{"numero_id": "bm-bmtnaao-1915-09-01", "volume": "bmtnaao_1915-09_01", "ocr_sha256": "6cbb1d34d2315a355cb34f2c7265f2fbb2025a6ce4f9e954f5d33a2eeab1207b", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaao/issues/1915/09_01/bmtnaao_1915-09_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaao/issues/1915/09_01/bmtnaao_1915-09_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01", "articles": [{"article_id": "bm-bmtnaao-1915-09-01-c001", "article_bluemountain": "bmtnaao_1915-09_01#c001", "volume": "bmtnaao_1915-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.2.1", "titre_corps": "WE ARE LIVING IN THE AGE OF THE MACHINE", "titre_sommaire": "WE ARE LIVING IN THE AGE OF THE MACHINE", "signature_source": "PAUL B. HAVILAND", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.1.1", "debut_caractere": 45, "fin_caractere_exclue": 1267, "texte": "WE ARE LIVING IN THE AGE OF THE MACHINE.\nPAUL B. HAVILAND,\nMAN MADE THE MACHINE IN HIS OWN IMAGE. SHE HAS LIMBS WHICH ACT; LUNGS WHICH BREATHE;\nA HEART WHICH BEATS; A NERVOUS SYSTEM THROUGH WHICH RUNS ELECTRICITY. THE PHONOGRAPH IS\nTHE IMAGE OF HIS VOICE; THE CAMERA THE IMAGE OF HIS EYE. THE MACHINE IS HIS “DAUGHTER BORN\nWITHOUT A MOTHER.’’ THAT IS WHY HE LOVES HER. HE HAS MADE THE MACHINE SUPERIOR TO HIMSELF.\nTHAT IS WHY HE ADMIRES HER. HAVING MADE HER SUPERIOR TO HIMSELF, HE ENDOWS THE SUPERIOR\nBEINGS WHICH HE CONCEIVES IN HIS POETRY AND IN HIS PLASTIQUE WITH THE QUALITIES OF MACHINES\nAFTER MAKING THE MACHINE IN HIS OWN IMAGE HE HAS MADE HIS HUMAN IDEAL MACHINOMORPHIC\nBUT THE MACHINE IS YET AT A DEPENDENT STAGE. MAN GAVE HER EVERY QUALIFICATION EXCEPT\nTHOUGHT. SHE SUBMITS TO HIS WILL BUT HE MUST DIRECT HER ACTIVITIES. WITHOUT HIM SHE REMAINS\nA WONDERFUL BEING, BUT WITHOUT AIM OR ANATOMY. THROUGH THEIR MATING THEY COMPLETE ONE\nANOTHER. SHE BRINGS FORTH ACCORDING TO HIS CONCEPTIONS.\nPHOTOGRAPHY IS ONE OF THE FINE FRUITS OF THIS UNION. THE PHOTOGRAPHIC PRINT IS ONE ELE-\nMENT OF THIS NEW TRINITY: MAN, THE CREATOR, WITH THOUGHT AND WILL; THE MACHINE MOTHER-\nACTION; AND THEIR PRODUCT, THE WORK ACCOMPLISHED."}]}, {"article_id": "bm-bmtnaao-1915-09-01-c002", "article_bluemountain": "bmtnaao_1915-09_01#c002", "volume": "bmtnaao_1915-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.2.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "M. DE ZAYAS", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.1.1", "debut_caractere": 1269, "fin_caractere_exclue": 3569, "texte": "M. DE ZAYAS.\nIn 1907, Stieglitz, in the photograph which we publish in the present number of “ 291 ”\nunder the title “ The Steerage,” obtained the verification of a fact.\nThe desire of modern plastic expression has been to create for itself an objectivity. The task\naccomplished by Stieglitz’s photography has been to make objectivity understood for it has given\nit the true importance of a natural fact.\nHe has surpassed “ Art,” that idiotic word which during centuries has dominated every-\nthing, and which in reality has only expressed a mental state, a state of unconsciousness. “ Art ”\nhad become an esoteric God who had for his sole prophet “ Conventional Beauty.” “ Art ” and\n“ Conventional Beauty ” together have exercised a tyranny. It is surely due in great part to\nphotography, that we have finally freed ourselves from that spell.