a way to continue the older artists’ legacy—like adding new chapters to an old story. ○ Natural Cycles: In Asian traditions, life is seen as a cycle, like the changing seasons. So making a copy isn’t trying to "replace" the original—it’s about keeping the tradition alive and fresh. 3. Cult Value vs. Exhibition Value in Asian Art Benjamin said old art had "cult value" (sacred and hidden) and modern art has "exhibition value" (made to be seen). Chul-Han explains that in Asian art, the line between these values is blurry. Copies can still have deep spiritual importance, even if they’re displayed openly. ○ Integration with Nature: Asian art often connects with nature, which is always changing and growing. For example, a garden isn’t "finished" because it keeps growing and changing, but it’s still beautiful and meaningful. 4. Art and Politics: The West vs. the East ○ Western Culture: Focuses on being the first or most original, which fits ideas of competition and individual success.  ○ Eastern Traditions: Focus on teamwork and improving traditions over time, like passing down a family recipe. ○ A Lesson from Nature: Chul-Han compares art to nature in Asian cultures. Just like trees lose their leaves and grow new ones, art can be renewed while still holding onto its original spirit. Why Does This Matter? Chul-Han helps us understand that different cultures think about art and originality in different ways. In Western culture, we admire things for being one-of-a-kind. In Asian cultures, the focus is on keeping traditions alive, even if that means making copies. How They Connect Both Benjamin and Chul-Han are interested in how copying changes art, but they see it differently: Benjamin: Worried that copying art too much makes it lose its magic and lets leaders misuse it. Chul-Han: Believes copying is a way to keep art alive and connect to its spirit, especially in cultures that value tradition over originality. Would you like examples from modern life to connect these ideas further? Understanding the Aesthetic Experience of Games Key Concepts: Aesthetic Experience, striving play, agency, agential layering, an aesthetics of agency, and aesthetic attitude. When you play a game, it can feel more than just fun—it can be meaningful, challenging, and even beautiful. This is what philosophers like Thi C. Nguyen and Robin Hjelte are interested in. They explore how games are more than just entertainment—they’re a type of aesthetic experience that combines our emotions, thoughts, and actions. Let’s break down these key ideas to understand what makes games so special. Aesthetic Experience An aesthetic experience is a moment when something grabs your attention and feels meaningful or beautiful. For example, when you listen to a moving song, watch an amazing movie, or even play a game that challenges your brain, you’re having an aesthetic experience. Traditional View (Kant): In the past, people thought of aesthetic experiences as being about beauty in art or nature. The focus was on enjoying something for its own sake—like looking at a painting—not for any practical reason. It’s all about stepping away from everyday life to reflect and feel. John Dewey’s View: Dewey believed aesthetic experiences happen in many parts of life, not just in art. For him, even a well-cooked meal, a deep conversation, or playing a game can count as aesthetic experiences because they build over time and create a satisfying sense of completion. Games fit Dewey’s idea because they combine our actions, decisions, and emotions into a complete, fulfilling experience. What is Agency? Agency is the ability to act, make decisions, and influence the world around you. In games, agency means being able to make meaningful choices—like deciding how to solve a puzzle or which strategy to use in a competition. Nguyen’s View: Nguyen says game designers are like artists, but their art isn’t just about what you see or hear. Instead, they create "forms of agency"—ways for players to act and make decisions. For example, in a game like Portal, you’re not just solving puzzles; you’re exploring how you, as a player, can interact with the world. Why This Matters: Games let you try out forms of agency that are different from real life. They let you imagine what it’s like to be a hero, a builder, or even a villain, teaching you new ways to think and act. Striving Play: Playing for the Journey, Not the Goal In most games, the goal is to win—but not always. Nguyen introduces the idea of striving play, where the fun comes from the challenge, not the final result. It’s like running a race not to win, but to enjoy the process of running. Interested and Disinterested: When you’re striving, you’re focused on winning (interested), but you’re also playing just for the experience (disinterested). This balance makes games feel both fun and meaningful. Example: Imagine playing chess. Even if you lose, the challenge of planning your moves and outsmarting your opponent is what makes the game enjoyable. Agential Layering: Balancing Focus and Reflection Nguyen explains that when we play games, we experience agential layering, meaning we think on two levels at once: 1. Game Agency: This is when you’re fully focused on the game—making decisions, solving problems, or working toward the goal. For example, in a game like Minecraft, you’re busy gathering resources and building structures. 