In 1922, thirteen years before Walter Benjamin famously analysed the role of art in the age of mechanical reproduction, Lazlo Moholy-Nagy argued in an essay titled Production-Reproduction that the new media designed for simply recording reality were in fact potentially extremely creative. Moholy-Nagy anticipated postmodern pastiche through media sampling and, unlike Benjamin, was less concerned about how art would be perceived through the influence of these media and more with how reality would be perceived now that its reproduction could also produce a reality of its own