Walter Benjamin's concept of aura and the cultural industry

This is an analysis of the text The Work of art in the era of its technical reproducibility, written in 1935 by Walter Benjamin, in which the author examines the changes made by the new techniques of art production in the cultural sphere and develops, as the main argument, the thesis that technical reproducibility causes the overcoming of aura by a work of art. Based on the contrast between Benjamin's text and The culture industry: enlightenment as mass deception, written in 1947 by Theodor Adorno and Max Horkheimer, and the observation of cinema, music and book production (arts that are necessarily reproducible), this article (a) analyzes the thesis of the overcoming of the concept of aura by the work of art in the era of technical reproducibility, (b) contrasts this thesis with Adorno and Horkheimer's reflection on the cultural industry and with the characteristics of the work of art produced during the 20th and 21st centuries, and (c) presents the contributions that arise from this analysis to the reflection regarding the impact of Internet and digital technology over contemporaneous cultural production. As the main conclusion, the article considers that the techniques analyzed by Benjamin, despite having made the work of art independent of a single substratum, did not emancipate it from its auratic character. The key elements of the aura (authenticity and uniqueness) were not overcome, but were instead adapted to the technical changes. Such adaptation occurred around the industrialization that marked cultural production during the 20th century.El presente trabajo hace un análisis del texto La obra de arte en la época de su reproductibilidad técnica, escrito por Walter Benjamin en 1935, en la que el autor examina los cambios introducidos por las nuevas técnicas de producción artística en el ámbito de la cultura, y desarrolla, como componente principal, la tesis de que la reproductibilidad técnica provoca la superación del aura por la obra de arte. Apoyándose en el contraste del texto de Benjamin con el texto La industria cultural: Iluminismo como mistificación de masas, de Theodor Adorno y Max Horkheimer, de 1947, y en la observación de la producción del cine, de la música y del libro (artes necesariamente reproducibles), este artículo (a) examina la tesis de la superación del concepto de aura por la obra de arte en la época de la reproductibilidad técnica, (b) contrasta esa tesis con la reflexión sobre la industria cultural de Adorno y Hokheimer y con las características de la obra de arte producida en el curso del siglo 20 e inicio del siglo 21, y (c) presenta las contribuciones que se puede extraer de este análisis para la reflexión actual acerca de los impactos de la Internet y de las tecnologías digitales sobre la producción cultural contemporánea. Como resultado principal y del que resultan otras conclusiones, el artículo considera que las técnicas analizadas por Benjamin, aunque han tornado la obra de arte independiente de un sustrato único, no la han emancipado de su carácter aurático. Los elementos centrales del aura (autenticidad y unicidad) no han sido superados, al contrario, se han adaptado a los cambios técnicos, adaptación que se ha producido en torno a la industrialización, que marcó la producción cultural en el siglo 20.Trata-se de uma análise do texto A obra de arte na era da reprodutibilidade técnica, de 1935, de Walter Benjamin, no qual o autor analisa as alterações provocadas pelas novas técnicas de produção artística na esfera da cultura, e desenvolve, como elemento principal, a tese de a reprodutibilidade técnica provocar a superação da aura pela obra de arte. Tendo como apoio o contraste do texto de Benjamin com o texto A indústria cultural: O esclarecimento como mistificação das massas, de Theodor Adorno e Max Horkheimer, de 1947, e a observação da produção do cinema, da música e do livro (artes necessariamente reprodutíveis), este artigo (a) analisa a tese da superação do conceito de aura pela obra de arte na era da reprodutibilidade técnica, (b) contrasta essa tese com a reflexão sobre indústria cultural de Adorno e Horkheimer e com as características da obra de arte produzida no decorrer do século 20 e início do século 21, e (c) apresenta as contribuições que podem ser retiradas dessa análise para a atual reflexão a respeito dos impactos da Internet e das tecnologias digitais sobre a produção cultural contemporânea. Como resultado principal e do qual decorre outras conclusões, o artigo considera que as técnicas analisadas por Benjamin, apesar de terem tornado a obra de arte independente de um substrato único, não a emanciparam de seu caráter aurático. Os elementos centrais da aura (autenticidade e unicidade) não foram superados, mas, ao contrário, adaptaram-se às mudanças técnicas, adaptação essa que ocorreu em torno da industrialização, a qual marcou a produção cultural no século 20

NEOTROPICAL XENARTHRANS: a data set of occurrence of xenarthran species in the Neotropics

Xenarthrans—anteaters, sloths, and armadillos—have essential functions for ecosystem maintenance, such as insect control and nutrient cycling, playing key roles as ecosystem engineers. Because of habitat loss and fragmentation, hunting pressure, and conflicts with domestic dogs, these species have been threatened locally, regionally, or even across their full distribution ranges. The Neotropics harbor 21 species of armadillos, 10 anteaters, and 6 sloths. Our data set includes the families Chlamyphoridae (13), Dasypodidae (7), Myrmecophagidae (3), Bradypodidae (4), and Megalonychidae (2). We have no occurrence data on Dasypus pilosus (Dasypodidae). Regarding Cyclopedidae, until recently, only one species was recognized, but new genetic studies have revealed that the group is represented by seven species. In this data paper, we compiled a total of 42,528 records of 31 species, represented by occurrence and quantitative data, totaling 24,847 unique georeferenced records. The geographic range is from the southern United States, Mexico, and Caribbean countries at the northern portion of the Neotropics, to the austral distribution in Argentina, Paraguay, Chile, and Uruguay. Regarding anteaters, Myrmecophaga tridactyla has the most records (n = 5,941), and Cyclopes sp. have the fewest (n = 240). The armadillo species with the most data is Dasypus novemcinctus (n = 11,588), and the fewest data are recorded for Calyptophractus retusus (n = 33). With regard to sloth species, Bradypus variegatus has the most records (n = 962), and Bradypus pygmaeus has the fewest (n = 12). Our main objective with Neotropical Xenarthrans is to make occurrence and quantitative data available to facilitate more ecological research, particularly if we integrate the xenarthran data with other data sets of Neotropical Series that will become available very soon (i.e., Neotropical Carnivores, Neotropical Invasive Mammals, and Neotropical Hunters and Dogs). Therefore, studies on trophic cascades, hunting pressure, habitat loss, fragmentation effects, species invasion, and climate change effects will be possible with the Neotropical Xenarthrans data set. Please cite this data paper when using its data in publications. We also request that researchers and teachers inform us of how they are using these data