2. Overall Agency: This is the higher-level reflection, where you step back and think about the experience itself. While playing Minecraft, you might realize how satisfying it is to create something or how the game is teaching you to plan and manage resources. Agential layering helps us enjoy games both as challenges and as meaningful experiences. Harmony and Dissonance in Games Nguyen also talks about two feelings we often have in games: harmony and dissonance. Harmony: This happens when everything clicks. You feel like your skills, the game’s design, and your actions all fit together perfectly. It’s like solving a tricky puzzle and getting it right—it feels satisfying and beautiful. ○ Harmony of Action: When your decisions perfectly match the solution to a problem. ○ Harmony of Capacity: When the game pushes your skills to their limits, and you rise to the challenge. Dissonance: This is when things don’t fit. Maybe the game is too hard, or your actions don’t have the results you expected. Even though it’s frustrating, dissonance can be valuable because it teaches you about failure and helps you grow. An Aesthetics of Agency Nguyen describes an aesthetics of agency as the unique experience games offer by letting you act and make choices. In traditional art, like paintings or music, you’re a viewer or listener. But in games, you’re a participant. You’re actively shaping what happens, and that’s what makes the experience special. Why It’s Unique: In a game, you’re not just observing beauty—you’re part of it. Your actions, decisions, and strategies are all part of the artwork. Aesthetic Attitude To fully enjoy an aesthetic experience, you need to approach it with the right mindset. This is called the aesthetic attitude. What It Means: The aesthetic attitude is about stepping back from practical concerns and focusing on the experience itself. For example, when you play a game, you’re not thinking about your homework or what’s for dinner—you’re fully immersed in the game world. Games and Marketing: Robin Hjelte, a game designer, explains that even the way games are packaged or marketed can prepare players to adopt an aesthetic attitude. For example, the design of a game’s box or the way it’s advertised might help players get into the right mindset to fully enjoy the experience. Games as Aesthetic Experiences Robin Hjelte sees games as powerful tools for creating aesthetic experiences because they’re interactive. Unlike a painting, which stays the same no matter who looks at it, games change depending on how you play them. Interaction: Hjelte calls games "short-cuts to our emotions" because they directly involve us in the action. Whether you’re solving a puzzle or fighting a boss, games create strong feelings of excitement, satisfaction, or even frustration. Artifact and Perceiver: Hjelte says the experience of a game depends on both the design (the artifact) and the player (the perceiver). A game is only as good as how it’s played, and players need the right attitude to fully enjoy it. Why This Matters Nguyen and Hjelte’s ideas show that games are more than just entertainment—they’re a unique form of art that combines action, emotion, and reflection. They give us the chance to explore new ways of thinking, challenge our skills, and connect with others. Learning Through Games: By playing, we learn what it’s like to take on new challenges, deal with failure, and feel the satisfaction of success.  Expanding Aesthetic Experiences: Games show that aesthetic experiences aren’t just about looking at paintings or listening to music—they can be about action and participation too. Conclusion Games are a modern form of art that blends creativity, challenge, and emotion. They give us new ways to experience agency, explore harmony and dissonance, and reflect on our own actions. Whether you’re solving puzzles in Portal or building a world in Minecraft, games invite you to become an active part of the story, making them one of the most exciting forms of aesthetic experience today. Understanding Key Concepts in Black Aesthetics Key Concepts: Harlem Renaissance, black arts movement (BAM), post-blackness, internalized anti-black racism, anti-aesthetic, racial information/ racialization, aesthetic self-fashioning, aesthetic judgement, and rapid cognition. The study of Black aesthetics helps us explore how Black artists and thinkers have used art, culture, and philosophy to respond to racism, express identity, and imagine better futures. Here, we will explain some important ideas related to Black aesthetics, focusing on terms like the Harlem Renaissance, the Black Arts Movement (BAM), post-blackness, internalized anti-Black racism, anti-aesthetic, racial formation/racialization, aesthetic self-fashioning, and aesthetic judgment/rapid cognition. We’ll also draw from bell hooks’s essay “An Aesthetic of Blackness – Strange and Oppositional.” 