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Ouvrage rare. Divisez en V. CORLIEU F. La Haye, Pierre Du Bois Toward the end of the book, three strips of film display the creation of motion through the representation of successive instants.

Vacillating between the two poles of instant and duration, the rhythm of paging through the book is jerky, caused by successive lags and restarts, drifts and commanding pulls, focusing, indifference, and refocusing.

Like contemporary experiments in nonnarrative, nonlinear cinema, the photographic sequence shows time and space fractured, warped, sped up, drawn out, multiplied, and externalized.

In his analysis, de Duve searches for photographic meaning beyond the semiotic, linguistic features by exploring the nature of our psychological response to the medium.

The experience of timelessness, of nonspace, that is associated with the photographic medium induces an uncontrollable, instinctual response.

Visual experiences encountered through photography that we are unable to recognize, discern, or process generate cognitive activity. Malerei Photographie Film can thus be understood as a photographic paradox itself, as an attempt to build a new form of communication and perception with what he also defines as inassimilable.

This new perceptual process is one of irreducibly mixed modalities, combining reading and seeing, as well as evoking other nonvisual components such as touch and sound.

It suggests we could hear the music as well as see the color yellow by reading the score. Determined by rhythmic patterns, these images were produced through cinematic projections, and the blurs and quivers were created through movement.

When photographed, these visual symphonies look like the photograms Moholy included in the book. The images from the reflective light play not only correspond to the space of film but are also meant to trigger acoustic sensations.

For Moholy, photography is a gateway into this trans-sensorial world. Color, motion, and rhythm are evoked through the purified realm of photography; a fluid relationship between the senses becomes possible through mechanical reproduction.

Despite the apparent obsolescence of books in the face of more modern forms of communication, Moholy employs the book-format as a site of dialectical tension designed to train the viewer to manage perceptual overstimulation.

Malerei Photographie Film stages the multimedia fragmentation of the modern city, yet the book also collects and cohesively synthesizes its overwhelming content, training the viewer to overcome it via a New Vision able to process it all simultaneously.

This hybrid form of perception is best described as scanning, for the term suggests the copresence of verbal information and visual images.

Scanning continually preoccupies the observer and provides no opportunity to process or reflect. Teaching Film und Foto Malerei Photographie Film established the photographic book as a way to define practices of modern vision and to train its audience to engage with these practices.

Discussions of New Vision photography in the Weimar Republic used Malerei Photographie Film as a pedagogical model. One such discussion materialized as Film und Foto, an ambitiously large exhibition organized by the German Werkbund.

The German Werkbund has assembled this exhibition in order to show these new possibilities of photography. This is the reason for the astounding fact that apparently pure, mechanical photography has become the Kunstwollen of the time.

By demonstrating how photography could generate modern vision, Malerie Photographie Film underscored these art historical claims.

Unmounted and unframed, prints were affixed to the walls with nails. One purpose of the exhibition, then, was to instruct its audience in an art historical lesson: photography embodied a specific way of seeing that was associated with modern life.

Although the Werkbund supported and advertised the publication of all three books as part of the exhibition, their relationship to FiFo is difficult to categorize.

Like Malerei Photographie Film, all three resist description as a particular type of publication, functioning as extended exhibition catalogs, didactic primers, and informative pamphlets.

Despite their supplementary relationship to FiFo, they serve as valuable record of the content and theoretical approach of the exhibition.

Printed with a soft cover and using a technique common for brochures, Roh and Tschichold attempted to make the book accessible to a broad audience.

The decision to translate the text no doubt reflects the international audience of FiFo and the photobooks associated with it. Yet, the repetition of text also draws attention to the limitations of language, which supposedly contrasts with the efficiency and universal comprehensibility of photographic images.

He then interprets these images metaphorically, as subtly construed symbols of Weimar society as a sinking ship. From a twenty-first century perspective, it is tempting to read the book as a statement that anticipates the eventual demise of the Weimar Republic.

The violent content of several photographs in the book is difficult to avoid. Toward the end of the book, a photograph from the central police office in Stuttgart of a brutal murder appears beside an image of a dead horse lying in the ruins of a damaged bridge.

In addition to the few images of water, Jennings selects photographs such as these to support his reading of the book as modernist critique.

A photograph of a reflective glass ball is as prominent as the more chilling images of murder that follow. Photographs are printed on the recto and verso of each page, creating pairs of images as well as an unbroken progression of photographs.

Certain pairs of photographs demonstrate the ability of cinematic montage to create meaning through association. The scattering of people enjoying a day at the beach in photograph 12 rhymes visually with the close-up of a card catalog in photograph These pairings demonstrate ways of constructing meaning that are based on montage, considered to be one of the definitive characteristics of photographic and cinematic meaning.

