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Weimar Surfaces
This chapter is in the book Weimar Surfaces
Notesintroduction: modern surface and postmodern simulation1. The word surface, like superficies, is derived from the Latin super(above) and facies(face, form, figure, appearance, visage).2. See Anne Friedberg’s thesis of the “mobilized ‘virtual’ gaze” of post-modernity, in her Window Shopping: Cinema and the Postmodern(Berkeley:University of California Press,1993),2. A case in point: while Theodor W.Adorno during his Weimar years was a contributor to The Headlight(DerScheinwerfer), a magazine dedicated to the latest in New Objectivity commen-tary, these days there is a journal of cultural critique called Surfacesthat exists,in accordance with the Baudrillardian hyperreality thesis, in electronic formatonly.3. Fredric Jameson,Postmodernism, or, The Cultural Logic of Late Capi-talism(Durham: Duke University Press,1995),1.4. Jean Baudrillard, “The Precession of Simulacra,” in Simulacra and Sim-ulation,trans. Sheila Faria Glaser (Ann Arbor: University of Michigan Press,1994),1–42. See also Arthur Kroker, “Baudrillard’s Marx,”Theory, Cultureand Society2.3(1985):80.5. Henri Lefebvre,The Production of Space(1974), trans. Donald Nicholson-Smith (Cambridge, Mass.: Basil Blackwell,1991). Lefebvre brings together thephilosophy and the geography of neocapitalistic space by charting a “spatial‘code,’” a spatial “language common to practice and theory” (64).6. Baudrillard, “The Ecstasy of Communication,” in The Anti-Aesthetic:Essays on Postmodern Culture,ed. Hal Foster (Port Townsend, Wash.: BayPress,1983),133.7. David Harvey offers a succinct summary of how postmodernism isregarded as a step beyond the limitations of modernist surface culture: “Atten-245
© 2001 University of California Press, Berkeley

Notesintroduction: modern surface and postmodern simulation1. The word surface, like superficies, is derived from the Latin super(above) and facies(face, form, figure, appearance, visage).2. See Anne Friedberg’s thesis of the “mobilized ‘virtual’ gaze” of post-modernity, in her Window Shopping: Cinema and the Postmodern(Berkeley:University of California Press,1993),2. A case in point: while Theodor W.Adorno during his Weimar years was a contributor to The Headlight(DerScheinwerfer), a magazine dedicated to the latest in New Objectivity commen-tary, these days there is a journal of cultural critique called Surfacesthat exists,in accordance with the Baudrillardian hyperreality thesis, in electronic formatonly.3. Fredric Jameson,Postmodernism, or, The Cultural Logic of Late Capi-talism(Durham: Duke University Press,1995),1.4. Jean Baudrillard, “The Precession of Simulacra,” in Simulacra and Sim-ulation,trans. Sheila Faria Glaser (Ann Arbor: University of Michigan Press,1994),1–42. See also Arthur Kroker, “Baudrillard’s Marx,”Theory, Cultureand Society2.3(1985):80.5. Henri Lefebvre,The Production of Space(1974), trans. Donald Nicholson-Smith (Cambridge, Mass.: Basil Blackwell,1991). Lefebvre brings together thephilosophy and the geography of neocapitalistic space by charting a “spatial‘code,’” a spatial “language common to practice and theory” (64).6. Baudrillard, “The Ecstasy of Communication,” in The Anti-Aesthetic:Essays on Postmodern Culture,ed. Hal Foster (Port Townsend, Wash.: BayPress,1983),133.7. David Harvey offers a succinct summary of how postmodernism isregarded as a step beyond the limitations of modernist surface culture: “Atten-245
© 2001 University of California Press, Berkeley

Chapters in this book

  1. Frontmatter i
  2. Contents ix
  3. Illustrations xi
  4. Acknowledgments xv
  5. Introduction. Modern surface and postmodern simulation: a retrospective retrieval 1
  6. Chapter 1. Functionalist Façades: the reformation of weimar architecture 45
  7. Chapter 2. Electric stimulations: the shock of the new objectivity in weimar advertising 92
  8. Chapter 3. Into the mouth of the Moloch: Weimar surface culture goes to the movies 142
  9. Chapter 4. The display window: designs and desires of weimar consumerism 191
  10. Appendix: Selected Weimar Periodicals and Newspapers 241
  11. Notes 245
  12. Illustration Sources 321
  13. Index 325
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https://doi.org/10.1525/9780520420656-009

Chapters in this book

  1. Frontmatter i
  2. Contents ix
  3. Illustrations xi
  4. Acknowledgments xv
  5. Introduction. Modern surface and postmodern simulation: a retrospective retrieval 1
  6. Chapter 1. Functionalist Façades: the reformation of weimar architecture 45
  7. Chapter 2. Electric stimulations: the shock of the new objectivity in weimar advertising 92
  8. Chapter 3. Into the mouth of the Moloch: Weimar surface culture goes to the movies 142
  9. Chapter 4. The display window: designs and desires of weimar consumerism 191
  10. Appendix: Selected Weimar Periodicals and Newspapers 241
  11. Notes 245
  12. Illustration Sources 321
  13. Index 325
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