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Sigfried Giedion Und Die EXPLORATIONS. Die Anonyme Geschichte Der Medien-Architektur 2014

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Sigfried Giedion Und Die EXPLORATIONS. Die Anonyme Geschichte Der Medien-Architektur 2014 Repositorium für die Medienwissenschaft Michael Darroch Sigfried Giedion und die EXPLORATIONS. Die anonyme Geschichte der Medien-Architektur 2014 https://doi.org/10.25969/mediarep/1259 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Darroch, Michael: Sigfried Giedion und die EXPLORATIONS. Die anonyme Geschichte der Medien-Architektur. In: Zeitschrift für Medienwissenschaft. Heft 11: Dokument und Dokumentarisches, Jg. 6 (2014), Nr. 2, S. 144– 154. DOI: https://doi.org/10.25969/mediarep/1259. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. 1 Bereits 1943 hatte Giedion gegenüber McLuhan be­ — klagt, dass Historiker stets nur die «großen Trends und Ideen» zitiert und dabei «die Fakten als vollkommen siGFriED GiEDion nutzlose Details vernachlässigt» hätten.7 Giedion hat sei­ UND DiE «ExPlOraTiONs» nen Begriff der «anonymen Geschichte» seit den späten 1920er und im Laufe der 1940er Jahre entwickelt. In Bauen Die anonyme Geschichte in Frankreich beschrieb er zum ersten Mal architektoni­ der Medien-architektur 1 sche Formen als «anonym» und «kollektiv»: Der Historiker von MICHAEL DARROCH müsse auf die Bauten eines traditionellen oder kollektiven Modernismus achten, jene anonymen Konstruktionen, die nicht mit renommierten Architekten identifiziert wer­ den könnten: Fabriken, Brücken wie die Schwebefähre Rochefort, Industrieflächen und gewöhnliche Ladenlo­ Während seiner Lehrtätigkeit an der St. Louis University kale.8 In seinem ersten Artikel zur Mechanisierung unter­ und dem Assumption College in Windsor (Kanada) gab scheidet Giedion zwischen europäischer und amerika­ McLuhan Kurse zum Thema «Kultur und Umwelt» durch nischer Mechanisierung im späten 18. Jahrhundert: In eine «Analyse der Szenerie der Gegenwart». Hier wurden Europa sei «einfaches Handwerk» wie Bergbau, Spinnen «Werbeanzeigen, Zeitungen, Bestseller, Kriminalliteratur, und Weben mechanisiert worden, wodurch diese Tätigkei­ Filme» mit einem «Muster homogener und rational ge­ ten gleichsam zu einem Synonym für Industrie geworden ordneter Kultur» kontrastiert,2 und in mehreren Vorle­ seien. Im Gegensatz dazu habe man in Amerika «kompli­ sungen in Windsor bezeichnete McLuhan seine Ära zum ziertes Handwerk» mechanisiert – vom Betrieb des Müllers ersten Mal als «das Zeitalter der mechanischen Braut».3 bis hin zum Beruf der Haushälterin im 20. Jahrhundert. In der ersten Konzeption von Die mechanische Braut sowie Dass dieses komplizierte Handwerk «geradezu aus dem insgesamt in McLuhans Frühwerk sind Einflüsse aus seiner amerikanischen Leben verschwunden war, hatte enormen Korrespondenz mit Sigfried Giedion (1943 – 46) ebenso Einfluss auf Gewohnheiten und Denken».9 In einem vier­ evident wie aus Giedions Raum, Zeit und Architektur.4 Darin seitigen Manuskript mit dem Titel The Study of Anonymous praktiziert der Schweizer Architekturhistoriker bereits sein History (1944) 10 stellte er einen eigenen Begriff der inter­ methodologisches Konzept einer «anonymen Geschich­ disziplinären Forschung auf, um «Untersuchungen dar­ te», die er für die Analyse von Kunst, Mechanisierung und über anzustellen, wie das Mosaik des modernen Lebens materieller Kultur einsetzte. In der Zeit dieser Korrespon­ entstanden ist».11 Kanonisierte Disziplinen wie Geschichte denz forschte Giedion für sein nächstes Buch Die Herrschaft und Soziologie, die «selten in irgendeiner Weise ver­ der Mechanisierung,5 dessen Konzept der «anonymen Ge­ knüpft» würden, könnten nur einen unvollständigen schichte» für die Explorations­Gruppe um McLuhan von Zu gang zu unserer «modernen Lebensweise» bieten. zentralem Interesse werden sollte. Im Zeitalter der Mecha­ Histo riker hätten lediglich ein «isoliertes Verständnis nisierung, so argumentierte Giedion, hatten technologi­ der Techniken einer bestimmten Erfindung» und böten sche Entwicklungen Denken und Fühlen voneinander ge­ wenige Einblicke in Phänomene, «die von primärer Bedeu­ trennt; ein Riss, der sich