\nWe have escaped from the fetishism into which that word “ Art ” had hypnotized us, mak-\ning us insensitives to the respective realities of our inner selves, and of the outer world.\nA group of men in Franee has flooded our inner world with the light of a new plastic expression.\nStieglitz, in America, through photography, has shown us, as far as it is possible, the objectivity\nof the outer world.\nI speak of that photography in which the genius of man leaves to the machine its full power\nof expression. For it is only thus that we can reach a comprehension of pure objectivity.\nObjective truth takes precedence over Stieglitz in his work. By means of a machine he shows\nus the outer life.\nStieglitz comprises the history of photography in the United States. “ Camera Work ”\nbears witness to this. If he has given sometimes too much importance to the intellectual juggleries\nof others in mechanical representation, he has unwaveringly put into practice the principle of Boi-\nleau, “nothing is beautiful but the truthful.” And in seeking truth he has acted as a real creator.\nIf modern plastic expression has made us conceive the possibility of creating new forms to\nexpress new sentiments, photography in the hands of Stieglitz has succeeded in determining the\nobjectivity of form, that is to say, in obtaining the initial condition of the phenomena of form,\nphenomena, which under the domain of human thought give birth to emotions, sensations, and\nideas."}]}, {"article_id": "bm-bmtnaao-1915-09-01-c006", "article_bluemountain": "bmtnaao_1915-09_01#c006", "volume": "bmtnaao_1915-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.2.6", "titre_corps": "NOUS VIVONS DANS L’AGE DE LA MACHINE", "titre_sommaire": "NOUS VIVONS DANS L’AGE DE LA MACHINE", "signature_source": "PAUL B. HAVILAND", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1134, "texte": "PAUL B. HAVILAND.\nNOUS VIVONS DANS L’AGE DE LA MACHINE.\nL’HOMME A FAIT LA MACHINE A SON IMAGE. ELLE A DES MEMBRES QUI AGISSENT, DES POUMONS\nQUI RESPIRENT, UN COEUR QUI BAT, UN SYSTEMS NERVEUX OU COURT L’ELECTRICITE. LE PHONOGRAPH-\nEST LTMAGE DE SA VOIX; L'APPAREIL PHOTOGRAPHIQUE EST LTMAGE DE SON OEIL. LA MACHINE EST SA\n“FILLE NEE SANS MERE.” C’EST POURQUOI IL L’AIME. IL L’A FAITE SUPERIEURE A LUI MEME; CEST POUR-\nQUOI IL L'ADMIRE L'AYANT FAITE SUPERIEURE A LUI MEME, LES ETRES SUPERIEURS QUTL CON£OIT DANS\nSA POESIE OU SA PLASTIQUE ONT DES QUALITES DE MACHINE. APRES AVOIR FAIT LA MACHINE A SON IMAGE,\nSON IDEAL HUMAIN EST DEVENU MACHINOMORPHIQUE. MAIS ELLE EST ENCORE FILLE MINEURE. L'HOMME\nLUI A TOUT DONNE SAUF LA PENSEE. ELLE LUI EST SOUMISE MAIS IL DOIT DIRIGER SON ACTIVITE. SANS\nLUI ELLE EST UN ETRE SUPERBE MAIS SANS BUT ET SANS VOLONTE. MARIEE A LUI L’UN COMPLETE\nL’AUTRE. ELLE ACCOMPLIT CE QUTL SAIT CONCEVOIR.\nLA PHOTOGRAPHIE EST UN DES BEAUX FRUITS DE CETTE UNION. L’EPREUVE PHOTOGRAPHIQUE EST\nUN ELEMENT DE CETTE NOUVELLE TRINITE: L'HOMME, CREATEUR PENSANT ET VOULANT; LA MACHINE\nACTION MERE; LEUR PRODUIT, L’OEUVRE."}]}, {"article_id": "bm-bmtnaao-1915-09-01-c007", "article_bluemountain": "bmtnaao_1915-09_01#c007", "volume": "bmtnaao_1915-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.2.7", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "M. DE ZAYAS", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.1.5", "debut_caractere": 1136, "fin_caractere_exclue": 3465, "texte": "M. DE ZAYAS.