1. Harlem Renaissance The Harlem Renaissance was a cultural and artistic movement in the 1920s centered in Harlem, New York City. It involved writers, musicians, and artists who celebrated African American culture and identity. Figures like Langston Hughes and Zora Neale Hurston explored themes like Black pride, history, and community. At the same time, some intellectuals tried to elevate Black art by blending it with European “high art” traditions. This led to debates about how to represent Black life authentically without catering to stereotypes or assimilation. Angela Davis discusses how some artists ignored or looked down on forms like the blues, which came from the experiences of poor Black people in the South. This dismissal showed how even within Black communities, there could be tensions between different ideas of what art should be. 2. Black Arts Movement (BAM) In the 1960s and 1970s, the Black Arts Movement emerged alongside the Civil Rights and Black Power movements. Leaders like Amiri Baraka called for art that directly supported political goals like fighting racism and empowering Black people. BAM emphasized pride in African heritage and saw art as a tool for revolution. It rejected European aesthetic traditions and demanded a uniquely Black art style. However, bell hooks critiques BAM in her essay. She argues that its focus on realism (art that represents life literally) was too narrow. BAM artists often assumed that the Black audience couldn’t appreciate abstract or experimental forms of art, which hooks saw as underestimating their sophistication. She believed Black art should be open and diverse, not limited to one style or political message. 3. Post-blackness Post-blackness is a term used to describe how Black identity can be complex and fluid. It challenges the idea that there is only one way to “be Black.” Artists like Glenn Ligon, who helped coin the term, resist the pressure to represent all Black experiences in their work. Post-blackness allows for individuality and freedom from stereotypes while still acknowledging the realities of racism. This concept reflects the evolving nature of Black identity in a world where traditional categories of race are being questioned. It’s not about rejecting Blackness but about recognizing its diversity and the impossibility of reducing it to a single definition. 4. Internalized Anti-Black Racism Internalized anti-Black racism happens when Black individuals or communities accept harmful stereotypes or prejudices about themselves. For example, Angela Davis describes how Black record companies in the early 20th century favored certain artists because they seemed more refined or “sophisticated” according to Eurocentric standards. This led to the rejection of more “rural” or “primitive” forms of expression, like the blues, even though these were deeply connected to Black culture. Internalized racism can make people reject parts of their own identity or culture to fit into a society that values whiteness. Recognizing and resisting this is an important part of creating a liberating Black aesthetic. 5. Anti-Aesthetic The anti-aesthetic challenges traditional ideas of beauty and art, especially those rooted in European traditions. Instead of seeing art as something separate from everyday life or as purely for enjoyment, the anti-aesthetic connects art to political and social struggles. Bell hooks identifies Black aesthetics with this approach, emphasizing that beauty and creativity are tools for imagining a better world. For hooks, art and beauty are not about following strict rules or meeting elite standards. They are about expressing life, resistance, and hope. This is why she advocates for a Black aesthetic that is “strange and oppositional”—one that challenges the status quo and opens up space for new possibilities. 6. Racial Formation/Racialization Racial formation refers to how societies create and define racial categories over time. This process is not natural but shaped by history, politics, and culture. Racialization happens when people are grouped and treated differently based on their perceived race, which affects their opportunities, identities, and experiences. Philosopher Paul C. Taylor explains that aesthetics—our ideas of beauty and art—are deeply tied to racial formation. For example, in a society shaped by white supremacy, people are often taught to see whiteness as beautiful and Blackness as ugly or primitive. Understanding this helps us see how racism influences even our basic perceptions and tastes. 