Other pairs in the book have much less in common, formally or thematically. A photograph of a street drain in Paris by Moholy is followed by a photomontage prospectus, an aerial photograph of dikes along a beach, and a portrait by Edward Weston.

Roh and Tschichold. It serves as a deliberately thorough catalog of the visual potential of photography, yet does not provide a sustained narrative or social critique.

The layouts of Filmgegner von heute, Filmfreunde von morgen and Es kommt der neue Fotograf! While the photographic sequence in Foto-Auge unfolds without interruption by text, these two books instruct through an integrated dialog between text and photographs.

These two books were often advertised and discussed as a related set in Die Form and other journals, testifying to their shared approach to teaching an audience how to see photographically.

But it also announces itself as an instructional manual for viewer as much as producer of photographs.

Daniel Magilow acknowledges the status of Es kommt der neue Fotograf! In this way, its function as a training manual underscores the status of the photographic book as being born from a moment of transition.

The interaction between text and photo unfolds like an instructional slide show. The text directs the viewer to how they are supposed to see the photographs.

Then, the book turns to other photographs that break these painterly compositional rules, pointing to the ability of the camera to expand human vision.

This is without doubt a very nice image. For example, you want to show what the worker himself sees while working.

In this way, Es kommt der neue Fotograf! Photography is declared to be the fundamental communicative building block of the modern future.

Yet throughout these books, the meaning of photographs is determined by accompanying text. For example, the photograph on page 86 by Sasha Stone shows a figure splashing into the water at the end of a slide.

If photography is the new alphabet as Moholy declared, then these photographic books do not manage to demonstrate the autonomy of photographic meaning.

The format of Es kommt der neue Fotograf! Es kommt der neue Fotograf! The language of photography is not immediately comprehensible and universal, it would seem.

Rather, it must be learned. And acquiring this new language depends on textual guidance, thus producing the media multilingualism of the Weimar present.

In the forward, Richter notes the difficulty of demonstrating the potential of film within the space of the book. However, Richter explains the filmstrips reproduced in the book attempt to show what the public audience for film normally overlooks: cinematic motion is produced through the rapid succession of individual, still frames.

While the photographs show films broken down into still frames, the text asks the audience to imagine how they might produce motion.

Text and image work together to reveal various tricks and techniques of film, thereby sharpening the eye of its audience. On page 21, five cinematic shots of the same actor at different camera angles are arranged vertically along the page.

Each shot is accompanied by a phrase that describes the angle from which it was taken. This layout emphasizes a dialog between text and image.

Like in Es kommt der neue Fotograf! From its title, one might expect Film und Foto to have defined a relationship between the two modern media. However, the exhibition seems to have failed to foster such a discussion.

Few critics attempted to define connections between the film program and the photographic exhibition. Looking back on FiFo in Stuttgart, the art historian Walter Riezler, editor of Die Form, admitted the film program was somewhat isolated from the rest of the exhibition.

Apparently without a clear aim, or a system according to the material, and without being convincing.

By examining the convergence of still photography and cinematic motion, it demonstrates the formal connection between the two media.

They also provided a space between still photography and cinematic motion that attempted to train their audience to visually and cognitively process these modern media more effectively.

These aspects of the photographic book are worth pursuing further by returning to the final section of Malerei Photographie Film. Photography is the visual presentation of what can be optically apprehended.

Typophoto is the visually most exact rendering of communication. The typophoto regulates the new tempo of the new visual literature.

It consists of a combination of photographic and typographic material that appears as much like a Constructivist poem as a filmscript.

The organization of the filmscript into sections divided by black lines evokes the space of the newspaper. Due to the gridded format of this film, the black lines also suggest a map-like coordination of streets.

Instead, they fall short, indicating their status as dynamic parts of the design rather than stagnant boundaries around the images and text.

Arrows, traffic indicators, and train signals accompany these lines, leading our eyes to various attractions and evoking the visual stimulus of the modern city.

Although these road signs point us to photographs and words on which our visual attention should be focused, we are guided around in no particular order, all at once to everywhere.

Pithy words are used in the script to give direction or to describe a scene. No longer serving as the primary carrier of meaning, the text adds to the cacophony of the page and the effect of simultaneity.

Page shows a caged tiger at the top of the column on the left side of the page. The public already begins to get used to the shocks and illogic.

When the audience grows accustomed to the uncomfortable tension conveyed through the image of the caged tiger, the motif is no longer effective. Sausage machine.

