The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
D [The Collector] All these old things have a moral value. -Charles Baudelaire! I believe . . . in my soul: the TIling. -Leon Deubel, Oeuvres (Paris, 1929), p. 193 Here was the last refuge of those infant prodigies that saw the light of day at the time of the world exhibitions : the briefcase with interior lighting, the meter-long pocket knife, or the patented umbrella haudle with built-in watch and revolver. And near the degenerate giant creatures, aborted and broken-down matter. We followed the narrow dark corridor to where-between a discount bookstore, in which dusty tied-up bundles tell of all sorts of failure, and a shop selling only buttons (mother-of-pearl and the kind that in Paris are called defonlaisie)-there stood a sort of salon. On the pale-colored Wallpaper full of figures and busts shone a gas lamp. By its light, an old woman sat reading. They say she has been there alone for years, and collects sets of teeth "in gold, in wax, and broken!' Since that day, moreover, we know where Doctor Miracle got the wax out of which he fashioned Olympia.' 0 Dolls 0 [H!,!] "The crowd throngs to the Passage Vivierme, where people never feel conspicuous, and deserts the Passage Colbert, where they feel perhaps too conspicuous. At a certain point, an attempt was made to entice the crowd back by filling the rotunda each evening with hannoruous music, which emanated invisibly from the windows of a mezzanine. But the crowd came to put its nose in at the door and did not enter, suspecting in this novelty a conspiracy against its customs and routine pleasures." Le Livre des cenl-e/-un, vol. 10 (Paris, 1833), p. 58. Fifteen years ago, a similar attempt was made-likewise in vain-to boost the department store W Wertheim. Concerts were given in the great arcade that ran through it. [H!,2] Never trust what writers say about their own writings. When Zola undertook to defend his TMrese Raquin against hostile critics, he explained that his book was a scientific study of the temperaments. His task had been to show, in an example,
exactly how the sanguine and the nervous temperaments act on one another-to the detriment of each. But this explanation could satisfy no one. Nor does it explain the admixture of colportage, the bloodthirstiness, the cinematic goriness of the action. Which-by no accident-takes place in an arcade.' If this book really expounds something scientifically, then it's the death of the Paris arcades, the decay of a type of architecture. The book's atmosphere is saturated with the poisons of this process: its people drop like flies. [HI,3] In 1893 the cocottes were driven from the arcades. [HI,4] Music seems to have settled into these spaces only with their decline, only as the orchestras themselves began to seem old-fashioned in comparison to the new mechanical music. So that, in fact, these orchestras would just as soon have taken refuge there. (The "theatrophone)) in the arcades was, in certain respects, the forerunner of the gramophone.) Nevertheless, there was music that conformed to the spirit of the arcades-a panoramic music, such as can be heard today only in old-fashioned genteel concerts like those of the casino orchestra in Monte Carlo: the panoramic compositions of
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D<br />
[<strong>The</strong> Collector]<br />
All these old things have a moral value.<br />
-Charles Baudelaire!<br />
I believe . . . in my soul: the TIling.<br />
-Leon Deubel, Oeuvres (Paris, 1929), p. 193<br />
Here was the last refuge of those infant prodigies that saw the light of day at the<br />
time of the world exhibitions : the briefcase with interior lighting, the meter-long<br />
pocket knife, or the patented umbrella haudle with built-in watch and revolver.<br />
And near the degenerate giant creatures, aborted and broken-down matter. We<br />
followed the narrow dark corridor to where-between a discount bookstore, in<br />
which dusty tied-up bundles tell of all sorts of failure, and a shop selling only<br />
buttons (mother-of-pearl and the kind that in Paris are called defonlaisie)-there<br />
stood a sort of salon. On the pale-colored Wallpaper full of figures and busts<br />
shone a gas lamp. By its light, an old woman sat reading. <strong>The</strong>y say she has been<br />
there alone for years, and collects sets of teeth "in gold, in wax, and broken!'<br />
Since that day, moreover, we know where Doctor Miracle got the wax out of<br />
which he fashioned Olympia.' 0 Dolls 0 [H!,!]<br />
"<strong>The</strong> crowd throngs to the Passage Vivierme, where people never feel conspicuous,<br />
and deserts the Passage Colbert, where they feel perhaps too conspicuous.<br />
At a certain point, an attempt was made to entice the crowd back by filling the<br />
rotunda each evening with hannoruous music, which emanated invisibly from<br />
the windows of a mezzanine. But the crowd came to put its nose in at the door<br />
and did not enter, suspecting in this novelty a conspiracy against its customs and<br />
routine pleasures." Le Livre des cenl-e/-un, vol. 10 (Paris, 1833), p. 58. Fifteen<br />
years ago, a similar attempt was made-likewise in vain-to boost the <br />
department store W Wertheim. Concerts were given in the great arcade that ran<br />
through it. [H!,2]<br />
Never trust what writers say about their own writings. When Zola undertook to<br />
defend his TMrese Raquin against hostile critics, he explained that his book was a<br />
scientific study of the temperaments. His task had been to show, in an example,