By Miles Orvell
Publication via Orvell, Miles
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Additional info for After the Machine: Visual Arts and the Erasing of Cultural Boundaries
Page xi Most of all, I want to thank my wife, Gabriella Ibieta, for her excellent judgment and indispensable advice on these pieces as they have developed, and for her love. This volume is dedicated to Ariana (now 6) and Dylan (now 3), who love books, who tolerated the writing of this one with reasonably good humor, and who demonstrate to me daily that there is more in heaven and earth than I have dreamt of. Page xiii Introduction This book grows out of a continuing concern with the relationship between technology and culture in twentieth-century America, a relationship that is of course anything but simple.
And commuter rails had extended the city beyond its 19th century core to expanded metropolitan regions, embracing suburban communities that became bedrooms to the city's commercial districts (Jackson). After 1900, the automobileone of the major products of America's manufacturing systemwas rolling off the assembly lines in ever increasing numbers: from 4,000 in 1900, to 181,000 in 1910, to nearly two million in 1920 and over four million in 1929. During these same years, surfaced roads increased from 150,000 miles in 1904 to nearly 700,000 miles in 1930 (Rosenberg 114; 115).
But it is unclear whether or not Strand and Sheeler themselves inserted the Whitman lines; Page 15 and it's debatable whether or not the inclusion of Whitman adds to or subtracts from the film. 3 Certainly, as Jan-Christopher Horak argues, the visuals echo the Whitman lines; but they tend to stop the flow of the film, interposing the experience of Whitman's poetry in a distracting way. Moreover, functioning like captions, they make us search for the confirming scene in the lines that precede it, thus literalizing and constraining the visual imagery.
After the Machine: Visual Arts and the Erasing of Cultural Boundaries by Miles Orvell