Glasarkitektur reflected in War

“German Expressionist writer Paul Scheerbart (1863–1914) articulated his convictions on the power of architectural construction and its relationship to the modern world in his final fictional narrative of 1914 entitled Das graue Tuch und zehn Prozent Weiß. Ein Damenroman [The GrayCloth and Ten Percent White. A Ladies Novel].” ([1])

In September 1909 spectators at the first International Aviation Exhibition (ILA) in Frankfurt, were enraptured by a display of the German version of an aircraft by the Wright brothers, the rights of which were bought by the German Flugmaschine Wright GMBH.[2] This event roused Paul Scheerbart and it resulted in his ‘pacifist tract’: The Development of Aerial Militarism and the Demobilisation of European Ground Forces, Fortresses and Naval Fleets.[3] Scheerbart’s disposition was hardly surprising in light of the umpteen peace conferences hosted in the first half of nineteenth century, which temporarily revved public passions.[4] Rosemarie Haag Bletter underlines Scheerbart’s concerns about war[5] as discernible in his  short stories, for example, ‘Transportable Cities’, and ‘Dynamite War’, writing: Continue reading “Glasarkitektur reflected in War”

Seeing Through Light

Summarising: Alice Barnaby, Light Touches: Cultural Practices of Illumination, 1800-1900

Barnaby departs from Jonathan Crary’s ‘landmark study’ Techniques of the Observer: On Visions and Modernity in the Nineteenth Century. She states that Crary’s description of the changes in techniques of viewing from the Renaissance to the nineteenth-century propounds that as optics developed, it constructed and rationalised vision as something that was ‘calculable and exchangeable’ and that ‘from these practices the modern, fragmented, alien subject is born’. While she finds his argument persuasive, she disagrees with it: she argues that the instruments of optics, with their focus on light did not construct a passive observer who was controlled by predetermined visual effects. On the contrary, she argues, that light, embodied vision. She faults Cracy’s singularly-focused Foucauldian method that views all objects and systems as an interconnected network of power relations that negates the role and agency of the subject and instead, she studies optical devices for the pleasure and the playfulness they elicited, to augment an understanding of the nature of subjection and the role and agency of the subject in it.

Continue reading “Seeing Through Light”