# Vassilieva, J. (2021) ‘Eisenstein’s “Magic of Art”’, _Cultural Science Journal_, 13(1), pp. 248–251. Available at: [https://doi.org/10.2478/csj-2021-0021](https://doi.org/10.2478/csj-2021-0021) > [!INFO] > Type:: [[&]] > Title:: Eisenstein's ‘Magic of Art’ > Author(s): [[Julia Vassilieva]] > Year:: 2021 > Tags:: > DOI:: 10.2478/csj-2021-0021 > Citekey:: vassilieva_eisensteins_2021 > ZoteroURI:: [Open in Zotero: Eisenstein's ‘Magic of Art'](zotero://select/items/@vassilieva_eisensteins_2021) > ReviewedDate:: [[2022-12-22]] ## Citation ```latex [@vassilieva_eisensteins_2021] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@vassilieva_eisensteins_2021]] and -"Plans" and -"resources" ``` ## Summary (248) 이 글은 [[Sergei Eisenstein|에이젠]]이 1948년 2월 심장마비로 죽기 몇달 전 쓰여진 ‘The Magic of Art’를 번역한 글이다. 이글은 [[Sergei Eisenstein|에이젠]]의 친한 친구였던 Alexandr Luria의 개인 아카이브에서 발견되었다. 이 글을 통해 [[Sergei Eisenstein|에이젠]]은 그의 이론적으로 생산된 몇가지 중심 테마를 다시 재검토한다. 1. The Montage of Attraction → 관객들의 참여와 관객 반응 관련 1. “his understanding of the viewer as an active, creative agent, anticipate the subsequent emergence of reception studies in critical theory.” (Eisenstein, 2021, p. 248) 2. Kinetic Art ([[Cine-Fist]], transform, formalism) than mimetic ([[Cine-Eyes]], reflect, realism) 3. *Grundproblem* → the ability of a work of art to mobilise two opposing impulses → rational(intellectual)과 enrichment 여기 글에서는 두번째는 주로 아트라고 이야기 하는데 이 두 가지 감각은 시간에 대해서도 나온다. [[@rosen_eisensteins_2016]] 조각과 연극의 관계 그리고 영화에는 저 두가지가 공동으로 존재 1. 이러한 메커니즘에는 공감각과 같은 현상, 부분을 전체를 대표하는 것으로 인식하는 능력, 리듬 반복 등이 포함. 이 메커니즘은 서로 결합 → 예술의 '마법'을 만든다. 2. 이 마법은 관객에게 거의 무의식적인 힘을 가지고 있지만, 아이젠슈타인에게는 주관성과 대리성의 형성이 시작되는 과정과 일치한다. > “From ‘external’ attractions I have gradually shifted to a system of means that would influence the spectators’ subconscious region – the ‘sub-sensory’ sphere – in other words, exert influence not only over consciousness or the raw emotional and sensory faculties of my spectator, but also exert influences of which the viewer is unconscious.” (Vassilieva, 2021, p. 249) > "나는 '외부의' 어트랙션에서 점차 관객의 잠재의식 영역인 'sub-sensory' 영역에 영향을 미치는 수단 시스템으로 전환했다. 즉, 의식이나 관객의 원시적인 감정 및 감각 능력뿐만 아니라 관객이 무의식적으로 영향을 미치는 영향력을 발휘하는 것." ==이러한 장치들의 원천은 pre-logical thought의 법칙과 그것들의 적용 범위가 예술 그 자체의 형태인 것으로 밝혀졌다.== 그러나 이러한 수단들이 감각적이거나 '마법적인' 사고의 단계와 관련된 것만은 아니라는 점이 흥미롭다. 그것들은 또한 인식하는 주체의 의지를 추월한다는 의미에서 마법적이다. > fn. 3 "여기서 마법은 공허한 표현이 아니다. > 예술(진짜)은 관객을 감각적 사고의 원시적 단계, 규범과 유형으로 인위적으로 되돌리며, 이 단계는 실제로 자연과 마법적으로 연결되는 단계이다. > 사람들이 소리와 이미지의 공감각적인 결합을 이루었을 때, 여러분은 시청자의 인식을 공감각만이 가능한 감각적인 사고 조건에 노출시켰습니다. 여전히 인식의 차별화는 없다. 그리고 사람들은 관객을 '재지향 re-oriented'하게 한다. 오늘날의 인식의 규범이 아니라, 원시적으로 감각적인 규범으로 그는 감각의 마법의 단계로 "돌아간다"는 것이다. > 그리고 그러한 영향의 체계에 의해 실현된 아이디어는 그러한 수단에 의해 형태로 구체화된다 - 거부할 수 없이 감정을 통제한다. 이 경우의 감정과 의식은 거의 *무아지경*에 빠진 것처럼 순종적이고 관리하기 쉽기 때문이다. > 그리고 예술을 공감적으로 인식하는 수동적인 마법 상태에서 관객이 마술사-창조자에 의해 소유되고 관리되는 능동적인 마법 상태로 이동할 수 있다. > > 전자는 후자에 의해 작동된다." > Magic, here, is not an empty figure of speech. > For art (the real thing) artificially returns the spectator to the primitive stage of sensuous thinking, to its norms and types, and this stage is in reality a stage of magical connection with nature. > When you have achieved, par exemple, a synaesthetic merging of sound and image, you have subjected the viewer’s perception to sensuous thinking conditions, where the synaesthetic perception is the only possible one – there is still no differentiation of perception. And you have the spectator ‘re-oriented’, not to the norms of today’s perception, but to the norms of a primordially sensuous one he is “returned” to the magical stage of sensation. > And the idea that has been realized by a system of such influences, embodied in a form by such means – irresistibly controls the emotions. For the feelings and consciousness in this case are submissive and manageable, almost as if one were in a trance. And from a passive magical state which perceives art synaesthetically – it is possible to move to an actively magical one in which the spectator is possessed and managed by a magician-creator. > The former is worked on by the latter.” 