(Classical music)
- We're in the Pompidou Center in Paris, looking at a
sculpture from 1919 by Raoul Hausmann, 'Spirit of the age',
'Mechanical Head'.
- This looks so familiar to us, the idea of merging our
bodies with technology, that it may be hard to recapture
how this appeared in 1919.
- In the immediate aftermath of a terrible tragedy,
The First World War, The Great War had just ended.
Germany was defeated, but it wasn't just a military loss.
So much of the adult population had seen death firsthand.
- And even people who hadn't been in the war itself were
faced with people coming back from the war who were maimed,
who were scarred.
- And this was a war where technology played a enormous role
from the use of tanks and machine guns to mustard gas.
- The movement that emerged in Europe during and after
the war, 'Dada', is a direct response to the insanity of the
war itself. A reckoning with the confidence before the war,
that humanity could never engage in such brutality.
In the 19th Century there was a sense that things would get
better because of technology.
- There had been this idea that culture was progressive,
that science, the rational was in a way our savior.
- And governments too. The idea of governnment creating the
greatest happiness for the greatest number of people.
The rise of democracy. These were seen as positive
developments that would elevate mankind.
- But that idea was envanished in the wake of the
First World War. The war was seen as pointless, as absurd,
having had no practical value, where governments disposed
of people as if they were pawns.
- And Berlin was one the important centers of the Data
movement, with this interest on the irrational, the
senselessness of life in the wake of World War One.
- And Raoul Hausmann was one of the leaders of Berlin Data.
And this is his most well known work.
We see a head, but it's not a head that he carved.
Its the head of mannequin, perhaps a dummy that would have
been used for a wig or in a tailor shop.
It has a blank stare, and that blankness almost feels
militaristic, as if we're looking at a soldier at attention.
- It has a sense of being one of many, like soldiers all
wearing the same uniform.
- But here instead of wearing a uniform, he has a series of
objects attached to his head, that look as if he's not
wearing them, so much as they are part of him.
- There's a screw on one side and a nail on the other that
reminds me at least of the wounds of the crucifixion.
- But also remind me of Frankenstein.
Of the uneasy relationship between the human body and
technology, going back to the late 18th Century,
the beginning of the industry revolution.
- So we have mechanical appendages here, for the ears.
- On one side, dials perhaps from a camera.
On the other, a type cylinder.
- And that type cylinder is in a lovely little case, but on
each side these forms really do look ear-like, and yet
they're mechanical.
- And I can't help but think that the artist was thinking
about typewriters and cameras. That media is somehow being
placed directly into the mind.
- Without forethought, without any kind of intervention of
the soul of individuality.
- Look how blank he is. There is no soul that's presented
here.
- And today it's impossible not to think about the power of
social media on our perceptions and how we view the world.
My favorite part is the empty cup that acts like a little
bowl or hat.
- It's right at the top of the skull, and engraved on it is
a little heart, the only sense of humanity, playfully
represented here.
- And on something that is collapsible, as though the human
heart were something that you could replace with
mechanization.
- And that cup is just a simple piece on inexpensive tin.
Stretched across the forehead is a segment of a tape
measure. And on the right is a ruler.
All these references to man's supposed control of nature,
is an expression of just how displaced that hope had become
in 1919.
- And the number 22 attached right on the forehead,
in between that tape measure, and what looked like the gears
of a clock, give us a sense that we're not looking at an
individual.
- But a number.
- And on the back of the head we see a wallet made out of
crocodile skin, so you have this sense that part of what
controls the mind too is money.
- And Data artists were commonly inditing modern
capitalism as a driving force in the violence of the war
and the corruption of German society, of European society
more broadly.
- And so we have here this image that speaks to our
modern discomfort with the technologies that we're created,
and the potential harm and dehumanization of the those
technologies.
- With a kind of absurdist visual language.
- And that was very typical of Data - this interest in the
absurd, the irrational.
- This sculpture and the very name Data references
nonsense and is meant to be a counterweight to our reliance
on irrationality which in 1919 had clearly failed.
(classical music)