Following these readings, the Buddhist doctrine of "no-self" comes to mind. The concept suggests that humans are composed of various factors in constant flux, never in a permanent state. Our pursuit of a permanent self, a form of preservation or conservatism, ultimately leads to suffering. Similarly, an underlying theme that emerges is the concept of conservatism and its influence on the perspectives of the authors reviewed this week. Conservatism often emphasizes preserving traditional values, institutions, and societal structures, which may affect how these writers perceive and interpret art, film, or beauty. When a work evolves, we may find the essence, or the aura, no longer aligns with the creator's intention.

In "Ways of Seeing, Episode 1," around 4:35,  the paintings portrayed in the episode were initially part of a building, such as a church, and everything surrounding the painting contributes to its meaning. The paintings portrayed in this episode served as a tool for the intentional theatrics of the Catholic Church, manipulating viewers towards prescribed meanings. Historically, the Church fears relativism, as it allows viewers to apply their meanings to the work. This conservation runs deep in our Western values and frameworks. 

In Edmund Burke's "A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful," conservatism significantly influences aesthetic theory. Burke associates the sublime with terror and astonishment, aligning with a worldview that values stability and order. The sublime reinforces the importance of respecting authority and tradition over the unknown or overwhelming.

Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction" reflects conservatism in his critique of modern and technological advancements. Benjamin mourns the loss of aura in reproduced art forms, arguing that mechanical reproduction strips artworks of authenticity and uniqueness, reflecting a conservative inclination to uphold traditional art forms.

Regarding Pirandello's exploration of the film actor's experience, a conservative perspective emerges on preserving individual identity and authenticity. Pirandello highlights the tension between the stage and screen, leaning towards maintaining the integrity of the actor's craft against technological innovation. The appreciation for traditional forms of beauty and preference for gradual, nuanced presentations reflects a conservative sensibility that values time-honored aesthetics and resists radical change.

In summary, conservatism permeates the various texts and discussions, informing the authors' perspectives on art, technology, and human experience. By acknowledging conservatism's role, we gain a deeper understanding of the interplay between tradition and innovation in cultural discourse and societal values.  

Finally, I contemplate whether it's not a lack of metaphysical aura that is destroyed in the relocation or replication of the art but rather the viewer's responsibility to come to the works with an open mind and, if possible, bring an understanding of the original intentions of the work. The work is not "there." There is "no self" to the replicated artwork any longer; instead, a new iteration emerges that can have an equal impact through a viewer's lens.