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<h2 class="hd hd-2 unit-title">Day 24 - Speed (prints)</h2>
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<p>We've reached the end of <strong>Module IV</strong>!</p>
<p><strong>Day 24 – Speed </strong>explores prints from the 8 artists series that deal with increased speed of modern life in the city, featuring subways, cars, corporations, the American-style gas station, and baseball stadium.</p>
<p>Prints discussed:</p>
<ul>
<ul>
<li><span style="font-size: 1em;">”Subway(#11),<span style="line-height: 25.6px;">“ </span>1931, Maekawa Senpan </span></li>
<li><span style="font-size: 1em;">”Mitsubishi in Marunouchi(#92),<span style="line-height: 25.6px;">“</span> 12/1/1929, Suwa Kanenori </span></li>
<li><span style="font-size: 1em;">”Rising Sun Shell, Showa Street(#84),<span style="line-height: 25.6px;">“</span> 6/1/1930, by Fukazawa Sakuichi </span></li>
<li><span style="font-size: 1em;">”Meiji Baseball Stadium(#86),<span style="line-height: 25.6px;">“</span> 12/1/1931, by Fukazawa Sakuichi </span></li>
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<p>Prof. Dower gives the<strong> Module IV Wrap Up</strong></p>
<p><strong>Day 24 Quiz and Discussion: Speed</strong></p>
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<h2 class="hd hd-2 unit-title">”Subway (#11),“ 1931, Maekawa Senpan</h2>
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<p>Tokyo‘s population explosion between 1920 and 1940 made effective public transportation essential.</p>
<blockquote>
<h5>Nothing epitomized Tokyo’s modernity more dramatically than the inauguration of the first subway in Asia, a short line between Ueno and Asakusa in 1927, the year after Hirohito’s reign began. Subway construction as well as rapid expansion of above-ground public and private railway lines continued to the end of the 1930s, and the repercussions of this boom in urban transportation were wide-ranging. (Dower, <em>The Brittle Decade</em>, p. 14)</h5>
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<p></p>
<p>Professor Dower discusses the loanword, ”speed,“ and the imagined benefits of mechanization and technological progress that ”promised a better future.“ At the same time, a degree of dehumanization comes with industrial and technological revolutions, whatever the time period.</p>
<p></p>
<blockquote>
<h5>By the late 1920s, autos, trains, and airplanes had become symbols of the modern bywords “speed” and its synonym “tempo,” another loanword. The transportation revolution also epitomized progress in science, technology, and industry more generally—and this spectacle developed, and was manipulated, on several different levels. Machine technology, awesome in and of itself, promised a better future, and keeping up with advances on this front became a source of national pride. At the same time, however, exponential technological change also could be seen as bringing about dehumanization, alienation, and new forms of exploitation. (Dower, <em>The Brittle Decade</em>, p. 30)</h5>
<p></p>
</blockquote>
<p>Speed energized the city as it modernized, introducing instability. Dower describes the militarization of ”this great machinery,“ which grew out of Japan's competitive global engagement that drove it forward, despite alienation from tradition.</p>
<p></p>
<blockquote>
<h5>As the 1930s unfolded and the international political order disintegrated, moreover, this great machinery was diverted in militaristic directions. With this development, earlier patriotic pride in progress turned into hubris—a grave miscalculation of the nation’s technological capability when pitted against a true industrial giant like the United States, or even against a less industrialized but vast and resilient country like China. (Dower, <em>The Brittle Decade</em>, p. 30)<br /><br /></h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/c8068ffbab4eb419299b27c429c623b1/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_011_1931_Maekawa_subway_2000w.jpg" alt="Subway (#11), 1931, by Maekawa Senpan (Carnegie Museum of Art)" /></div>
<h5><br />Caption: ”Subway (#11),“ 1931, by Maekawa Senpan (Carnegie Museum of Art)</h5>
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<h3 class="hd hd-2">”Subway (#11),“ 1931, by Maekawa Senpan</h3>
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<h2 class="hd hd-2 unit-title">”Mitsubishi in Marunouchi (#92),“ 12/1/1929, by Suwa Kanenori</h2>
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<div>In the print, “Mitsubishi in Marunouchi (#92),“ 12/1/1929, by Suwa Kanenori, we are in the heart of Tokyo’s financial district, Marunouchi, where we see the Mitsubishi headquarters. Mitsubishi is one of the Zaibatsu, the massive family-owned conglomerates comprised of companies, banks, and subsidiaries that fueled the economy and industrial development from the Meiji period until they were dissolved after World War 2. They were controversial, even more so during the wars waged by the Empire of Japan.<br /><br /><br /></div>