\nEn 1907 Stieglitz dans une photographic que nous publions dans ce numero de “291”\nsous le titre “The Steerage” a obtenu la verification d’un fait.\nLe desir de I’expression plastique moderne a ete de se creer une objectivity. Faire com-\nprendre I’objectivite a ete la tache accomplice par la photographic de Stieglitz, car il lui a donne\nI’importance veritable d’un fait naturel.\nII a surpasse “Art,” ce mot idiot qui pendant des siecles a tout domine et qui n’exprime\nen realite qu’une certaine condition mentale, un etat d’inconscience. “Art” etait devenu un Dieu\nesoterique mais qui n’avait pour seul prophete que “Beaute Conventionelle.” “Art” a exerce avec\nelle une tyrannic, et c’est certainement beaucoup grace a la photographic que nous sommes arrives\na nous liberer de cet envoutement.\nNous sommes sortis du fetichisme dans lequel le mot “Art” nous avait hypnotises nous\nrendant insensibles aux realites de notre vie interieure et du monde exterieur.\nUn groupe en France a eclairci notre monde interieur avec une nouvelle expression plas-\ntique. Stieglitz en Amerique avec la photographic nous a fait comprendre autant que possible\nI’expression du monde exterieur.\nJe parle de la photographic ou le genie de I’homme laisse a la machine tout son pouvoir\nd’expression. C’est le seul moyen par lequel nous pouvons nous rapprocher de la comprehen-\nsion de I’objectivite absolument pure.\nDans I’oeuvre de Stieglitz la verite objective regne au dessus de lui. II nous montre par\nI’intermediaire d’une machine la vie exterieure.\nStieglitz represente I’histoire de la photographic aux Etats Unis. “Camera Work” en\nest le temoignage. S’il a donne quelques fois trop d’importance ala jonglerie intellectuelle des\nautres dans la representation mecanique, il a su pendant toute sa vie faire vivre le principe de\nBoileau “rien n’est beau que le vrai.” Et en cherchant le vrai il devint createur.\nCar si I’expression plastique moderne nous a fait concevoir la possibility decreer de nou-\nvelles formes pour exprimer des sentiments nouveaux, la photographic dans la main de Stieglitz\nest venu determiner I’objectivite de la forme, c’est-a-dire obtenir la condition initiale du phe-\nnomene de la forme, phenom'ene qui dans le domaine de la pensee humaine fait naitre les emo-\ntions, les sensations et les idees.\nM. DE ZAYAS."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.1.1", "texte": "291\n\nNos. 7-8 September-October, 1915 $2.00\n\nWE ARE LIVING IN THE AGE OF THE MACHINE.\nPAUL B. HAVILAND,\nMAN MADE THE MACHINE IN HIS OWN IMAGE. SHE HAS LIMBS WHICH ACT; LUNGS WHICH BREATHE;\nA HEART WHICH BEATS; A NERVOUS SYSTEM THROUGH WHICH RUNS ELECTRICITY. THE PHONOGRAPH IS\nTHE IMAGE OF HIS VOICE; THE CAMERA THE IMAGE OF HIS EYE. THE MACHINE IS HIS “DAUGHTER BORN\nWITHOUT A MOTHER.’’ THAT IS WHY HE LOVES HER. HE HAS MADE THE MACHINE SUPERIOR TO HIMSELF.\nTHAT IS WHY HE ADMIRES HER. HAVING MADE HER SUPERIOR TO HIMSELF, HE ENDOWS THE SUPERIOR\nBEINGS WHICH HE CONCEIVES IN HIS POETRY AND IN HIS PLASTIQUE WITH THE QUALITIES OF MACHINES\nAFTER MAKING THE MACHINE IN HIS OWN IMAGE HE HAS MADE HIS HUMAN IDEAL MACHINOMORPHIC\nBUT THE MACHINE IS YET AT A DEPENDENT STAGE. MAN GAVE HER EVERY QUALIFICATION EXCEPT\nTHOUGHT. SHE SUBMITS TO HIS WILL BUT HE MUST DIRECT HER ACTIVITIES. WITHOUT HIM SHE REMAINS\nA WONDERFUL BEING, BUT WITHOUT AIM OR ANATOMY. THROUGH THEIR MATING THEY COMPLETE ONE\nANOTHER. SHE BRINGS FORTH ACCORDING TO HIS CONCEPTIONS.