Monday, March 22, 2010

#32

From Samuel Smiles, The Lives of the Engineers: Boulton and Watt (1904)














To the close of his life, Watt continued to take great pleasure in inventing. It had been the pursuit of his life, and in old age it became his hobby. "Without a hobby-horse," said he, "what is life?" He proceeded to verify his old experiments, and to live over again the history of his inventions. When Mr. Kennedy of Manchester asked him, at one of his last visits to Heathfield, if he had been able, since his retirement from business, to discover anything new in the steam-engine, he replied, "No; I am devoting the remainder of my life to perfect its details, and to ascertain whether in any respect I have been wrong."

But he did not merely confine himself to verifying his old inventions. He also contrived new ones. One of the machines that occupied his leisure hours for many years was his machine for copying statuary. We find him busy with it in 1810, and he was still working upon it in the year of his death, nearly ten years later. The principle of the machine was to make a cutting tool or drill travel over the work to be executed, in like ratio with the motion of a guide-point placed upon the bust to be copied. It worked, as it were, with two hands; the one feeling the pattern, the other cutting the material into the required form. The object could be copied either of the full size, or reduced with the most perfect accuracy to any less size that might be required. In preparing the necessary tools, Watt had the able assistance of his friend Murdock, who was always ready with his kindly suggestions and criticisms. In January, 1813, Watt wrote to him,—"I have done a little figure of a boy lying down and holding out one arm, very successfully; and another boy, about six inches high, naked, and holding out both his hands, his legs also being separate. But I have been principally employed in making drawings for a complete machine, all in iron, which has been a very serious job, as invention goes on very slowly with me now. When you come home, I shall thank you for your criticisms and assistance."

The material in which Watt executed his copies of statuary were various,—marble, jet, alabaster, ivory, plaster of Paris, and mahogany. Some of the specimens we have seen at Heathfield are of exquisite accuracy and finish, and show that he must have brought his copying-machine to a remarkable degree of perfection before he died. There are numerous copies of medallions of his friends,—of Dr. Black, De Luc, and Dr. Priestley; but the finest of all is a reduced bust of himself, being an exact copy of Chantrey's original plaster-cast. The head and neck are beautifully finished, but there the work has stopped, for the upper part of the chest is still in the rough. Another exquisite work, than which Watt never executed a finer, is a medallion of Locke in ivory, marked "January, 1812." There are numerous other busts, statuettes, medallions,—some finished, others half-executed, and apparently thrown aside, as if the workman had been dissatisfied with his work, and waited, perhaps, until he had introduced some new improvement in his machine.

Watt took out no patent for the invention, which he pursued, as he said, merely as "a mental and bodily exercise." Neither did he publish it, but went on working at it for several years before his intentions to construct such a machine had become known. When he had made considerable progress with it, he learned, to his surprise, that a Mr. Hawkins, an ingenious person in the neighbourhood, had been long occupied in the same pursuit. The proposal was then made to him that the two inventors should combine their talents and secure the invention by taking out a joint patent. But Watt had already been too much worried by patents to venture on taking out another at his advanced age. He preferred prosecuting the invention at his leisure merely as an amusement; and the project of taking out a patent for it was accordingly abandoned. It may not be generally known that this ingenious invention of Watt has since been revived, and applied, with sundry modifications, by our cousins across the Atlantic, in fashioning wood and iron in various forms; and powerful copying-machines are now in regular use in the Government works at Enfield, where they are employed in rapidly, accurately, and cheaply manufacturing gun-stocks!

Monday, March 15, 2010

#31

Egypt <--> America
Emergence of "world style":
"To-day we no longer see 'Europe' but 'the World.' And we see also what is called 'world style'; and begin to suspect that neither to-day nor in ancient times is a world style possible which does not contain a large share of what we with our limited European outlook have hitherto in our superior manner dismissed as Americanism." (x)

Egypt as oasis

Kultur vs. Zivilisation -- Egyptians had no Kultur, only hyper-refined Zivilisation: Kunstformung des Daseins (trans as "artificiality of existence")

No warrior spirit; no Eros, only sexuality (perversity)

Technicity required to channel destructive force of Nile floods: "The Egyptian converts the catastrophic phenomenon of the inundations into an element of the highest fertility in just the same manner as a modern motor-engineer utilizes his explosions so as to convert them by clever calculation into highly advantageous power-producers. In both instances the decisive fact is the control of natural forces which are in their origin destructive. [...] Hydrometers, canals, dykes, and dams had to be devised by an ant-like intelligence in order to transform the destructive power of the elements into a utilitarian process of civilization. Egyptian fertility is unthinkable apart from a high degree of technical development." (5)

Egyptians may have overseen great advances in technology, but they did not use machines technologically in the strict sense of the term since the purpose of mechanical experimentation was spelled out in advance. Interesting, then, that in the 20s the Esprit Nouveau group, Corbusier in particular, advocated for a return to problems-based technicity (the problem must be stated in advance), as opposed to the non-teleological mode of scientific experimentation characteristic of technē in the Heideggerian sense of the term.

timelessness, fatelessness, no internal history (no personalities), only exterior (history of events) -- Erman-Ranke, Ägypten

infinite time -- but what about Egyptian space? (Cassirer?)

unsynthesized heterogeneity of religious cults: "The spectator of the Egyptian pantheon finds himself set down in a religious museum in which numerous but heterogeneous religious treasures have been gathered together and are kept under the charge of priestly officials. The impression grows ever stronger that these officials are absolutely unwilling to take upon themselves the task of bringing these treasures into intelligent association with one another. They are satisfied with putting them in superficial proximity to one another, and find in this nothing whatever to take offence at..." (13)

American architecture: "Here again we may cite for comparison America, where, for example, in architecture (in so far as it has grown out of American actualities, as in industrial buildings, factories, and grain-elevators, and does not appear in the dress of imitation European styles as a cosmopolitan cultured language devoid of character), a greatness and decisiveness of practical construction has been developed which is artistically of the highest value, and has rightly become the standard for the architecture of the new Europe, that is, of Europe under limitations which are no longer historical but technical." (23)
Who does Worringer have in mind? Which architects -- FLW? Plate 10, Model for the Central Aerodrome in Berlin by H. Koshina

Wednesday, March 3, 2010

whitney reading

wed 3/3 Riegl -- in Vienna School reader, review notes etc. Begin Cassirer
thu 3/4 on strike
fri 3/5 Cassirer
sat 3/6 Heidegger -- Being and Time intro
sun 3/7 Panofsky, Perspective as Symbolic Form, Novotny on Cezanne
mon 3/8 Warburg review (read Phillipe-Alain Michaud's book)
tue 3/9 Worringer, Fry on Cezanne
wed 3/10 Heinrich Rickert, Sedlmayr (Quintessence and Rigorous Study)
thu 3/11 Schafer, Principles of Egyptian Art, Worringer Egyptian Art
fri 3/12 Panofsky, "Problem of Meaning in the Visual Arts" find 1932 version
sat 3/13 Husserl Cartesian Meditations
sun 3/14 Wittgenstein, Remarks on the Philosophy of Psychology, mid '30s
mon 3/15 Lacan, Mirror Stage and Rome Discourse
tue 3/16 Meyer Schapiro
wed 3/17 Edgar Wind, Friedrich Matz
thur 3/18 Freud and Jung?
fri 3/19 Arnheim, Film as Art
sat 3/20 Damisch On Perspective
sun 3/21 Summers