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page182from Building Ideas
Another
radical thinker to suffer persecution by the Fascists was the German writer Walter
Benjamin, forced to flee to Paris in the 1930s. Benjamin also worked with
Marxist themes in the context of popular culture, conducting a detailed study
of the Parisian arcades as vehicles of nineteenth century commodity capitalism.
As Susan Buck-Morss explained in her book on the unfinished Arcades Project:
…
the key to the new urban phantasmagoria was not so much the
commodity-in-the-market as the commodity-on-display, where exchange-value no
less than use-value lost practical meaning, and purely representational value
came to the fore. Everything desirable, from sex to social status, could be
transformed into commodities as fetishes-on-display that held the crowd
enthralled even when personal possession was far beyond their reach. Indeed, an
unattainably high price-tag only enhanced a commodity’s symbolic value.13
At the same time, with the arcades a new
architecture had evolved in iron and glass, which eroded the distinction
between inside and outside space. This perfectly suited the status of the new “commodity
fetish”, which relied on a similar breakdown between consumer and consumed –
disorientation at work in the new space of the arcade served to support this
confusion between subject and object. For Benjamin this was exemplified in the
figure of the prostitute, a characteristic combination of seller and product.
Another
inhabitant of the arcades who became important in Benjamin’s thinking was the
flâneur,
or urban “wanderer” who resisted the temptations of consumption by his
ceaseless window-shopping and seemingly aimless movement. Benjamin appropriated
this kind of activity as a model of resistance to commodification, suggesting
that as the flâneur assembles impressions of the city, the artist should assemble “found”
objects. He took this approach himself, in his work on the Arcades Project, and
he describes it in his own words as:
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