7. Aesthetic Self-Fashioning Aesthetic self-fashioning is about how people use art, style, and creativity to shape their identities. For Black people, this often means resisting stereotypes and asserting individuality in the face of racialization. Bell hooks talks about how her grandparents’ generation created beauty out of everyday life despite poverty and racism. This kind of creativity was a way of imagining freedom and dignity. Paul C. Taylor describes aesthetic self-fashioning as a form of resistance. By assembling their identities from what is available—like music, fashion, or speech—Black people challenge the limits imposed by racism. This shows how art and identity are deeply connected. 8. Aesthetic Judgment/Rapid Cognition Aesthetic judgment is how we decide what is beautiful or meaningful. Rapid cognition refers to how quickly we make these judgments, often without conscious thought. Philosopher John Dewey described these moments as “aha” experiences that feel intuitive and immediate. Paul C. Taylor connects this to race, showing how our rapid judgments are shaped by the racial biases we’ve absorbed. For example, someone might quickly decide whether a person is attractive or trustworthy based on racial stereotypes. Reflecting on these judgments can help us understand and challenge the biases that influence them. bell hooks and Black Aesthetics Bell hooks’s essay, “An Aesthetic of Blackness – Strange and Oppositional,” provides a powerful vision for Black aesthetics. She argues that art should challenge mainstream norms and open up new ways of thinking. For hooks, beauty is not about conforming to standards but about creating possibilities. She believes Black art must be experimental and diverse to truly imagine liberation. Hooks also critiques how capitalism affects Black art. She worries that consumerism can make art lose its radical potential, turning it into just another product. To resist this, she calls for a renewed discussion of aesthetics that focuses on purpose and transformation. In conclusion, understanding these key concepts helps us appreciate the richness and complexity of Black aesthetics. From the Harlem Renaissance to post-blackness, Black artists and thinkers have used creativity to fight racism, explore identity, and imagine better futures. By studying these ideas, we can learn how art and philosophy can shape a more just and beautiful world. Exploring Key Concepts in Everyday Aesthetics Key Concepts: Temporality, Suji Kaete, Miegakure, Oki, other-regarding acts/ attitude, the other than human, the cult of beauty, and aesthetic welfare. The study of everyday aesthetics, as explored by Yuriko Saito and other thinkers, examines how beauty and design affect our daily lives, interactions, and environments. This explanation will unpack key concepts such as temporality, suji kaete, miegakure, oku, other-regarding acts/attitudes, the other than human, the cult of beauty, and aesthetic welfare in a way that is accessible for a 9th-grade reader. 1. Temporality Temporality refers to how experiences unfold over time. According to Saito, aesthetic experiences are not instant; they happen in a sequence, building up step by step. For example, when walking through a beautifully designed garden, you might first notice the pathway, then a hidden bench, and finally a breathtaking view. The way these elements are revealed in order creates anticipation and joy, making the experience memorable. Good design, whether in a garden, a home, or even a story, takes temporality into account. It creates a journey for the senses, allowing us to experience things gradually rather than all at once. This quality makes everyday moments more meaningful and fulfilling. 2. Suji Kaete (Changing the Axis) Suji kaete is a principle from Japanese design that emphasizes shifting perspectives. When you change the angle or axis of how something is viewed, it encourages a fresh way of seeing. Imagine a pathway that turns sharply, revealing a new scene or an unexpected feature like a waterfall. This shift surprises the viewer and keeps them engaged. In our daily lives, suji kaete reminds us to think creatively and consider different viewpoints. Whether it’s arranging furniture or telling a story, changing the axis can make something ordinary feel exciting and new. 3. Miegakure (Now You See It, Now You Don’t) Miegakure, another Japanese design concept, involves intentionally hiding and revealing parts of a scene. For example, a garden might use trees or walls to obscure a beautiful area, creating a sense of mystery. As you move closer, the hidden part is revealed, offering a dramatic and satisfying moment. This idea teaches us that not everything needs to be shown at once. Sometimes, holding back and creating suspense makes the final reveal even more impactful. It’s like unwrapping a gift—the joy comes not only from the present but from the process of discovery. 