Van dingen die voorbijkomen

Nearly 100 years after it was introduced, architect Margarete (Grete) Schütte-Lihotzky‘s famous Frankfurt Kitchen continues to exert enormous influence on kitchen design.

Schütte-Lihotzky analyzed designs for kitchens in train dining cars and made detailed time-motion studies of housewives’ dinner preparations in her quest to come up with something that would be space saving, efficient, inexpensively pre-fabricated, and easily installed in the new housing springing up in post-WWI Germany.

Schütte-Lihotzky hoped that her design would have a liberating effect, by reducing the time women spent in the kitchen. Nothing is left to chance in these 1.9 by 3.44 meters, with the main emphasis placed on the well-traveled “golden triangle” between worktop, stove, and sink.

The design’s scientific management honored ergonomics and efficiency, initiating a sort of household dance, but as filmmaker Maribeth Romslo, who directed eight dancers on a painstaking facsimile of a Frankfurt Kitchen, below, observes:

…as with any progress, there is friction and pressure. As women gain more rights (then and now), are they really just adding more to their to-do list of responsibilities? Adding to the number of plates they need to spin? They haven’t been excused from domestic duties in order to pursue careers or employment, the new responsibilities are additive.

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Choreographer Zoé Henrot, who also appears in the film, emphasizes the Frankfurt Kitchen’s design efficiencies and many of its famous features — the drawers for flour and other bulk goods, the adjustable stool, the cutting board with a receptacle for parings and peels.

At the same time, she manages to telegraph some possible Catch-22s.

Its diminutive size dictates that this workplace will be a solitary one — no helpers, guests, or small children.

The built-in expectations regarding uniformity of use leaves little room for culinary experimentation or a loosey goosey approach.

When crushingly repetitive tasks begin to chafe, options for escape are limited (if very well-suited to the expressive possibilities of modern dance).

Interestingly, many assume that a female architect working in 1926 would have brought some personal insights to the task that her male colleagues might have been lacking. Not so, as Schütte-Lihotzky readily admitted:

The truth of the matter was, I’d never run a household before designing the Frankfurt Kitchen, I’d never cooked, and had no idea about cooking.

Singer-songwriter Robert Rotifer is another artist who was moved to pay homage to Schütte-Lihotzky and the Frankfurt Kitchen, a “calculated move” that he describes as something closer to designing a kitchen than “divine inspiration”:

I sat on the train traveling from Canterbury up to London… I was about to record a new album, and I needed one more uptempo song, something driving and rhythmical. While the noisy combination of rickety train and worn-out tracks suggested a beat, I began to think about syncopations and subjects.

I thought about the mundane things nobody usually writes songs about, functional things that defy metaphor—tools, devices, household goods. As I listed some items in my head, I soon realized that kitchen utensils were the way to go. I thought about the mechanics of a kitchen, and that’s when the name of the creator of the famous Frankfurt Kitchen flashed up in my head.

There, in the natural rhythm of her name, was the syncopation I had been looking for: “I sing this out to Grete Schütte-Lihotzky.” Writing the rest of the lyrics was easy. The repetitive element would illustrate the way you keep returning to the same tasks and positions when you are working in a kitchen. In the middle-eight I would also find space for some of the criticisms that have been leveled at Schütte-Lihotzky’s kitchen over the decades, such as the way her design isolated the kitchen worker, i.e. traditionally the woman, from the rest of the family.

Rotifer, who also created the paintings used in the animated music video, gives the architect her due by including accomplishments beyond the Frankfurt Kitchen: her micro-apartment with “a disguised roll-out bed,” her terraced houses at the Werkbundsiedlung, a housing project’s kindergarten, a printing shop, and the Viennese Communist party headquarters.

It’s a lovely tribute to a design pioneer who, reflecting on her long career around the time of her 100th birthday, remarked:

If I had known that everyone would keep talking about nothing else, I would never have built that damned kitchen!

Museums that have acquired a Frankfurt Kitchen include Frankfurt’s Museum Angewandte Kunst, New York City’s Museum of Modern Art, London’s Victoria and Albert Museum, and Oslo’s National Museum.

