Abstract
A revival of Benjamin’s writings on technique should take on the task of interrogating the relationship they establish with his peculiar research method and his philosophy in general. The essay we present aims to show how much the historical occasion of technical reproducibility simultaneously makes possible an archaeology of the modern. The technical becoming of the arts makes readable fundamental concepts of aesthetics, which in the new historical determination are arranged in new configurations. The understanding of the present moves still within these coordinates that therefore must be analyzed in their origin.