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The Instrumental Body and the Organic Machine: Technology As Nature in Weimar Germany

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The Instrumental Body and the Organic Machine: Technology As Nature in Weimar Germany THE INSTRUMENTAL BODY AND THE ORGANIC MACHINE: TECHNOLOGY AS NATURE IN WEIMAR GERMANY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Carl Andrew Gelderloos May 2014 © 2014 Carl Andrew Gelderloos THE INSTRUMENTAL BODY AND THE ORGANIC MACHINE: TECHNOLOGY AS NATURE IN WEIMAR GERMANY Carl Gelderloos, Ph.D. Cornell University 2014 This dissertation explores cultural narratives about technology in the Weimar Republic with a particular focus on tropes of the body-as-tool and the organic machine. At once the organic seat of the self and merely one instrument among others in the shaping of the natural world, the ambiguous figure of the instrumental body straddles the border between nature and technology while undermining any strong distinction between the two spheres. The technological anthropologies of Karl Marx, Ernst Kapp, and Helmut Plessner invoke radically divergent political visions from the relationship between technology, the human body, and its environment. The conflicted implications of this relationship are literalized in Alfred Döblin’s emblematic novel Berge Meere und Giganten (1924), which pushes the trope of the body-as-tool to a breaking point by repeatedly and spectacularly rupturing the bounds of the body itself; this topological assault on the autonomous individual reflects the confluence of Döblin’s monist philosophy of nature and his avant-garde critique of the novel form. I then analyze key contributions to Weimar-era photographic discourse by Döblin, Brecht, Benjamin, Kracauer, and Albert Renger-Patzsch to unfold the uneasy relationship between physiognomy – the belief in the body’s inherent legibility – and the way photography as technology compels the visible body to speak. And for Ernst Jünger, future technology itself becomes a human organ, thereby closing the progression of human history in a static, elemental temporality. In contrast to accounts of modernity that see an encroachment of a mechanical register on the organicist discourse of the body, my dissertation shows how the tropes of the body-as-tool and the organic machine destabilize any unidirectional relationship between nature and technology. By recovering the centrality of the organic body within contemporary technological imaginaries, my project intervenes in scholarship on the culture of the Weimar Republic by contributing a more complex – and non-teleological – picture of the aesthetic, philosophical, and political stakes of the discursive entwinements of nature and technology. BIOGRAPHICAL SKETCH Carl Gelderloos received his BA in German Literature at New York University in 2002. From 2007 to 2014 he studied in the Department of German Studies at Cornell University, receiving his MA in 2011 and his PhD in 2014; in 2011-2012 he was at the Humboldt Universität in Berlin on a Fulbright Research Grant. In September 2014, Carl joined the Department of German and Russian Studies at Binghamton University as an Assistant Professor. iii for Agata, again and again ACKNOWLEDGMENTS It takes a village, of sorts, and this project would not have come to be without the support, guidance, mentorship, and critique of many people. Deep and lasting thanks are owed to my dissertation committee for always challenging me to accept responsibility for my claims, readings, ideas, and terms, and for giving me the space and encouragement to do so. Patrizia McBride advised this dissertation project with patience and humor, consistently and acutely helping me identify what claims I actually wanted to make and why. She was always available to read over drafts in various states of completion, nudging me towards clearer articulations and better framing to meet the often conflicting genre demands of job letters, writing samples, and article drafts. Leslie A. Adelson has been an incisive and encouraging reader of my readings, and in conversations dating back to my first year of graduate school has consistently challenged me to be more precise in a way that usefully destabilizes how I see the bigger pictures. Anette Schwarz has seen me through the vicissitudes of teaching, writing, and applying for jobs with humor and warmth, helping make the unfamiliar seem less strange; at key moments during the development of this project she has also perceptively identified which tree I was barking up, and why. And, though his move to another university meant that he was no longer on the committee at the end, I thank Petrus Liu who gave invaluable and thorough feedback on an early draft of the Marx section, and who continues from afar to help me think about Marx, Marxism, and science fiction. I also want to thank my department at large for their generosity, humor, acuity, and support. There isn’t really anybody in that wing of the building who hasn’t