Original Vinyl Only! Records, Touch, Auras, and the Past

Abstract

Touch has recently gained attention in aesthetics. Carolyn Korsmeyer argues that touchable artefacts offer valuable aesthetic encounters with genuineness, rarity, and connection to the past. She employs Walter Benjamin’s argument that a unique work has an authenticity and aura that copies cannot have. Yet Benjamin undermines his own argument in another essay on the aesthetic value of collecting books, surely products of mechanical reproduction. This reintroduces questions concerning whether copies can have auras and if they involve a sense of touch relevant to aesthetic appreciation. I argue that vinyl records are copies that can have auras and better demonstrate the aesthetic value of touch because they require it, unlike Korsmeyer’s examples. Records can have auras in three senses: collections can be unique, they can have cult value, and records in play have a ‘surrounding glow’. The aesthetic value of touch, aura, and connection to the past is revealed by situating records within a practice of collecting and the material relationship between collector and collection.