Learn more about the Kitchen Dance Project in this conversation between filmmaker Maribeth Romslo, choreographer Zoé Emilie Henrot, and Minneapolis Institute of Art curator Jennifer Komar Olivarez.

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Recipes from the Kitchen of Georgia O’Keeffe

The Politics & Philosophy of the Bauhaus Design Movement: A Short Introduction

Visit the Homes That Great Architects Designed for Themselves: Frank Lloyd Wright, Le Corbusier, Walter Gropius & Frank Gehry

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday

Discover the First Modern Kitchen–the Frankfurt Kitchen–Pioneered by the Architect Margarete Schütte-Lihotzky (1926) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

The dominant form of Hollywood and/or mainstream filmmaking has been realism, the sense that even in our wildest fantasy, sci-fi, and superhero films there’s still an attempt to hide the camera, the crew, and the lighting, and that what we’re seeing just *is*, that nothing has been constructed for us. Despite the tricks that editing and non-diegetic sound (music, etc.) play on us, we are still willing to believe that we are seeing a thing that happened.

There’s very few filmmakers that explicitly resist this and still make popular and successful Hollywood films, and Wes Anderson is one of them. Hence the above video essay from Thomas Flight, who recently visited Anderson’s films to pull out the more esoteric of his references.

Flight’s thesis runs thusly. Anderson chose to use real fur on the stop-motion puppets in the Fantastic Mr. Fox not despite the hair moving from the animators’ hands’ manipulation, but *because* of it. Showing the fingerprints as it were of the creators within the film itself is a constant stylistic choice in his cinema, and one that is also reflected in his use of flat, diorama-like frames. This is what critic Matt Zoller Seitz, who has written several beautiful coffee table books on Wes Anderson, calls Planimetric Composition. But it’s also there in the titles, use of theater curtains, of the numerous storybook and comic book references that shape Anderson’s work.

This is not new of course, if you follow any writing on Anderson. It’s a key to understanding his aesthetic. But Flight goes further to ask why. Why construct something so artificial and risk alienating audiences?

Flight comes to the point: it’s a risk worth taking. It’s a moment in childhood—he compares it to a parent reading a bedtime story. A parent is present, often the focus of the child’s attention (there might not even be a book) but at the same time so is the story. Words unfold in speech and also unfold in a child’s mind. Both exist in the same space, the artificial and the real.

So many Anderson films unfold like storybooks—we often see a hardback book with the same title in the film itself, or in the case of The Grand Budapest Hotel, a series of stories and books, all nestled inside each other. Flight doesn’t make the comparison, but it is worth doing so: Anderson’s films are like epistolary novels of the 19th century, such as Frankenstein or Wuthering Heights, stories within letters within stories.

But here’s the interesting part: when Anderson has a moment of heightened emotion in his films, where characters let down their guard and speak from the heart, the director will give us the classic realist shot/reverse shot. It’s fleeting but it’s there.

And that works exactly because Anderson holds off on revealing it to us until that one moment. The storyteller knows it’s special and knows we’re going to find it special. At a time when the auteur theory is under attack from critics on one side and the capitalist machine, it’s good to know there’s a director like Anderson who doesn’t give us what we want, but gives us what we so sorely need.

Related Content:

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A Complete Collection of Wes Anderson Video Essays

Wes Anderson Releases the Official Trailer for His New Film, The French Dispatch: Watch It Online

Ted Mills is a freelance writer on the arts who currently hosts the Notes from the Shed podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, and/or watch his films here.

Why Do Wes Anderson Movies Look Like That? is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Geographer and Marxist scholar David Harvey did not set out to become a Marxist. He didn’t even know what a Marxist was. He simply started to read Marx one day, at the age of 35, because all of the other social science methods he had applied in his study of the housing market and social unrest in US cities “didn’t seem to be working well,” he says in a Jacobin interview. “So, I started to read Marx, and I found it more and more relevant…. After I cited Marx a few times favorably, people pretty soon said I was a Marxist. I didn’t know what it meant… and I still don’t know what it means. It clearly does have a political message, though, as a critique of capital.”

