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Before photography, the defining characteristics of an image were its originality, its authenticity, and the specific perception of the original in a ritualized situation. Benjamin (1977) called this combination of elements “aura”, which can arguably be translated best as the sensory impression of atmosphere. This aura was destroyed through technical reproduction, because the question of authenticity, of the original, is meaningless for a reproduction, since an unlimited number of reproductions can be made.

Hence it is also able to accommodate the viewer, to fit itself into the respective viewing situation and thereby free the image from the traditional, ritualized situation and make it (almost) arbitrarily available.

“In general terms, one can say that the reproduction technology released the reproduced from the realm of tradition. By duplicating the reproduction, it replaces its unique occurrence with numerous versions of the same. And by allowing the reproduction to accommodate the viewer in his/her respective situation, it actualizes the reproduction.” (Benjamin, Walter 1977).