4. Oku (The Inner-Most Part) Oku refers to the deeper, inner part of something, which is often reached by passing through layers. In Japanese gardens or tea houses, oku might involve moving through gates, arches, or pathways to reach a secluded, peaceful spot. Each step draws you further into the experience, creating a sense of depth and progression. In life, oku reminds us to appreciate layers and depth—whether in relationships, stories, or even meals. It’s about taking time to explore and enjoy the journey rather than rushing to the end. 5. Other-Regarding Acts/Attitude An other-regarding attitude means thinking about how your actions affect others. Saito argues that good design and aesthetics show care and respect for the people who will use or experience them. For example, wrapping a gift beautifully is not just about presentation; it’s about showing thoughtfulness for the recipient. In everyday life, this concept encourages us to act with kindness and consideration. Whether setting a table, designing a room, or writing a note, thinking about how others will feel creates a more connected and caring world. 6. The Other Than Human Saito highlights the importance of respecting not just people but also the non-human elements of our world, like materials, nature, and animals. When designing or creating, we should listen to what the materials “want.” For example, using wood in a way that respects its natural grain or folding paper to highlight its texture shows humility and collaboration with the non-human. This idea reminds us that we are part of a larger ecosystem. By working with nature rather than against it, we can create beauty that feels harmonious and respectful. 7. The Cult of Beauty The cult of beauty refers to a historical practice, especially in Japan’s Heian period, where aesthetics were deeply tied to moral and social values. Saito describes how creating beauty—whether through poetry, packaging, or even how you leave a room—was seen as a way to show respect and care for others. For example, Sei Shōnagon’s The Pillow Book describes the elegance of wrapping gifts or composing goodbye notes with artistry. These acts were not just about appearances but about expressing thoughtfulness and emotional depth. This concept teaches us that beauty is not trivial. When we create or appreciate beauty, we build connections, show care, and enrich our shared experiences. 8. Aesthetic Welfare Aesthetic welfare is the idea that beauty and good design are essential for a happy and healthy society. Philosopher Yrjö Sepänmaa argued that, just like healthcare and education, access to beauty and art should be a basic right. Saito expands on this, saying that well-designed environments make people feel valued and cared for. For instance, a thoughtfully designed park or a beautifully painted room can lift people’s spirits and create a sense of belonging. These spaces show that someone cared enough to make the world better for others. Aesthetic welfare is not about luxury; it’s about creating a society where everyone feels included and inspired. Connecting These Ideas These concepts from everyday aesthetics show us how beauty and design go beyond decoration. They shape how we experience the world, connect with others, and express care. Temporality, suji kaete, miegakure, and oku teach us to appreciate the unfolding of experiences and the power of mystery and depth. Other-regarding acts and respect for the other than human remind us to act with kindness and humility. The cult of beauty and aesthetic welfare highlight how beauty enriches our lives and communities. By incorporating these ideas into our daily lives, we can make ordinary moments extraordinary. Whether it’s arranging a room, wrapping a gift, or simply taking time to appreciate nature, everyday aesthetics encourages us to find joy, meaning, and connection in the world around us. Example Short Answers Paragraph 1: The Aura (Walter Benjamin) Walter Benjamin explains "The Aura" as the unique and special feeling something has because it is tied to a specific time, place, and history. For example, an old family photo might feel special because it has a connection to personal memories. Benjamin argues that when we create many copies, like printing that photo on T-shirts or posters, it loses that unique feeling. This idea connects to the concept of "mechanical reproduction," where technology, such as cameras and printers, allows us to make endless copies of art. While mechanical reproduction makes art more accessible to everyone, it also reduces the aura of the original piece, making it feel less valuable. This concept helps us understand how the rise of mass media and technology has changed our relationship with art, making it easier to experience but less meaningful. It changes the way we see the value of original artworks, suggesting that their uniqueness is a key part of their aesthetic power. Paragraph 2: Mechanical