Our buildings will rise, poke out our own eyes.

Charles Sheeler

American, 1883 - 1965
Industry, 1932
Gelatin silver collage (triptych)


from Art Institute of Chicago's exhibit, "Photography on Display: Modern Treasures"

...

Mess. Occasions drew me early to this City,
And as the gates I enter'd with Sun-rise,
The morning Trumpets Festival proclaim'd
Through each high street: little I had dispatch't
When all abroad was rumour'd that this day [ 1600 ]
Samson should be brought forth to shew the people
Proof of his mighty strength in feats and games;
I sorrow'd at his captive state, but minded
Not to be absent at that spectacle.
The building was a spacious Theatre [ 1605 ]
Half round on two main Pillars vaulted high,
With seats where all the Lords and each degree
Of sort, might sit in order to behold,
The other side was op'n, where the throng
On banks and scaffolds under Skie might stand; [ 1610 ]
I among these aloof obscurely stood.
The Feast and noon grew high, and Sacrifice
Had fill'd thir hearts with mirth, high cheare, & wine,
When to thir sports they turn'd. Immediately
Was Samson as a public servant brought, [ 1615 ]
In thir state Livery clad; before him Pipes
And Timbrels, on each side went armed guards,
Both horse and foot before him and behind
Archers, and Slingers, Cataphracts and Spears.
At sight of him the people with a shout [ 1620 ]
Rifted the Air clamouring thir god with praise,
Who had made thir dreadful enemy thir thrall.
He patient but undaunted where they led him,
Came to the place, and what was set before him
Which without help of eye, might be assay'd, [ 1625 ]
To heave, pull, draw, or break, he still perform'd
All with incredible, stupendious force,
None daring to appear Antagonist.
At length for intermission sake they led him
Between the pillars; he his guide requested [ 1630 ]
(For so from such as nearer stood we heard)
As over-tir'd to let him lean a while
With both his arms on those two massie Pillars
That to the arched roof gave main support.
He unsuspitious led him; which when Samson [ 1635 ]
Felt in his arms, with head a while enclin'd,
And eyes fast fixt he stood, as one who pray'd,
Or some great matter in his mind revolv'd.
At last with head erect thus cryed aloud,
Hitherto, Lords, what your commands impos'd [ 1640 ]
I have perform'd, as reason was, obeying,
Not without wonder or delight beheld.
Now of my own accord such other tryal
I mean to shew you of my strength, yet greater;
As with amaze shall strike all who behold. [ 1645 ]
This utter'd, straining all his nerves he bow'd,
As with the force of winds and waters pent,
When Mountains tremble, those two massie Pillars
With horrible convulsion to and fro,
He tugg'd, he shook, till down thy came and drew [ 1650 ]
The whole roof after them, with burst of thunder
Upon the heads of all who sate beneath,
Lords, Ladies, Captains, Councellors, or Priests,
Thir choice nobility and flower, not only
Of this but each Philistian City round [ 1655 ]
Met from all parts to solemnize this Feast.
Samson with these immixt, inevitably
Pulld down the same destruction on himself;
The vulgar only scap'd who stood without.

from John Milton's Samson Agonistes, "The Argument" [1]

…

July 8, 1932 – The Dow Jones Industrial Average reaches its lowest level of the Great Depression, bottoming out at 41.22. 

November 21, 1932 – German president Hindenburg begins negotiations with Adolf Hitler about the formation of a new government.

A steel plant

Luke Swank
American, 1890 - 1944
Steel Plant, 1932
Gelatin Silver Print

from Art Institute of Chicago's exhibit, "Photography on Display: Modern Treasures"

Vivid contrasts, studied and subtly unbalanced symmetry, energetic lines and angles. Against a romantic cloudscape. [1] [2] Against. Violence. [3] A battleship docked at port? Towers, smokestacks looming over electrical lines. A comparison of power—military and industrial. No? A Steel Plant. Steel. Plant. Comparison yet. Light and darkness, movement and pause, tranquility and upheaval, disarray and design, natural and human, romantic and modern. A story, a vignette, a declaration of the rise of a modern industry, magnificent and shadowy! Arise, arise! billowy clouds bursting from the stacks—handrails atop the towers—mysterious, sourceless light that hums in the sky—power lines, like scratches in the film, gouge the surface and deny with an enormous X the things beneath!


“[Swank] served in the U.S. Army during the first World War, and was assigned to a research facility to study the manufacture of poison gasses.” [4]


…
GAS! Gas! Quick, boys!-- An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And floundering like a man in fire or lime.--
Dim, through the misty panes and thick green light
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,--
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

-from, Deluce Et Decorum Est, Wilfred Owen

Song of Myself, Section 25

Dazzling and tremendous how quick the sun-rise would kill me,
If I could not now and always send sun-rise out of me.

We also ascend dazzling and tremendous as the sun,
We found our own O my soul in the calm and cool of the day-break.

My voice goes after what my eyes cannot reach,
With the twirl of my tongue I encompass worlds and volumes of worlds.

Speech is the twin of my vision, it is unequal to measure itself,
It provokes me forever, it says sarcastically,
Walt you contain enough, why don't you let it out then?

Come now I will not be tantalized, you conceive too much of articulation,
Do you know O speech how the buds beneath you are folded?
Waiting in gloom, protected by frost,
The dirt receding before my prophetical screams,
I underlying causes to balance them at last,
My knowledge my live parts, it keeping tally with the meaning of all things,
Happiness, (which whoever hears me let him or her set out in search of this day.)

My final merit I refuse you, I refuse putting from me what I really am,
Encompass worlds, but never try to encompass me,
I crowd your sleekest and best by simply looking toward you.
Writing and talk do not prove me,
I carry the plenum of proof and every thing else in my face,
With the hush of my lips I wholly confound the skeptic.