Weber The Ironmonger

From the Facebook feed Pearls from Düsseldorf, which is pictures of Düsseldorf from local graphic designer and photographer Markus Luigs (g), this picture of an old-school German storefront:

12419106_2185343131494609_1081350606375068115_o

'Iron-Weber' is the name. The store sells Eisenwaren (iron goods), tools, house and kitchen appliances. So, basically, a hardware store. But the name Eisenwaren is satisfyingly antique; from an era in which tools actually were made mostly of iron. So the capture the old-school flair, I'd translate it as an 'ironmonger'.

This picture gives you a good idea of German street architecture. The sidewalk, as you'll notice, is clean. Then you have the underground-access grates. Some of these are for city utilities, but the ones close to the building are for trash: you take your trash downstairs to the cellar, then put it in a special dumb-waiter like contraption under the street. The trashmen open the grate and haul up the square plastic trash can through the opening, or sometimes go down into it. All the while yelling at each other in a mysterious language that probably takes years to learn. Children love watching the trash and the men disappear up and down the magic sidewalk-holes. It's loud, but it solves several problems: first, no trash bins waiting on the street. Second, the garbagemen don't have to enter the store to collect the trash.

Here's one difference between Germany and developing countries. You will never see these grates lying open in Germany, posing a threat to pedestrians. Never. In my many years living here, traveling all across the country, in neighborhoods both haughty and humble, I've never seen one of these things lying open, unattended, unless it was roped off with warning signs and tape. Nor do they ever break. You can walk over them every single time, without giving them a second thought. The average German probably walks over 30 of them every single day, never giving them a second though. Contrast this to basically any developing country, where sidewalk murder-holes are a fact of life. Here's a picture I took in Alexandria:

Alex - Street near Pompey's Pillar

The contrast may help explain why so many people from places like Egypt want to relocate to places like Germany, no?

Then you have the display cases on either side of the storefront. Often, these are only big enough for posters, but these seem to have room enough for small displays. Then the actual display windows. If you want to run your own shop, you will generally go to a vocational school to learn, in great detail, how to structure an appealing shop-window display. This is called Schaufenstergestaltung in German. Of course, since this is a hardware shop, Weber hasn't really put all that much effort into it. Anything too schicki-micki (fancy) would probably drive away customers for these sorts of things.

Then you have the A-shaped ad placards to put in the way of pedestrians, stored safely beneath the chain protecting the door. Of course, since this is Germany, there are detailed regulations (g) for how large these stand-up signs (Stellschilder) can be, where you can put them, and how long you can leave them out. You may chuckle at those crazy Prussians, but you shouldn't. These signs are already an annoyance, and if the rules weren't there, they'd probably clog the sidewalk even more than they do already. Which would lead people to destroy them. So, a delicate balance is required between the needs of the shopkeeper and those of the public. That's what rules are for.

This store is almost certainly going to close soon, to be replaced by an artisanal vegan fair-trade frozen-yogurt studio. If this were Japan, the entire store would be recreated lovingly inside a museum, staffed by animatronic shopkeepers giving tinny mechanical advice to animatronic customers:

DSC_0164

But since this is Germany, 'Eisen-Weber' will probably just disappear forever. At least we'll have the photo.

German Literary ‘Great’ Inflation

Lithub has a feature on a German literary festival:

This weekend, the Neue Festival Literatur is offering a crash course in the best of contemporary German literature, with panels and readings from some of the most notable writers currently working in German. This year’s festival theme is “Seriously Funny.”

The post features English-language excerpts from recent work by Vea Kaiser, Xaver Bayer, Sibylle Berg, Iris Hanika, Pedro Lenz, Christopher Kloeble. Inspiring to see so much new German fiction getting a hearing in English.

My only objection is to the title of the post, which is 'Six Great Contemporary Writers Working in German'. No, these writers aren't great. They may be talented, interesting, innovative, wryly funny, or challenging, but they're not great. They're all way too young to have earned that adjective yet.

It looks like LitHub has been struck by what I call 'great' inflation: the tendency in German cultural circles to label about 60% of Germany's total literary production in a given year 'great'. Writers you've never heard of are described in German Feuilletons as 'great', as are books that sold 457 copies, won the Johann-August-Nepomuk Schleifenbumser prize from the town of Pflängenholz, and then disappeared.

I get it: the German urban haute bourgeoisie is terribly proud of the fact that it still Reads Books, and believes its mission on this earth is to convince as many people as possible to Read Books. One of the tactics they've settled on is 'great' inflation. Perhaps if we keep describing all books not directed at a mass audience as 'GREAT' often enough, people will begin reading more of them.