\nPHOTOGRAPHY IS ONE OF THE FINE FRUITS OF THIS UNION. THE PHOTOGRAPHIC PRINT IS ONE ELE-\nMENT OF THIS NEW TRINITY: MAN, THE CREATOR, WITH THOUGHT AND WILL; THE MACHINE MOTHER-\nACTION; AND THEIR PRODUCT, THE WORK ACCOMPLISHED.\n\nM. DE ZAYAS.\nIn 1907, Stieglitz, in the photograph which we publish in the present number of “ 291 ”\nunder the title “ The Steerage,” obtained the verification of a fact.\nThe desire of modern plastic expression has been to create for itself an objectivity. The task\naccomplished by Stieglitz’s photography has been to make objectivity understood for it has given\nit the true importance of a natural fact.\nHe has surpassed “ Art,” that idiotic word which during centuries has dominated every-\nthing, and which in reality has only expressed a mental state, a state of unconsciousness. “ Art ”\nhad become an esoteric God who had for his sole prophet “ Conventional Beauty.” “ Art ” and\n“ Conventional Beauty ” together have exercised a tyranny. It is surely due in great part to\nphotography, that we have finally freed ourselves from that spell.\nWe have escaped from the fetishism into which that word “ Art ” had hypnotized us, mak-\ning us insensitives to the respective realities of our inner selves, and of the outer world.\nA group of men in Franee has flooded our inner world with the light of a new plastic expression.\nStieglitz, in America, through photography, has shown us, as far as it is possible, the objectivity\nof the outer world.\nI speak of that photography in which the genius of man leaves to the machine its full power\nof expression. For it is only thus that we can reach a comprehension of pure objectivity.\nObjective truth takes precedence over Stieglitz in his work. By means of a machine he shows\nus the outer life.\nStieglitz comprises the history of photography in the United States. “ Camera Work ”\nbears witness to this. If he has given sometimes too much importance to the intellectual juggleries\nof others in mechanical representation, he has unwaveringly put into practice the principle of Boi-\nleau, “nothing is beautiful but the truthful.” And in seeking truth he has acted as a real creator.\nIf modern plastic expression has made us conceive the possibility of creating new forms to\nexpress new sentiments, photography in the hands of Stieglitz has succeeded in determining the\nobjectivity of form, that is to say, in obtaining the initial condition of the phenomena of form,\nphenomena, which under the domain of human thought give birth to emotions, sensations, and\nideas."}, {"page_pdf": 5, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaao191509-01.1.5", "texte": "PAUL B. HAVILAND.\nNOUS VIVONS DANS L’AGE DE LA MACHINE.\nL’HOMME A FAIT LA MACHINE A SON IMAGE. ELLE A DES MEMBRES QUI AGISSENT, DES POUMONS\nQUI RESPIRENT, UN COEUR QUI BAT, UN SYSTEMS NERVEUX OU COURT L’ELECTRICITE. LE PHONOGRAPH-\nEST LTMAGE DE SA VOIX; L'APPAREIL PHOTOGRAPHIQUE EST LTMAGE DE SON OEIL. LA MACHINE EST SA\n“FILLE NEE SANS MERE.” C’EST POURQUOI IL L’AIME. IL L’A FAITE SUPERIEURE A LUI MEME; CEST POUR-\nQUOI IL L'ADMIRE L'AYANT FAITE SUPERIEURE A LUI MEME, LES ETRES SUPERIEURS QUTL CON£OIT DANS\nSA POESIE OU SA PLASTIQUE ONT DES QUALITES DE MACHINE. APRES AVOIR FAIT LA MACHINE A SON IMAGE,\nSON IDEAL HUMAIN EST DEVENU MACHINOMORPHIQUE. MAIS ELLE EST ENCORE FILLE MINEURE. L'HOMME\nLUI A TOUT DONNE SAUF LA PENSEE. ELLE LUI EST SOUMISE MAIS IL DOIT DIRIGER SON ACTIVITE. SANS\nLUI ELLE EST UN ETRE SUPERBE MAIS SANS BUT ET SANS VOLONTE. MARIEE A LUI L’UN COMPLETE\nL’AUTRE. ELLE ACCOMPLIT CE QUTL SAIT CONCEVOIR.