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Art

By Mark Taylor

The Village of Arden used to be based in 1900 by means of sculptor Frank Stephens and architect Will fee, either social reformers who sought to create a great society in response to ideas set forth by means of the yank economist Henry George. With investment from Joseph Fels, a prosperous Philadelphia cleaning soap producer who additionally financed C. R. Ashbee's Guild of Handicraft in England, Stephens and cost bought 162 acres in northern Delaware and named their colony after the Arden woodland of William Shakespeare's As you love It. The community's motto was once "You Are Welcome Hither," yet Arden's founders didn't expect the various and colourful mixture of radicals and progressives their test might allure, together with Upton Sinclair, muckraking writer of The Jungle, and Scott Nearing, writer of dwelling the great existence. via pictures, photographs of the US: Arden explores the early heritage of 1 of this country's such a lot shiny, but little identified, utopian experiments.

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6 The Dadaists were acutely aware of the incongruous connections between techniques of spiritual and moral elevation and techniques of material production. 7 The semiotic and temporal ambivalence found in Grosz and Heartfield’s assemblage—between Spirit and matter, between the nobility of antiquity and the brutality of the present—becomes even clearer in comparison with Rudolf Schlichter’s more rudimentary montage of past and present in his work Corrected Masterpieces, also on display at the Dada Messe.

1 But this photograph of the core members of Berlin Dada can also be understood on its own terms—that is, not as the transparent document of a legendary event but as a somewhat more opaque device, a meticulous staging of the formal, rhetorical, and ontological strategies forged by Dadaist subjectivity in its struggle with the temporality of the present. In the aftermath of a disastrous war, as the Spartacist revolution was tearing German society apart, these artists realized that mastering the present—by definition fleeting and more threatening than ever—meant defending its sovereignty 24 THE PRESENT AS REPRODUCIBLE TIME F I G U R E 8 .

In conclusion, the dams had burst and the floodwaters could carry away all they liked. There was the response of Baader: the double, triple, even quadruple play of ambivalence, protean subjectivity adapting to the flux of time. But Baader was one of a kind. Despite their differences, the other Berlin Dadaists did not give themselves over with abandon to the “furtively receding nothing” but tried to critically and constructively question the various segments of time: past, present, and future. It is this double nature of the Dadaists’ work—critical and affirmative at once, combined with a good dose of historical materialism and an acute anthropological sensibility—that Roman Jakobson and others like him missed when they insisted only on the Dadaist devaluation of time and artworks, and it is this critical-affirmative dimension of modern reproducibility, with the utopian resources it contained, that escaped both the melancholic Kracauer and the humanist Panofsky.

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