But it backfires. I've read some of the books described as 'great' over the years by German critics, and none of them was. Don't get me wrong: some were quite stimulating and very much worth reading. But not 'great'. Others, frankly, were crap — which leads me to believe that many of these 'greats' are being doled out as favors to friends inside some incestuous literary clique. Reviewers should be required to reveal if they're friends with the people who wrote the book under review. 

German critics! Please stop the great inflation. If you apply the word 'great' to any but the most overwhelmingly magnificent 2-3% of literary productions, you drain it of all meaning. Look in your thesauri for other ways to express approval. Think long and hard before bestowing the title 'great' on a book or a person. The result will be clearer, more honest, and more lively reviews.

Constantly Changing Geometric Structures

Düsseldorf is just about to open a new subway line. No ads, just art. The Guardian is impressed:

Fifteen years in the making, the Wehrhahn metro line consists of six new stations running east to west beneath the city centre, collaboratively designed by architects, artists and engineers. “Normally the construction part happens first and then the artists are commissioned. Here the architects, artists and engineers worked together from the beginning,” she says.

It started back in 2001 when a joint proposal by Klussmann and Darmstadt-basedarchitecture practice Netzwerkarchitekten won an EU-wide, two-stage competition to design the stations. They commissioned five artists to develop concepts and, €843m (£657m) and two miles of tunnel boring and excavation later, the results are surprising, outstanding and ambitious.

There have been other art on the underground projects but two factors make this one stand out: the total lack of advertising throughout, and the cohesive vision of a common architectural language….

The station designed by Ralf Brög has three atmospheric sound corridors exploring noise sculpturally and visually, while Ursula Damm’s station features aerial views of Düsseldorf in the entrance. There is also a giant LED wall overlooking the concourse displaying real-time footage of passing pedestrians overlaid with constantly changing geometric structures that respond to the movement of passengers.

At Graf-Adolf-Platz, artist Manuel Franke created an immersive journey where sweeping layers of green rock strata accompany passengers down to the concourse and combine hand-painting with laminated security glass. Klussmann’s graphic black-and-white designs for Pempelforter Straße station play with the architecture and boundaries of the space and traditional notions of perspective to a dazzling effect….

It may seem surprising that Germany’s first art on the underground project has taken place in this relatively small and well-heeled city by the Rhine – with its population of 600,000 – instead of the larger and edgier metropolises of Berlin, Hamburg or Cologne. Yet Düsseldorf is no slouch in art scene terms. All of the artists selected have links to the city’s Kunstakademie, the renowned art school founded in 1762 whose alumni include Joseph Beuys, Gerhard Richter, Sigmar Polke and Anselm Kiefer. According to Gregor Jansen, director of the Kunsthalle, the city is more interesting than its expensive car and luxury-loving image would have you believe. “It has always been an art city and it still has the most famous art academy in Europe,” he says, referring to the Kunstakademie….

Perhaps surprisingly, the city agreed to the no advertising dimension immediately. Ulla Lux from the city’s cultural department explains their rationale: “It’s so rare to have the opportunity to create an art project of this scale in public space that in the end it was a conscious decision to allow this to be a pure art and architecture experience.”

What is perhaps most inspiring about the project is how the lack of adverts means people can be people, and not consumers. Klussmann says: “Art is often used to attract people to buy things.” But here it is just about the art and the space, and wherever your imagination takes you. How many public spaces can say the same? 

I haven't seen the finished stations yet, but I did take some photos during a 'day of the open tunnel' a few years ago:

  IMG_2397 IMG_2410
IMG_2410
IMG_2410
IMG_2410
IMG_2410

 

James Flynn on Humanity’s Huge Cognitive Leap

I know, it's one of those easily-mockable TED talks. But hey, just because they're easily-mockable doesn't mean they're worthless. This one is fascinating, even if cognitive ability isn't one of your hobbyhorses (it is one of mine). I even added German subtitles.

The 'Flynn Effect' is named for James Flynn, the man in this video. The Flynn describes the fact that in an absolute sense, humanity as a whole has become smarter every decade of the recent past. In the past 150 or so years, humanity has enjoyed steady increases in cognitive ability. Literacy has become almost-universal, average numbers of years educated has increased, the number of people engaged in cognitively demanding professions has skyrocketed, and the median level of cognitive ability has increased, making it normal and routine for people to think in abstract categories that would be unintelligible to people living in, say, 1890. The effects are concentrated mostly in the global North, of course, but they're spreading everywhere.

Forget just about everything you learned in sociology classes, this is probably the most important change in the human condition since the Renaissance. And most people have no idea it happened.

https://embed-ssl.ted.com/talks/lang/de/james_flynn_why_our_iq_levels_are_higher_than_our_grandparents.html