Reproduction (Walter Benjamin) "Mechanical reproduction" refers to how technology, like cameras and printers, allows us to make multiple copies of art, such as paintings, photographs, or films. Benjamin points out that while this makes art more accessible, it also takes away the uniqueness or "aura" of the original piece. For example, anyone can access an image of the Mona Lisa online, but seeing the actual painting in a museum feels different. This idea connects to Benjamin’s "exhibition value," where art is now made to be seen by as many people as possible, rather than being hidden or sacred. Compared to Byung Chul-Han’s perspective, which emphasizes copying as a way to preserve tradition, Benjamin is more concerned with how reproduction can strip away meaning from art. Benjamin’s concept of mechanical reproduction challenges the traditional understanding of art as something unique and rare, showing how technology can change our aesthetic experience. This shift in how art is viewed and valued helps us see how the accessibility of art today shapes its role in culture and society. Example Essay Introduction The Enlightenment was a time when philosophers believed that beauty and art could be understood in an objective, rational way. They thought that art should be appreciated by everyone for its universal beauty. However, two modern thinkers, Walter Benjamin and Thi C. Nguyen, challenge these old ideas. Benjamin talks about how the value of art changes when it is mass-produced, while Nguyen discusses how video games offer a different kind of experience through player choice and action. These ideas show us that art isn’t just about universal beauty but can be shaped by society, technology, and the individual. Benjamin’s Theory: The Aura and Mechanical Reproduction Walter Benjamin’s idea of "The Aura" refers to the unique, special quality that original works of art have. For example, a famous painting in a museum feels important because it is the one original piece. Benjamin argues that when art is reproduced—like when a painting is photographed or printed on a poster—it loses its specialness, or its "aura." This happens because copies of art are easy to make, and they no longer have the connection to a specific time or place. This idea is important because it shows that technology has changed how we experience art, making it less about uniqueness and more about mass access. Benjamin’s Shift from Cult Value to Exhibition Value Benjamin also explains how art has shifted from being something sacred and hidden ("cult value") to something that is made to be seen by everyone ("exhibition value"). In the past, art was often used for religious or ritual purposes, and it wasn’t easy to access. Now, art is displayed in public places like museums or online, and it’s available to everyone. This is a big change because it means that art is no longer just about its deeper, spiritual meaning; instead, it’s about how many people can see it. This shift shows that art is no longer just something special or rare, but something meant for mass consumption. Nguyen’s Theory: Aesthetics of Agency in Games Thi C. Nguyen’s idea of the "Aesthetics of Agency" focuses on how video games offer players the chance to make meaningful decisions and shape their own experience. In games, players aren’t just observing a story or piece of art; they are actively involved in it. For example, in a game like Portal, the player has to solve puzzles and make choices that affect the game’s outcome. Nguyen argues that this involvement makes the experience of playing a game unique, as the player is part of the art, not just a passive observer. This idea shows that art can be about action and decision-making, not just about looking at something beautiful. How These Theories Oppose Enlightenment Ideas Both Benjamin and Nguyen’s ideas challenge the Enlightenment belief that beauty is something everyone can understand the same way. Benjamin’s theory shows that when art is mass-produced, it loses its unique, timeless quality, which goes against the idea that art has an unchanging beauty that can be universally appreciated. Similarly, Nguyen’s theory of agency shows that art isn’t just about admiring something from a distance but about interacting with it. This challenges the Enlightenment idea that the viewer’s role is just to appreciate art objectively, without getting involved. Conclusion In conclusion, both Walter Benjamin and Thi C. Nguyen offer new ways of thinking about art that challenge the Enlightenment’s traditional views. Benjamin shows how technology has changed art’s value by making it mass-produced and less unique, while Nguyen highlights how video games allow players to interact with art through their own choices and actions. These ideas show that art is not just about beauty or universal judgment but is shaped by how we engage with it and how society and technology change the way we experience it.