improved my thought about the twin projects of research and teaching in some substantive way. A few sources of external funding were essential for research and travel. Grants from the Fulbright Program, the American Friends of Marbach, and Cornell’s Graduate School allowed me to access resources I would not have been able to use otherwise. While I was in Berlin on a Fulbright, Professor Erhard Schütz provided insightful Betreuung. A couple long conversations over the course of v the year helped me situate my research interests within the context of modern German culture and pointed me towards two figures who have now become integral parts of this project, Albert Renger-Patzsch and Ernst Kapp. For their detailed feedback, company, humor, and expansive epicureanism, I thank the members of a Humanities Dissertation Writing Group funded by Cornell’s Society for the Humanities in 2010- 2011: Ulas Ince, Ari Linden, Sarah Pickle, and Cecily Swanson. Close friends who comprised an extended cohort shared the experiences, read drafts, and made this whole thing not just tolerable but fun, whether through spontaneously disastrous “trust falls” or swims across the lake. The past seven years would be unimaginable without Katrina Nousek, Ari Linden, and Paul Flaig. I also want to thank other friends, comrades, colleagues, and interlocutors too numerous to name individually. I wouldn’t have been able to do this at all, let alone so enjoyably and in such good company, without them and the conversations we’ve had in venues such as BFPWANRG, SJP, HRG, Chanti, Felicia’s, Chappy, and various backyards, porches, parks, cafes, and sundry bodies of water in and around Ithaca. Thought is a collective and social endeavor, and they showed me what this actually means in so many ways; their voices have become a constant part of my internal dialogues. My parents and brothers have supported and encouraged me in this from near and far, and have cropped up with much-needed distractions from time to time. They also remind me, in their various ways, to keep it weird. And finally, I thank Agata, my partner and best friend. This dissertation is the physical condensate of years of work, excitement, boredom, and uncertainty, really high highs and real low lows, and it would never even have been thinkable without her inexhaustible support, giving nature, and sustaining humor. It’s partly her fault I went to graduate school, and entirely to her credit that I made it through. This one’s for her. vi TABLE OF CONTENTS BIOGRAPHICAL SKETCH iii ACKNOWLEDGMENTS v TABLE OF CONTENTS vii LIST OF FIGURES viii INTRODUCTION 1 CHAPTER ONE. Technological Anthropologies: Human incorporation and positionality in Karl 21 Marx, Ernst Kapp, and Helmuth Plessner Karl Marx and the organic inversion of the factory body 22 The kinematics of harmony: Ernst Kapp and organ projection 49 Helmuth Plessner, the levels of the organic, and the natural artificiality of the human 70 CHAPTER TWO. “Jetzt kommt das Leben”: The Technological Body In Alfred Döblin’s Berge 98 Meere und Giganten “Die dunkle rollende tosende Gewalt.” The dedication’s writing body 103 “Drähte und Röhrchen führten in ihr Inneres.” The technological body in the laboratory 107 “Die Erde muß wieder dampfen. Los vom Menschen!” Döblinismus as program 110 “Das mammutische triefende krachende Wachsen”. Marduk and organic growth 115 “Ihr werdet mich auflösen. Laß nur. Ich will dahin.” The giants as models of dissolution 119 “Was ist das: Meer? Wer ist das?”: Water as image for the relationship between individual 124 and mass “Ein lebendiges Wesen die Welt.” Life in the ruins 127 CHAPTER THREE. Natural Histories of the Image: Photography, physiognomy, and the meaning 135 of the surface “[Das] Meer, das uns alle schaukelt.” Döblin and photography as historical typology 140 “Der Reiz der Oberfläche.” Wiedergabe, Form, and Perceptual Training in the Work of 147 Albert Renger-Patzsch “Es ist die Aufgabe der Photographie, das bisher noch ungesichtete Naturfundament 179 aufzuweisen.” Kracauer, photography, and second nature “Alles, was wir als Geschichte bezeichnen, ist im hohem Maß vom Stein abhängig.” 190 Ernst Jünger, history as nature, and the recognizability of the visible Concluding thoughts. Reproduction, realism, and the type 195 CHAPTER FOUR. “Leben in Ordnung.” The organic logic of Jünger’s Der Arbeiter and the end 200 of history CODA 238 BIBLIOGRAPHY 244 vii LIST OF FIGURES Figure 1. Contact print of plate 49 from Die Welt ist schön 157 Figure 2. Plate 49 from Die Welt ist schön 157 Figure 3. Plate 93 from Die Welt ist schön 173 Figure 4. Plate 94 from Die Welt ist schön 173 Figure 5. Plate 62 from Die Welt ist schön 173 Figure 6. Plate 63 from Die Welt ist schön 173 Figure 7. Plate 64 from Die Welt ist schön 173 Figure 8. Plate 78 from Die Welt ist schön 174 Figure 9. Plate 79 from Die Welt ist schön 174 Figure 10. Plate 80 from Die Welt ist schön 174 Figure 11. Plate 81 from Die Welt ist schön 174 Figure 12.
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