Thousands of sausages. TEMPO-o-O Police with rubber baton at Potsdamer Platz. The BATON close-up. The theater audience. The head of the lion becomes increasingly larger until finally its enormous maw fills the screen.

The theater audience is cheerful and STILL the HEAD comes! And so forth. The script that Moholy includes in Malerei Photographie Film describes what the film would have looked like if it had been produced.

But Moholy explains how scarce financial support prevented the production of the film. In other words, the filmscript prompts viewers to enact the film version in their minds.

Through the combination of text and image, the film encourages viewers to complete it. The text compensates for the stillness of the images by telling the reader what the effects would be on the screen.

It attempts to animate the images and thereby draws attention to the gap between still photography and cinematic motion that must be bridged in the mind.

However, the produced film is in no way left up to the imagination of the viewer. Given his belief in the objectivity and commensurability of the cognitive effects that photography can produce, Moholy assumes all viewers will produce the same film.

Malcolm Turvey, for example, has discussed the differences between the sequential nature of film, in which images change over time, and the simultaneity of stimulus in a modern environment like the urban street.

Yet as a hybrid product of a moment of media transition, the photographic book manages to re-create the copresence of visual material associated with modernity and to explore the distracted mode of perception known as modern vision.

Unlike film, the photographic book can potentially approximate the distractive experience of modern vision because of the copresence of material on a single page.

But he also conceded his own journal was intoxicated with the subject. To be honest, by now we almost regret it. The critic F. In fact, it is already here.

It is not difficult to photograph parts of architecture, lively streets and squares, parts of plants, glasses and bottles, gramophones and typewriters or any other objects in a prescribed manner.

Even the photographer Albert Renger-Patzsch critiqued the blind euphoria over photography. The recipe for success: shoot from above or below.

Enormous enlargements or reductions, the trash can as the most satisfying motif. Send negative prints to the press, the monster eats everything.

Although his distaste for FiFo might reflect his disappointment at being overlooked for inclusion in such an important exhibition, his comments nonetheless express a desire to separate his work from an allconsuming, injudicious craze for photography.

Between and , German currency depreciated from 4. This economic crisis had a traumatic effect on the German psyche for years to come. In other words, a belief in the underlying unity and order of modern society had been severely compromised.

Discussions of photo-inflation would have triggered a very real sense of fear and anxiety associated with the instability of German currency.

As the comments quoted above indicate, photography critics invoked economic inflation to refer to an overwhelming quantity of reproductions as well as an inflated importance placed on objects reproduced.

Rather than limiting abstraction to a formalist sense, nonrepresentational or without referent, abstraction becomes a social process under these conditions.

The link between money and photography arises from this process of abstraction. After all, photography is one of the primary ways in which meaning is circulated, reified, and abstracted in the modern world.

After a brief introduction by the art historian Carl Georg Heise, the photographs unfold on the recto of each page. The book features a variety of angles and distances between the camera and the objects photographed.

Its one hundred photographs are organized into eight categories so viewers can visually explore the world through small, coherent portions.

The verso of each page is blank, which allows each photograph a generous and tranquil space within the book and creates a slow and steady pace.

Such references and overlaps suggest a particularly strong relationship between these two books. Renger supplied photographs for many volumes in which his authorship disappeared behind a purpose to communicate with a mass audience.

Munich: Kurt Wolff, , From the Walter Havighurst Special Collections, Miami University Libraries, Oxford, Ohio. Nave Vaulting in Ernst Trimm, ed.

Berlin: Ernst Wasmuth, , 8. Publishers also solicited image submissions from their audience. Indeed, book series promised quantity and visual stimulation, often promoting euphoria for the very idea of a collection of photographs rather than a focused argument or narrative.

I tried to connect quantity to quality, something I was never able to manage. The museums in which I worked for the publisher soon locked their doors to us since, within a few weeks, the material which had for centuries slumbered so peacefully in them had taken on the form of books which people snatched out of our hands, but which, in the opinion of the guardians of these public, state-owned treasures, were not desirable nourishment for intellectually and artistically interested people.

However, I want to recover here how the book establishes Renger as a photographer by presenting a visual approach to making meaning. The photographs present evidence for an underlying unity between nature and culture.

The book is primarily about Renger as a photographer and the cognitive potential of the visual experience he provides.

The book separates the photographs from their original, commercial context and defines Renger as a photographer-artist. But the book does not escape the principles of capitalist production and circulation so easily.

Heise reinvents Renger as an artist, an identity easily marketed and fetishized for potential consumers. The notion of photographer-artist thus plays an ambivalent role.

But it also unifies the images under this familiar identity to package the book as a product for a mass audience. It would be a scandal if RengerPatzsch had to force his populism into publications for bibliophiles.