The word “Marxist” has been as much a defamatory term of moral and political abuse as it has a coherent description of a position. But ask Harvey to explain what Marx means in the German philosopher’s massive analysis of political economy, Capital, and he will gladly tell you at length. Harvey has not only read all three volumes of the work many times over, a feat very few can claim, but he has explicated them in detail in his courses at Johns Hopkins and the City University of New York since the 1970s. In the age of YouTube, Harvey posted his lectures online, and they became so popular they inspired a series of equally popular written companion books.

Why study a dead 19th-century socialist? What could he possibly have to say about the world of AI, COVID, and climate change? “I think Marx is more relevant today than ever before,” says Harvey. “When Marx was writing, capital was not dominant in the world. It was dominant in Britain and Western Europe and the eastern United States, but it wasn’t dominant in China or India. Now it’s dominant everywhere. So, I think Marx’s analysis of what capital is and its contradictions is more relevant now than ever.”

To illustrate, and exhaustively explain, the point, Harvey announced by tweet recently that he’s made 5 courses freely available online as videos and podcasts. Find links to all 5 courses below. Or find them in our collection: 1,700 Free Online Courses from Top Universities.

Reading Marx’s Capital Volume 1 with David Harvey – 2019 Edition

Reading Marx’s Capital Volume I with David Harvey – 2007 Edition

Reading Marx’s Capital Volume 2 with David Harvey

Reading Marx’s Grundrisse with David Harvey

Marx, Capital, and the Madness of Economic Reason

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Prof. David Harvey Makes 5 Courses on Marx’s Capital Available for Free is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

The buddy comedy is a staple of American film, but using this to explore female friendship is still fresh ground. Erica, Mark, Brian, and Erica’s long-time friend Micah Greene (actor and nurse) discuss tropes and dynamics within this kind of film, focusing primarily on Barb and Star Go to Vista Del Mar, the 2021 release written and starring Kristin Wiig and Annie Mumolo as a couple of middle aged near-twin oddballs expanding their horizons in a surrealistic, gag-filled tropical venue.

While male pairings of this sort (Cheech and Chong, Bob and Doug McKenzie, Beavis and Butthead et al) stick to silly jokes, Barb and Star base their antics around their evolving relationship toward each other. As with the 2019 film Booksmart and many TV shows including Dead to Me, PEN15, and Grace and Frankie, the trend is toward dramedy as the dynamics of friendship are taken seriously. We also touch on Bridesmaids, Sisters, The Heat, BAPS, I Love You Man, and more.

A few relevant articles:

• “The Rise of the Female Buddy Dramedy” by Jen Chaney
• “Sorry Bros, But Ladies Actually Do The Buddy Comedy Better” by Allee Manning and Kaitlyn Kelly
• “Where Are All The Buddy Comedies For Black Women?” by Jazmin Kopotsha
• “Kristen Wiig and Annie Mumolo on ‘Bridesmaids’ and ‘Barb and Star Go to Vista Del Mar’” by Dave Itzkoff
• “‘Barb and Star Go to Vista Del Mar’ Is Silly in All the Right Ways” by Rachel Syme
• “It Takes Two: Top 25 Best Buddy Comedies” from Rolling Stone
• “10 Female Buddy Comedies Better Than ‘Like A Boss,’ According to Rotten Tomatoes” by Rocco Thompson

Hear more of this podcast at prettymuchpop.com. This episode includes bonus discussion that you can access by supporting the podcast at patreon.com/prettymuchpop. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

On “Barb and Star Go to Vista Del Mar” and the Female Buddy Comedy–Pretty Much Pop: A Culture Podcast #87 is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

De ombudsman heeft onderzocht hoe de overheid moet omgaan met klachten over etnisch profileren, las ik bij deze onafhankelijke instantie. De meest opmerkelijke uitkomst, volgens RTL, is het idee van de bewijslast omdraaien bij etnisch profileren. De burger mag verwachten, aldus het rapport, dat de overheid kan uitleggen op basis waarvan hij geselecteerd is en in hoeverre etniciteit daarbij een rol heeft gespeeld. Hiermee wordt voorkomen dat de burger zelf moet aantonen dat een uitkomst op basis van verboden etnisch profileren is gerealiseerd, iets wat gezien de black box van overheidsbesluiten vaak onmogelijk is. Sommigen zouden zeggen dat de AVG dit al eist.

