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Hausmann, Spirit of the Age: Mechanical Head

Raoul Hausmann, Spirit of the Age: Mechanical Head, 1919, wooden mannequin head with attached objects, 32.5 x 21 x 20 cm (Centre Pompidou, Musée National d’Art Moderne, Paris) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

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  • piceratops ultimate style avatar for user ∫∫ Greg Boyle  dG dB
    I wonder if the '22' label on the forehead of the figure inspired the phrase Catch-22 from Joseph Heller's novel of the same name. Did anyone else see this parallel?
    (2 votes)
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    • aqualine tree style avatar for user David Alexander
      As for the origin of the 22 in title of "Catch 22": The title is a reference to a fictional bureaucratic stipulation which embodies forms of illogical and immoral reasoning.[ Podgorski, Daniel (27 October 2015). "Rocks and Hard Places Galore: The Bureaucratic Appropriation of War in Joseph Heller's Catch-22". The Gemsbok. Your Tuesday Tome] The opening chapter of the novel was originally published in New World Writing as Catch-18 in 1955, but Heller's agent, Candida Donadio, requested that he change the title of the novel, so it would not be confused with another recently published World War II novel, Leon Uris's Mila 18.[ Eller, Jonathan R. (October 1992). "Catching a Market: The Publishing History of Catch-22"]

      As for anyone else seeing the parallel: Maybe someone else did, but I didn't.
      (0 votes)
  • leaf grey style avatar for user Edward M. Van Court
    If I understand Hausmann's biography correctly, he didn't see combat. I have to wonder if 'survivor guilt' was an element in this piece.
    (1 vote)
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Video transcript

(Classical music) - We're in the Pompidou Center in Paris, looking at a sculpture from 1919 by Raoul Hausmann, 'Spirit of the age', 'Mechanical Head'. - This looks so familiar to us, the idea of merging our bodies with technology, that it may be hard to recapture how this appeared in 1919. - In the immediate aftermath of a terrible tragedy, The First World War, The Great War had just ended. Germany was defeated, but it wasn't just a military loss. So much of the adult population had seen death firsthand. - And even people who hadn't been in the war itself were faced with people coming back from the war who were maimed, who were scarred. - And this was a war where technology played a enormous role from the use of tanks and machine guns to mustard gas. - The movement that emerged in Europe during and after the war, 'Dada', is a direct response to the insanity of the war itself. A reckoning with the confidence before the war, that humanity could never engage in such brutality. In the 19th Century there was a sense that things would get better because of technology. - There had been this idea that culture was progressive, that science, the rational was in a way our savior. - And governments too. The idea of governnment creating the greatest happiness for the greatest number of people. The rise of democracy. These were seen as positive developments that would elevate mankind. - But that idea was envanished in the wake of the First World War. The war was seen as pointless, as absurd, having had no practical value, where governments disposed of people as if they were pawns. - And Berlin was one the important centers of the Data movement, with this interest on the irrational, the senselessness of life in the wake of World War One. - And Raoul Hausmann was one of the leaders of Berlin Data. And this is his most well known work. We see a head, but it's not a head that he carved. Its the head of mannequin, perhaps a dummy that would have been used for a wig or in a tailor shop. It has a blank stare, and that blankness almost feels militaristic, as if we're looking at a soldier at attention. - It has a sense of being one of many, like soldiers all wearing the same uniform. - But here instead of wearing a uniform, he has a series of objects attached to his head, that look as if he's not wearing them, so much as they are part of him. - There's a screw on one side and a nail on the other that reminds me at least of the wounds of the crucifixion. - But also remind me of Frankenstein. Of the uneasy relationship between the human body and technology, going back to the late 18th Century, the beginning of the industry revolution. - So we have mechanical appendages here, for the ears. - On one side, dials perhaps from a camera. On the other, a type cylinder. - And that type cylinder is in a lovely little case, but on each side these forms really do look ear-like, and yet they're mechanical. - And I can't help but think that the artist was thinking about typewriters and cameras. That media is somehow being placed directly into the mind. - Without forethought, without any kind of intervention of the soul of individuality. - Look how blank he is. There is no soul that's presented here. - And today it's impossible not to think about the power of social media on our perceptions and how we view the world. My favorite part is the empty cup that acts like a little bowl or hat. - It's right at the top of the skull, and engraved on it is a little heart, the only sense of humanity, playfully represented here. - And on something that is collapsible, as though the human heart were something that you could replace with mechanization. - And that cup is just a simple piece on inexpensive tin. Stretched across the forehead is a segment of a tape measure. And on the right is a ruler. All these references to man's supposed control of nature, is an expression of just how displaced that hope had become in 1919. - And the number 22 attached right on the forehead, in between that tape measure, and what looked like the gears of a clock, give us a sense that we're not looking at an individual. - But a number. - And on the back of the head we see a wallet made out of crocodile skin, so you have this sense that part of what controls the mind too is money. - And Data artists were commonly inditing modern capitalism as a driving force in the violence of the war and the corruption of German society, of European society more broadly. - And so we have here this image that speaks to our modern discomfort with the technologies that we're created, and the potential harm and dehumanization of the those technologies. - With a kind of absurdist visual language. - And that was very typical of Data - this interest in the absurd, the irrational. - This sculpture and the very name Data references nonsense and is meant to be a counterweight to our reliance on irrationality which in 1919 had clearly failed. (classical music)