Nel delineare i contorni della società dell’incertezza, Bauman ha centrato l’attenzione sul processo di deperibilità cui sono sottoposti non solo i retaggi simbolici e i paradigmi valoriali della società connessa, ma anche le pratiche di fruizione dei beni comuni che saturano le fenomenologie interazionali.
This paper aims at investigating the role that the theory of the technical reproducibility of the work of art proposed by Walter Benjamin had in the construction of the sociology of risk pursued by Ulrich Beck, with particular reference to the connection between cultural uncertainty, informative standardization and identity removal. The risk society looms as the result of the medial inflation of contents, images and information, bound to develop an hyper‐representation of the postmodern risks, interpreted by the actors in connection with the public ordeal. This kind of diffusion is tied to the technical reproducibility of the aesthetic experience, which determines the passing of the traditional values peculiar of the cultural heritage. This is one of the theoretical assumption of the sociology of risk drawn by Beck, who gives Benjamin the credit to have foreshadowed the connection between technical reproducibility of the collective meanings and the medial representation of the social risks, hanging between narration and uncertainty.