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Kleist and the Space of Collapse

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Kleist and the Space of Collapse KLEIST AND THE SPACE OF COLLAPSE Jane Madsen PhD Bartlett School of Architecture University College London I, Jane Louise Madsen confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Abstract In 1800 the writer Heinrich von Kleist observed that an arch remains standing because its stones all want to collapse at the same time. Rather than being an empirical observation, Kleist’s proposition of the collapsing arch as a material object made from cut stone which constructs space, inadvertently became a poetic, and a trope for his later work as it contained the possibility of its own disruption and demise. After reading Kant’s critical philosophy Kleist made a traumatic transition from empirical to critical thinking. Kleist represented the potential for collapse through the application of Kant’s premise of uncertainty and in the unknowability of truth. This thesis is practice-based and interdisciplinary. Novalis’s poetic, multi- disciplinary, experimental writing is referenced. The central inquiry theorises collapse, uncertainty and experimentation through philosophical, historical, material, architectural and conceptual thinking and in film and video making as experimental practice. Through making 16mm films, videos and still photography I explored and demonstrated collapse on the island of Portland in Dorset, as an uncertain landscape where quarrying and landslips have rendered much of the island as a space that can be viewed as one of collapse. Portland is a site where material histories of place and histories of material in turn can be traced on to the constructed, empty spaces as a disrupted landscape of collapse. The quality of uncertainty pervades the island. With reference to Kant, the first chapter analyses Kleist’s letter about the collapsing arch as a material object and as epistolary philosophy. The second chapter closely examines collapse as architectural, social, material, territorial and spatial in two of Kleist’s stories and his compulsion towards the abyss. The third chapter on materiality and collapse at Portland leads back to eighteenth century theories of the earth, histories of geology and architecture, and the use of stone. In the fourth chapter the film and video as situated practice synthesize experimental thinking and practice as a poetic of collapse. The exploration and experimentation with the concept of collapse in theory and practice aims to demonstrate that collapse as imminence – potential and actual – is internal and external, and that uncertainty creates the conditions of collapse in time and space. 3 Contents Abstract 3 List of Figures 6 Aknowledgments 8 Introduction 10 1. Collapse: uncertainty and experimentation 12 2. Experiment: poetics 18 3. Forms of Collapse 28 4. Chapter Overview 34 Chapter One 37 The collapse of certainty and the geometry of collapse 1. The arch letter and epistolary space 38 2. Kleist and the collapse of empiricism 53 3. Kant and the geometry of the arch 68 Chapter Two 78 Collapse: as architecture, as contested territory, as abyss Part 1 – Collapse as architecture 1. Earthquake and the architecture of collapse 78 2. Kant’s pre-critical phase as method 84 3. Collapse and Das Erdbeben in Chili 89 4. Internal, social and moral collapse 100 Part 2 – Collapse as contested territory 1. The threshold: borders and spatial collapse in Michael Kohlhaas 104 2. The collapse of certainty: jurisdiction and geography 111 3. Law, society and the citizen 117 Part 3 – Collapse and the space of the abyss 1. Space and the abyss 123 2. Abyss and death 126 4 Chapter Three 134 Stone: history, material, place, island 1. Collecting theories of the earth 134 2. Britain, Portland and geological time 139 3. Portland Stone: architecture and the arch 147 4. Portland: material, memorial and collapse 154 5. Portland: [work] place, island 164 Chapter Four 176 Film poetics: material and spatial practice[s] Part 1 – Experimental film 1. The collapse of film and the end of mechanical reproduction 177 2. Avant-garde practices and the Bolex aesthetic 180 3. Editing 182 4. Site: place, space, landscape 188 Part 2 – Practice 1. 16mm Film works 197 2. Video works 201 3. Knowledge and practice 203 Plates 206 Conclusion 222 Appendix 226 Bibliography 232 5 List of Figures Introduction 0.1 Kleist letter, 18 November 1800, with arch drawing Chapter 1 1.1 Kleist letter, arch drawing 1.2 Wilhelmine von Zenge. Miniature, 1800/1801 1.3 Heinrich von Kleist. Miniature, 1801 1.4 Kleist letter 1.5 Kleist letter, Envelope 1.6 Kleist letter, corrections detail 1.7 Kleist letter, detail 1.8 Kleist letter, detail 1.9 Kleist letter, arch drawing detail 1.10 Kleist portrait, drawing by Anton Graff c.1808 Chapter 2 2.1 The Ruins of Lisbon 1755, German copperplate, artist unknown 2.2 Henriette Vogel. Miniature. 