\nLA PHOTOGRAPHIE EST UN DES BEAUX FRUITS DE CETTE UNION. L’EPREUVE PHOTOGRAPHIQUE EST\nUN ELEMENT DE CETTE NOUVELLE TRINITE: L'HOMME, CREATEUR PENSANT ET VOULANT; LA MACHINE\nACTION MERE; LEUR PRODUIT, L’OEUVRE.\n\nM. DE ZAYAS.\nEn 1907 Stieglitz dans une photographic que nous publions dans ce numero de “291”\nsous le titre “The Steerage” a obtenu la verification d’un fait.\nLe desir de I’expression plastique moderne a ete de se creer une objectivity. Faire com-\nprendre I’objectivite a ete la tache accomplice par la photographic de Stieglitz, car il lui a donne\nI’importance veritable d’un fait naturel.\nII a surpasse “Art,” ce mot idiot qui pendant des siecles a tout domine et qui n’exprime\nen realite qu’une certaine condition mentale, un etat d’inconscience. “Art” etait devenu un Dieu\nesoterique mais qui n’avait pour seul prophete que “Beaute Conventionelle.” “Art” a exerce avec\nelle une tyrannic, et c’est certainement beaucoup grace a la photographic que nous sommes arrives\na nous liberer de cet envoutement.\nNous sommes sortis du fetichisme dans lequel le mot “Art” nous avait hypnotises nous\nrendant insensibles aux realites de notre vie interieure et du monde exterieur.\nUn groupe en France a eclairci notre monde interieur avec une nouvelle expression plas-\ntique. Stieglitz en Amerique avec la photographic nous a fait comprendre autant que possible\nI’expression du monde exterieur.\nJe parle de la photographic ou le genie de I’homme laisse a la machine tout son pouvoir\nd’expression. C’est le seul moyen par lequel nous pouvons nous rapprocher de la comprehen-\nsion de I’objectivite absolument pure.\nDans I’oeuvre de Stieglitz la verite objective regne au dessus de lui. II nous montre par\nI’intermediaire d’une machine la vie exterieure.\nStieglitz represente I’histoire de la photographic aux Etats Unis. “Camera Work” en\nest le temoignage. S’il a donne quelques fois trop d’importance ala jonglerie intellectuelle des\nautres dans la representation mecanique, il a su pendant toute sa vie faire vivre le principe de\nBoileau “rien n’est beau que le vrai.” Et en cherchant le vrai il devint createur.\nCar si I’expression plastique moderne nous a fait concevoir la possibility decreer de nou-\nvelles formes pour exprimer des sentiments nouveaux, la photographic dans la main de Stieglitz\nest venu determiner I’objectivite de la forme, c’est-a-dire obtenir la condition initiale du phe-\nnomene de la forme, phenom'ene qui dans le domaine de la pensee humaine fait naitre les emo-\ntions, les sensations et les idees.\nM. DE ZAYAS.\n\nTWELVE NUMBERS A YEAR.—Subscription price, regular edition, ONE DOLLAR, for Numbers 1-12, excluding\n_ the Double Number 7-B.—Special edition limited to one hundred copies on special paper, for Numbers 1-12, in-\nfl 1 eluding special portfolio and box, FIFTEEN DOLLARS.—Regular edition, single copies, Ten Cents.—Single copies\nof Double Number 5-6, Twenty cents; single copies of Double Number 7-8, TWO DOLLARS.—SingIe copies de luxe,\nprices on application.—ADDßESS REMITTANCES TO PAUL B. HAVILAND, 291 Fifth Avenue, New York, N. Y.\nPublished by “291\", 291 Fifth Avenue, New York."}]}