Mesocosm

"Segne den Becher, welcher überfließen will, daß das Wasser golden aus ihm fließe und überallhin den Abglanz deiner Wonne trage!" – Nietzsche

Berlin Dada Man-Machine

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I’ve been reading Matthew Biro’s outstanding book The Dada Cyborg: Visions of the New Human in Weimar Berlin, which focuses on German Dadaist representations of human-machine hybrids (Amazon link here).

I remember seeing a Dadaism exhibit at the De Young museum in San Francisco many years ago, and being struck by how fresh and relevant the movement still seemed. If anything that only becomes more and more true. It is an art movement largely preoccupied with the shock to the human psyche caused by the fact of mechanical reproduction.

In Biro’s account, for the Dadaist, the human-machine hybrid was a manifold symbol which represented the degree to which the bourgeois citizenry had been mentally colonized by ideology; the degree to which the self is a post-human and transpersonal hybrid of organism, context, information and machine; and a recognition that the mechanics of the self are to some degree cybernetic in Norbert Wiener’s sense – that is, subject to characterization in terms of control system dynamics that can equally be applied to information systems, circuits, and complex machinery.

Obviously we are still within the horizon that the Dadaists identified and began to work through with their art – these ideas are more relevant than ever.

As it so happens, I learned recently that I moved to Berlin almost one hundred years to the day after the founding of German Dadaism with the delivery of Huelsenbeck’s Dada-Speech on January 22, 1918. I thought I’d commemorate the centennial and honor the Berlin Dada by translating his speech.

Dada-Speech, by Richard Huelsenbeck

Ladies and gentlemen!

This evening is intended to provoke interest in Dadaism, a new, international “culture direction” founded two years ago in Zürich. The instigators of this beautiful cause include Hugo Ball, Emmi Hennings, the painter Slodki, the Rumanians Marcel Janco and Tristan Tzara – and I myself, last but not least, have the present honor to propagandize at this time for my old comrades and our old-new view.

Hugo Ball, a great artist and greater man, an entirely unsnobbish and unliterary man, founded the Cabaret Voltaire in 1916 in Zürich, from which Dadaism developed with our help.

Dadaism was unavoidably an international product. Something common must be found between the Russian, Rumanian, Swiss, and German. There was a witch’s sabbath the likes of which you cannot imagine, a hullabaloo from morning till evening, a frenzy of timpani and negro drums, an ecstacy with steps and Cubist dances. The Rumanians came from France, loved Apollinaire, Max Jacob, knew much of Bazun, poetry and drama and the Cubists. Marinetti, Palazeschi, Savignio wrote from Italy. We Germans stood there quite harmlessly.

Ball was in fact the only one who absorbed and processed the problems of the Futurist and Cubist directions. Perhaps some may be found among you who have heard of the Expressionist Evening talk that I organized with him. That was in fact the expressionistic poem, such as Germany had never heard. Ball brought his “Barking Dog” to Switzerland, a phantasm of a strength that little people like Korrodie and Rubiner still suffer under.

The Cabaret Voltaire was our experimental stage, where we probed to try to understand our commonalities. Together we made an extraordinarily beautiful negro song with rattles, wood klappers, and many primitive instruments. I served as the precentor, an almost mythical figure. Trabaja, Trabaja la mojere – with lots of lard.

All the artisans of Zürich began a united campaign against us. That was the most beautiful thing – now we knew who we were dealing with. We were against the pacifists, because the war had given us the opportunity to exist in our full glory. And back then the pacifists were even more decent than they are today, now that every stupid youth with his books wants to exploit the economic boom against the times. We were for the war, and Dadaism is still for the war today. Things must collide – for too long they have not been horrible enough.

In the Cabaret Voltaire we first tried our Cubist dances with Janco’s masks, self-made costumes from colorful cardboard and baubles. Tristan Tzara, who publishes the Dadaistic journals in Zürich today, invented the schema of the poème simultan for the stage – a poem that is recited by several people in different languages, rhythms, and tones at the same time. I invented the concert des voyelles and the poème bruitiste, a mixture of poetry and brutalist music, as made famous by the Futurists with the rèveil de la capitale. The inventions reigned, Tzara invented the poème statique, a kind of optical poem which you see like a forest, I myself initiated the poème mouvementiste, lecture with primitive movements, which has not yet been done in this way.

My lords, so stands Dadaism, a focus of international energies. We had had our fill of Cubism, which began to bore us with its single-minded abstraction. You arrive at the actual by yourself, once you move and are a living person. Futurism as it existed was a strictly Italian affair – a fight against the fearsome antiquity with its slick business acumen that beats every talent into the ground there. Futurism, which here in Germany, where we have the honor of being last in all things, has until recently been despised as hocus pocus by the crassly ignorant and empty-headed, because its verses were bad or incomprehensible. This Futurism, my lords, was a fight against the statue of Apollo, against the Cantilène and the bel canto – but what does it have to do with us Dadaists?

Neither with Futurism nor with Cubism. We were something new, we were the Dadas, Ball Dadas, Huelsenbeck Dada, Tzara Daha. Dada is a word that exists in all languages – it expresses nothing more than the internationality of the movement. It has nothing to do with the childish stammer with which people sought to track it.

What then is the Dadaism that I wish to espouse here tonight? It is to be the faction of great international artistic movements. It is the transition to the new joy in real things. There are guys who have been assailed by life, there are types, men with destinies and the capacity to experience. Men with sharpened intellect, who understand that they are at a turning point in time. It is only one step to politics. Tomorrow, minister or martyr in Schlüsselburg.

Dadaism is something that has in itself overcome the elements of Futurism or Cubist theorems. It must be something new, for it stands at the point of evolution, and time changes with men who have the capacity to be changed. “The Fantastic Prayers,” from which I will recite a selection, have appeared under the Dada publishing imprint and, I hope, carry the color of this movement.

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Written by Mesocosm

February 20, 2018 at 8:06 am

Posted in Uncategorized

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