아트란 ‘one of the means of violence’, […] a tool for transforming the world by changing people’s consciousness […] whereas ‘reflection’ is linked with primary automatism. > “All this has been noted to show that the very purpose of my art is, in its ‘profundity’, linked to the primary functions of ritual at a time when art had not yet been singled out as a separate domain from other human activities.” (Vassilieva, 2021, p. 250) ## Annotation “The Magic of Art’, written a few months before Eisenstein’s death in February of 1948, is a condensed and sometimes cryptic artistic manifesto that I discovered in the private archive of Alexandr Luria, a close friend of Eisenstein.” (Vassilieva, 2021, p. 248) “The importance of the piece is that it forcefully reiterates several key themes that recur throughout Eisenstein’s theoretical output.” (Vassilieva, 2021, p. 248) “First, Eisenstein here revisits his earlier ideas, formulated in his now canonical essay‘The Montage of Attractions’, concerning audience engagement and spectatorial reaction.” (Vassilieva, 2021, p. 248) “Secondly, this concern with the spectator is tied in with another of Eisenstein’s important theoretical positions, namely, his insistence that art should not be mimetic but kinetic that it should not ‘reflect’ the world but transform it – a contention that has reverberated throughout debates between realism and formalism in cinema over the twentieth century and into the present.” (Vassilieva, 2021, p. 248) “Furthermore, Eisenstein here formulates in a nutshell the pivotal argument of what he termed Grundproblem – the main problem of art, researched and elaborated in Method – which for him consists in the ability of a work of art to mobilize two opposing impulses: one towards a rational, intellectual insight and enrichment, realized mainly at the level of the content of the work, and another towards the engagement of the whole sensory, affective and emotional sphere and achieved mainly through the form of art.” (Vassilieva, 2021, p. 248) “These mechanisms include such phenomena as synaesthesia; the ability to perceive a part as representing the whole; rhythmical repetition, and so on – mechanisms that, working in combination with one another, create the ‘magic’of art.” (Vassilieva, 2021, p. 248) “instead of a static ‘reflection’ ... montage of arbitrarily selected independent effects (attractions) but with a view to establishing a certain final thematic effect – montage of attractions.” (Vassilieva, 2021, p. 249) “From ‘external’ attractions I have gradually shifted to a system of means that would influence the spectators’ subconscious region – the ‘sub-sensory’ sphere – in other words, exert influence not only over consciousness or the raw emotional and sensory faculties of my spectator, but also exert influences of which the viewer is unconscious.” (Vassilieva, 2021, p. 249) “the laws of pre-logical thought” (Vassilieva, 2021, p. 249) “But it is interesting that these means are not only related to the stage of sensuous or ‘magical‘ thought. They are also magical in the sense of overtaking the will of the perceiving subject.” (Vassilieva, 2021, p. 249) “The project of ‘reflection’ has always appeared to me as passive and unworthy.” (Vassilieva, 2021, p. 250) “I always imagined art as ‘one of the means of violence’– always as a tool (weapon) for transforming the world by changing people’s consciousness.” (Vassilieva, 2021, p. 250) ^79e236 “whereas ‘reflection’ is linked with primary automatism” (Vassilieva, 2021, p. 250) “In its realization the unity with reflection is indissoluble.” (Vassilieva, 2021, p. 250) “All this has been noted to show that the very purpose of my art is, in its ‘profundity’, linked to the primary functions of ritual at a time when art had not yet been singled out as a separate domain from other human activities.” (Vassilieva, 2021, p. 250) ### Related ```dataview LIST FROM [[@vassilieva_eisensteins_2021]] and -"Plans" and -"resources" ```