Idea: There is a connection between Heidegger and Walter Benjamin, but not in the way you would think. For Heidegger there is an orientation of Dasein that is being-towards-death, with death being a loss of intelligibility and an inability for the categories of understanding or mood to make sense in the dead life. The risk of death is losing the connection of certain concepts or activities in Dasein and its location within the world in space and time. Essentially, the divorce of for example "a meal" with its assemblage of associated activities, like eating with community, eating with conversations of work and family and these other things that sustain meals as what they are for modern life. It would then be so that art retains the same proximity to cultural associations and these are the forms in which Dasein makes sense of that art.

However, for Benjamin there lacks any way to make sense of art in these confined cultural sites in the age of mechanical reproduction because art no longer is confined to the authenticity of a given cultural prayer-space and epoch. It has lost this, and with it the cultural rituals of prayer and sacrifice that came with the nonreproducible temple or frescos. Thus there is a sort of death that occurs in the divorce of art from its "workshop" of concepts that art relies on to give it context and definition. In the work "Radical Hope" by Jonathan Lear, he talks about the cultural death of the Crow Indians and their attempt to reclaim their life after death (the death that occurred by being put on a reservation and losing many of their foundational cultural concepts) by rediscovering and preserving the things most foundational to them that can still be carried on even on a reservation.

However, for art the manner of recovering from death is different. Death is an utter nullity in which art can no longer escape mechanical reproduction. Rather, the way in which "life after death" would take place is not the attempt to save authenticity, which is lost, but to take the lack of authenticity and employ that to reach a wider and more uniform spread of art where the context is not as understood locatively. There is a propagandist element to this modern form of art which is taken.

This as well

https://www.theguardian.com/news/2018/apr/20/yanis-varoufakis-marx-crisis-communist-manifesto

This is a pretty interesting article

https://youtu.be/s0IG4jREsvs