in der Lücke zwischen Natur­ und tung für das moderne Leben sind». Im Gegensatz dazu, so Humanwissenschaften und ihren prekären Verbindungen Giedion, hätten die modernen Maler gezeigt, dass «die zu menschlichen Ausdrucksformen manifestiert. Giedion Dinge des täglichen Gebrauchs wie Flaschen, Rohre, Kar­ widmet sich der Demonstration dessen, «wie dringend es ten, Tapetenstücke oder gemasertes Holz, Bruchstücke ist, die anonyme Geschichte unserer Epoche zu erforschen der Gips­Dekorationen eines Cafés» einen Einblick in die und dem Einfluß der Mechanisierung auf unsere Lebens­ zeitgenössischen Vorstellungen des modernen Lebens form nachzugehen – ihrer Auswirkung auf unser Wohnen, geben. Materielle Alltagskultur sei die Grundlage dieses unsere Ernährung und unsere Möbel. Erforscht werden neuen Forschungsgebiets, all jene Gegenstände und Do­ müssen auch die Beziehungen zwischen den Methoden, kumente, die «häufig von Historikern übersehen werden, deren man sich in anderen Bereichen bedient – in der die die Erforschung dieser bescheideneren Aspekte der Kunst und dem ganzen Bereich der Visualisierung».6 Geschichte als unwichtig betrachten oder die jenseits ihrer 144 ZfM 11, 2/2014 Wahrnehmung verbleiben […], diese anonyme Geschichte the evening is spread out against the sky / Like a patient ist die Basis und das Fundament für alle politischen, etherized upon a table» 16), um die gegenseitige Durch­ soziologischen und wirtschaftlichen Ereignisse. Aber die dringung von Effekten zu demonstrieren, eine «Überlage­ Geschichte der Evolution unseres Alltags befindet sich rung der Perspektiven, die gleichzeitige Verwendung von außer halb der Sphäre des Historikers, der seine Interes­ zwei Arten von Raum […] alle Künste und alle Sprachen sen auf die großen Entwicklungen, die großen Künstler, sind Techniken, um auf eine Situation durch eine andere die großen Erfinder beschränkt».12 zu blicken».17 Seine Sorge ist, dass unser «Denken der Kultur in Begriffen des Buchs» uns «unfähig macht, die Ob McLuhan mit diesem vierseitigen unveröffentlich­ Sprache der technologischen Formen zu lesen», Medien, ten Manuskript schon 1944 in Kontakt gekommen war, die eine «neue globale Landschaft» ausmachen – womit er müsste erst noch herausgefunden werden. Jedenfalls – so bereits eine Umwelt­Metapher aufruft.18 schrieb er es im Dezember 1945 aus Windsor – folge seine In Footprints in the Sands of Crime beschreibt McLuhan Arbeit dem Weg Giedions, und daher suchte er dessen zunächst Edgar Allan Poes Seemann in Hinab in den Unterstützung für ein Buchkonzept, dessen Ausarbeitung Maelström als jemanden, der «die Fähigkeit einer distan­ der späteren Gestaltung des Buchs Die mechanische Braut zierten Beobachtung» besitzt, die «zu einem wissenschaft­ zugutekam.13 McLuhan fragte, ob Giedion einen Verleger lichen Interesse an dem Verhalten des Strudels wird. Und kenne, der Interesse an einem etwa 200seitigen Buch das gibt ihm die Möglichkeit, zu entkommen».19 In Die haben könnte, das vielleicht den Titel Illiteracy Unlimited mechanische Braut nahm McLuhan wohl Giedions Wunsch tragen und Artikel wie die folgenden beinhalte: auf, «ein Buch über Poe zu sehen, in dem jeder Absatz […] zu einem ganzen Kapitel vergrößert wird, indem «neue 1. Dagwood’s America (published in Columbia Jan. 1944) Koordinaten» hinzugefügt werden, die das «Spektrum von 2. The Innocence of Henry Luce (analysis of Time Life Literatur» wiedergeben». Die Geschichte des Seemanns Fortune [sic]) macht Die mechanische Braut zur zentralen Metapher.20 3. Footprints in the Sands of Crime (the significance of detective fiction – coming out in the Sewanee Review) Poes Seemann rettete sich, indem er die Dynamik 4. The New York Wits (in current Kenyon Review) des Strudels studierte und sie sich zunutze machte. 5. Dale Carnegie in the American grain (essay on the In ähnlicher Weise unternimmt auch das vorliegende cynical core of YMCA ethics) Buch weniger den Versuch, gegen die beachtlichen 6. Scrutiny of Cinema Strömungs­ und Druckkräfte anzukämpfen, die sich 7. The Comics as Social Barometers durch die mechanischen Einwirkungen von Presse, 8. Will we get a new Mencken? (Nachlass Giedion,
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