from The American Heritage® Dictionary of the English Language, 5th Edition.
- adjective Characterized by or relating to an aura.
- adjective Of or relating to the distinctive quality or essence of a person, work of art, or object.
from Wiktionary, Creative Commons Attribution/Share-Alike License.
- adjective Resembling an
from The American Heritage® Dictionary of the English Language, 4th Edition
from Wiktionary, Creative Commons Attribution/Share-Alike License
Kant through Adorno: 'the aesthetic' as autonomous, enigmatic, auratic form (2).
The imaginary is both a projection of desire and the product of a system of signification that exceeds the subject, that is determined by the exchange and economy of objects, and that is influenced by the different auratic economies of the technological and media environment.
They have to be -- if the auratic vibrations aren't exactly right beforehand, the spirits cannot come, and after I've channeled, I'm physically and spiritually exhausted, so I rarely have the opportunity to just _talk_ to you.
"Isus will come only if our earthly plane is in alignment with the cosmic," Ariaura said, "if the auratic vibrations are right."
That is, Brecht's late enterprise entails the non-parodic revivification of an ostensibly passé, auratic, "lyric-aesthetic" poetics, a revivification Brecht in part accomplishes by returning to the Shelleyan-Baudelairean imperative that lyric critically reimagine itself.
That's a fantastic micro-dispute to consider, since Eisler, far from undertaking a wholesale genre-stripping or programmatic levelling of still-too-high and auratic elegiac verse, instead so virtuosically runs Schubertian and Schumannesque lieder, French chanson, and Schönbergian twelve-tone composition in and out of one another, that it is hard to miss the settings 'recognizably Modernist tour de force of newly-achieved form and voice.
Benjamin's answer is that Baudelaire feels himself too distant from auratic distance itself; the auratic distance linked to lyric poetry and aesthetic autonomy is, to put it differently, what generates the allegoresis that Shelley can still undertake.
Recognition of such a project in his later poetry should begin to unsettle long-standard accounts of how Brecht (or Benjamin, for that matter) alternately models an exchange-value Left cynicism, and a mechanical-reproductionist, exhibition-value "Avant-Gardist anti-aesthetic" (both of which, in solidarity with radically-intended post-Modernist art and theory, oppose themselves to a more auratic, Romantically-derived Modernism) .26
Though not exactly hermetic, Brecht's negative-sideways, backward-forward path towards post-auratic aura effectively identifies lyric vocation withor as fuel forMarx's old "ruthless critique of everything existing," which in its turn casts a cold eye upon lyric's critico-political pretensions.
Both can serve power, as did the Benjamin-identified auratic art that came before, but now it is corporate power.