In his introduction to the book, Heise noted its potential to unify its audience and serve as an agent of social harmony.

Only a feel for it must be awakened. It is as if we learn to see things anew and more deeply. The value of this publication, which exposes the eye to undiscovered places, lies in its intelligibility to all.

How rarely polytheistic, how god-less and full of God these images are! And it is thus beautiful. Therefore, the book conflates an omniscient perspective with the particular circumstances of a modern, industrial nation.

Heise asserted a great deal of authorial command over the project. Heise approached this project as a curator, selecting, organizing, and arranging an exhibition in the form of a photographic book.

The book manages to suggest it has a unique value to society that distinguishes it from other photographic publications while also taking advantage of the growing prevalence of photography in mass culture.

Moreover, these formal features arise across categories, uniting plants with technology and landscapes with architecture, to produce a depiction of the world as unified beneath its endless variety.

These spirals can also be compared to other circular forms in the book, such as the rims and reflections of glassware, the cups in a box of paints, a coffee mug photographed from above plate 53 , and a pool of mud at a blast-furnace factory plate Associative threads bind together the pictures of the book, creating a sense of common structure among diverse objects.

The photographs direct us toward these shared elements and away from details that might distract the viewer from unifying common forms.

The result is a photographic book that claims to reveal an abstract structure shared by objects as different as a bunch of grapes and bundles of socks, railroad tracks and a church tower.

They provide a homogenous space in which the photographed objects can be systematically compared.

The book collects images representing a broad range of time from medieval architecture to industrial smokestacks and space from a Somali child to a German woman and presents them as interlocking parts of a monolithic world.

One object with a circular structure equals another with a similar structure, for example. The book positions the photographs in a network of exchange that determines their value.

These categories help emphasize the type over the individual and encourage connections among photographs in the group. He discusses each section separately in his introduction, but there are no breaks to mark the end of one category and the beginning of another in the photographic sequence.

The transition from plants to animals and people at the beginning of the book is apparent enough, yet the criteria of these categorical divisions become increasingly more fluid.

Why, for example, is an agave plant particularly symbolic? Renger has photographed these plants from a close range, isolating them from any context and emphasizing their status as abstract forms.

Set against a black background, a cluster of repeated, conical forms falls down the center of the page. This photograph also displays a simple, geometrical form repeated multiple times.

Four petals of a similar size are flattened out into an abstract pattern. The next image, which focuses on the fluffy poof of a georgina, switches back to the tangible sense of depth and volume seen in the first.

The first three images focus on centralized or circular patterns. This first section exposes its audience to a variety of textures and surfaces, yet several motifs unite the group.

Many photographs show some sort of serial pattern of growth, in which petals, leaves, sprouts, or needles are repeated. To accent these patterns, Renger often photographed the plants from uncommon angles.

The composition of the photograph brings out an underlying symmetry in the plant. On the next page, we see a Brazilian melon tree from below.

The trunk of the tree begins in the lower right of the photograph and its branches spread across the page.

These two images are paired as radial forms. In both, leaves or branches extend from a centralized point. Yet, they also refer to other photographs in the group.

The flattened, frontal depiction of the umbrella plant recalls earlier photographs in the sequence in which flowers and plants radiate out from the center and evenly across the picture plane.

These photographic techniques emphasize rational organizational principles that transform the plants into abstract patterns.

Heise goes on to define a kind of occupational ethics for photographers, which is based on fidelity to the world around them.

Plants are characterized and never abused as complacent playthings. Heise had been a fervent supporter of Expressionism in the s, but he had grown frustrated with the increasing rift between art and the public sphere.

Circles of art historians, architects, and applied artists turned to the writings of Viennese art historian Alois Riegl and his concept of Kunstwollen in the mid- to lates to address this challenge.

Heise concludes his introduction by announcing a great need for the revelation of unifying forms, claiming a spiritual unification among objects was being threatened by the distractions and fragmentation of modern life.

We must not forget that the laws of nature and life themselves carry certain symbolic power for each appearance. The work of the photographer does not create the symbol, but only makes it visible!

But guidance towards independent seeing, towards strengthening our sense of the reflection of the universe in single objects of creation, these alone are valuable services that today can hardly be overestimated.

As the powerful symbols of our forefathers begin to fade away from us, it is of the greatest importance that we slowly learn to recognize inexhaustible life in all its parts as new symbols.

But what photography can do is locate the symbolic forms appropriate for the current age and restore an ability to identify these forms visually.

For Heise, the unity that results symbolizes an integrated, stable culture, and the aesthetic evidence of a world free of alienation. Log into your account.

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Seven Principles Köln
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Seven Principles Köln
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