Etnisch profileren is het gebruik van criteria als ras, huidskleur, nationaliteit, taal, geloof of afkomst bij opsporing of rechtshandhaving terwijl dat niet objectief te rechtvaardigen is, zo valt te lezen in het rapport “Gekleurd beeld” dat eerder deze week verscheen. Daarbij doet het er niet toe of dit de bedoeling was (zoals bij de toeslagenaffaire) of dat het een onbewuste bijkomstigheid is van bijvoorbeeld data-gedreven opsporing – dat de data een bepaalde wijk aanwijst, omdat de postcodes sterk correleren met een etnische verdeling. Waar het om gaat, is dat we als samenleving niet op basis van deze criteria willen handelen, ook al lijken ze goede voorspellers van het te bestrijden gedrag.

De reden is natuurlijk simpel: deze criteria zijn geen voorspellers.

Desondanks blijft het idee hardnekkig, met name nu we steeds vaker met data-analyses werken die dan objectief zouden zijn. Want ja, als uit de data blijkt dat criminelen vaker uit regio X komen, dan is dat een feit toch? Dan mag je daar best op sturen, toch? Nou ja, nee: je handelt dan omgekeerd, uit die data volgt niet dat mensen met afkomst uit regio X significant vaker crimineel zijn. Om eens wat te noemen. En zelfs als de correlatie beide kanten op klopt, dan nog heb je waarschijnlijk een onderliggende factor over het hoofd gezien. Net zoals ze in Maine al jaren het aantal echtscheidingen terugdringen door margarineconsumptie te bestrijden. De cijfers zijn overtuigend, immers.

Daar komt natuurlijk bij dat de AVG het gebruik van deze bijzondere persoonsgegevens eenvoudig verbiedt, tenzij met heel goede reden die wettelijk is vastgelegd (en met waarborgen). Nou, dat kun je vergeten.

En dan komen we bij het punt van de bewijslast. Inderdaad moet je normaal als burger aantonen dat je onrecht is aangedaan, en dat is lastig bij zoiets groots als een onderzoek naar uitkeringsfraude (want een fraudepercentage van 0,2% van de uitkeringen is natuurlijk een hele goede reden voor strikte handhaving, dit in tegenstelling tot zeg btw fraude die qua Europese omvang gelijk is aan het totaal van de uitkeringen in Nederland). Maar de AVG draait de bewijslast zelf al om, het voor mij cruciale artikel 5 lid 2: 2. De verwerkingsverantwoordelijke is verantwoordelijk voor de naleving van lid 1 en kan deze aantonen (“verantwoordingsplicht”). Dit betekent dus dat je te allen tijde in staat moet zijn om uit te leggen hoe je tot bijvoorbeeld je keuze voor nader onderzoek bent gekomen. En dan mag het niet blijven bij mooie woorden over zorgvuldig gekozen datasets of historisch gevalideerde gegevens maar moet er echt een stappenplan bij, hoe kwam de conclusie tot stand en welke gegevens zijn daar precies bij gebruikt. Een simpele is “een willekeur-generator zegt bij 10% van de mensen ‘Nader controleren’ en dat was u”. Maar wat ook kan, is zeggen “we hebben alle uitkomsten gecorreleerd met etnische afkomst en zagen geen uitschieters”, daarmee toon je ook aan dat daar niet naar wordt gekeken.

Wat de meeste mensen willen, is gehoord worden en excuses krijgen als het misgegaan bleek: De wijkagent kan als wit persoon nooit weten hoe het is. Maar hij kan wel zeggen: wat vervelend en naar dat dit u is overkomen. Dat hij mij het gevoel geeft: ik hoor u en zie u. Ik kan het niet oplossen, maar wel uw verhaal serieus nemen. Helaas blijkt nou juist dát het moeilijkste om voor elkaar te krijgen. Maar misschien als we beginnen met die data-analyse en omgekeerde bewijslast, dat we dan de goede richting op geduwd worden.

Arnoud

Het bericht Ombudsman over probleem etnisch profileren: draai bewijslast om verscheen eerst op Ius Mentis.