2.3 Kleist death mask 2.4 Kleist and Henriette Vogel’s grave, Kleiner Wansee Chapter 3 3.1 Ammonite, Portland 3.2 Fossil shell impressions, Portland Roach 3.3 Kingbarrow Quarry, Portland 3.4 Nicodemus Knob, Waycroft Quarry, Portland 3.5 Lano’s Arch, Tout Quarry, Portland 3.6 Arch diagram ‘hinge cracks’ 3.7 CWCG Cemetery, Portland 3.8 CWCG Cemetery, Portland 3.9 CWCG Cemetery, Portland 3.10 Stone samples: Bowers and Jordans Basebed, Portland 3.11 Stone sample: Fancy Beach Whitbed, Portland 3.12 Graham Sutherland The Origins of Land 1950–51 3.13 Cliff with ‘hinge’ slips, Portland 3.14 Fissure, below Rufus Castle, Portland 6 3.15 Map: Portland 3.16 Map: Sea areas, British Isles 3.17 West Weares, Portland 3.18 Albion Quarries, cut stone 3.19 Postcard: Portland Prison, pre-1910 3.20 Perryfield Quarry, Portland 3.21 Stones, Independent Quarry, Portland 3.22 Independent Quarry, Portland Chapter 4 4.1 Bolex H16 Reflex 16mm camera 4.2 Steenbeck editing bench 4.3 Film can with 16mm editing trims 4.4 Robert Smithson Mirror Displacement (Portland Isle, England) 1969 Plates 1–3 Portland Nos. 2 – 5 (North of Wallsend Cove to Mutton Cove, Portland Bill, West Weares, Independent quarry, Tout Quarry), 2010–2012 4–9 Off Cuts: Portland 3f, 2013 10–11 Nicodemus Knob Panorama, 2012/2015 12–13 Das Gewölbe 1800 (The Arch 1800), 2012 / 2014 14–15 Die Insel Ziegenwerder, Frankfurt an der Oder (The goat river island), 2013 16–17 Kleist Grabe, Kleiner Wansee (Kleist Grave, Lesser Wansee) 2013 7 Acknowledgements The elaboration and evolution of this thesis came out of the dynamic environment of interdisciplinary research possible at the Bartlett School of Architecture and the Slade. I particularly wish to thank my principal supervisor Dr Peg Rawes at the Bartlett and my second supervisor Jayne Parker at the Slade for their generous, thoughtful, and considered advice. They helped to shape the design and development of the research and were encouraging and responsive throughout. The conversations, especially in the latter stages, were really valuable and thought-provoking. I appreciated perceptive suggestions and observations from Professor Jonathan Hill, Professor Jane Rendell, Dr Penelope Haralambidou, Professor Adrian Forty, Dr Barbara Penner and Professor Murray Fraser at the Bartlett, and from Professor Sharon Morris, Dr Hayley Newman, and Dr Joy Sleeman at the Slade, and Professor Victor Buchli from Anthropology. I wish to thank Catherine Plant from the UCL Language Centre and Hilary Jackson from the Public Engagement Unit for their advice and assistance. I benefitted from sharing ideas and lively discussions with my fellow PhD students at the Bartlett especially – Dr Emma Cheatle, Dr Ricardo Agarez, Dr Mo Hafeda, Dr Alessandro Ayuso, Polly Gould and Wesley Aelbrecht. I was grateful to the Bartlett School of Architecture for granting me two ARF travel grants enabling me to undertake research; and to attend conferences, where I received further advice and insights from Professors Paul Carter, Stephen Loo, Gini Lee and Jeff Malpas. I appreciated additional advice and suggestions from Professor Mark Nash. I wish to thank Dr Manuela Antoniu for her thoughtful suggestions and meticulous reading of the fianl draft. I appreciated support and help managing work commitments at LCC, University of the Arts London from Zey Suka-Bill. The assistance I had from the librarians and archivists was invaluable, I thank Debs Furness at the Main Library and Caroline Fletcher and Suzanne Tonkin at the Bartlett Library, UCL, and Monica Jaglarz at the Biblioteka Jagiellonska, Kraków (Sammlung Autographa, Heinrich v. Kleist). I wish to thank the administrators Luis Rego and Annabel Brown at the Bartlett for their help, information and support. I appreciated the technical support for film, video and digital work I received from Matt Bowles and John Wardle at the Bartlett and Michael Duffy at the Slade which helped to facilitate the practice. I wish to thank Gilad Visotsky for his expertise in graphics, and Alf Draper for his advice on fabricating steel. On site at Portland, I valued the assistance, information and insight from the geologists, Dr Mark Godden of Albion Stone Quarries and Richard True. I 8 received assistance from Portland Sculpture Quarry Trust. I wish to thank Ariane Severin and Peter Schulze for further help with German, and Kasia Trzinska-Draper who translated Polish for me at the Biblioteka Jagiellonska in Kraków. I appreciated the interest and enthusiasm from afar from my parents John and Lorraine Madsen. At home I could not have managed this research project without the generous support, encouragement and assistance of my partner James Swinson, who worked with me on the moving image shoots and shot many of the stills; and from my son Felix, who has grown up with this project; both were great company travelling to Berlin, and intrepid and curious explorers on the many field trips to Portland.
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