<div><img height="auto" width="100%" src="/assets/courseware/v1/675640a3ba376dad51e9b7a42748fe2f/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_092_1929_Suwa_mitsubishi_2000w.jpg" alt="Mitsubishi in Marunouchi (#92), 12/1/1929, by Suwa Kanenori (Carnegie Museum of Art)" /></div>
<h5><br />”Mitsubishi in Marunouchi (#92),“ 12/1/1929, by Suwa Kanenori (Carnegie Museum of Art)</h5>
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<h3 class="hd hd-2">”Mitsubishi in Marunouchi (#92),“ 12/1/1929, by Suwa Kanenori</h3>
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<h2 class="hd hd-2 unit-title">”Rising Sun Shell, Showa Street (#84),“ 6/1/1930, by Fukazawa Sakuichi</h2>
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<div>Professor Dower calls Fukazawa Sakuichi‘s ”Rising Sun Shell, Showa Street (#84),“ 6/1/1930, one of the most unexpected and memorable prints in the series.</div>
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<div>Professor Weisenfeld comments on the idea of rebuilding Tokyo after the earthquake in the image of American cities. She quotes a 1923 letter written by the celebrated architect, Frank Lloyd Wright, who was proud that his Imperial Hotel survived the earthquake while many of the ”Yankee Skyscrapers are … badly wracked.“ Urban planners would have to reconsider the assumption that ”the West knew best.“</div>
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<h5>If architects like Frank Lloyd Wright had had their way, Tokyo would not have been rebuilt as the megalopolis that it currently is. Nature would have been obeyed. In fact, the survival of the prominent wood Buddhist temple Sensōji in Asakusa (also known as Asakusa-dera) when so-called modern buildings of brick tumbled to the ground seriously undermined the fundamental assumption of Japanese modernity that the West knew best. The significance and long-term implications of this revelation were not lost on the artistic community. (Weisenfeld, <em>Imaging Disaster,</em> p. 148)<br /><br /></h5>
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<div>A self-taught printmaker, Fukazawa Sakuichi employed in a variety of styles. His work is often described as ”lonely.“ Do you think that description fits this print?<br /><br /><br /></div>
<div><img height="auto" width="100%" src="/assets/courseware/v1/89f8761abd512f462e3db889874c5d97/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_084_1930_Fukazawa_Shell_2000w.jpg" alt="Rising Sun Shell, Showa Street (#84), 6/1/1930, by Fukazawa Sakuichi (Carnegie Museum of Art)" /></div>
<h5><br />Caption: ”Rising Sun Shell, Showa Street (#84),“ 6/1/1930, by Fukazawa Sakuichi (Carnegie Museum of Art)</h5>
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<h3 class="hd hd-2">”Rising Sun Shell, Showa Street (#84),“ 6/1/1930, by Fukazawa Sakuichi</h3>
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<h2 class="hd hd-2 unit-title">”Meiji Baseball Stadium (#86),“ 12/1/1931, by Fukazawa Sakuichi</h2>
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<div>The conversation turns to sports, including baseball and other popular sports like golf.</div>
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<div>Social-cultural history goes beyond the study of official documents and textual sources to include, for example, sound. Professor Nagahara stresses the sound of sports broadcasts, cars in the streets, and rising noise levels that he calls a kind of ”urban jazz.“</div>
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<div>Perhaps the print‘s vantage point overlooking a game evokes the sound of the radio broadcast and cheering crowd...<br /><br /><br /></div>
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<h5><br />”Meiji Baseball Stadium (#86),“ 12/1/1931, by Fukazawa Sakuichi (Carnegie Museum of Art)</h5>
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<h3 class="hd hd-2">”Meiji Baseball Stadium (#86),“ 12/1/1931, by Fukazawa Sakuichi</h3>
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<h2 class="hd hd-2 unit-title">Similar Views: Koizumi and 8 Artists</h2>
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<p>In the video below, Dr. Ulak asks us to imagine seeing these views back when they were published, and wonders if there was an audience for these raw, edgy images that pushed boundaries.</p>
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<p>First, scroll through the chart of <strong>”Similar Views: Koizumi and 8 Artists“</strong> that shows which locations were portrayed in both series.</p>
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<h2 class="hd hd-2 unit-title">Module IV Wrap Up</h2>
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<p>Module IV ends with the militarization that led to all-out war, and the destruction of modern Tokyo in 1945. </p>
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<h2 class="hd hd-2 unit-title">Day 24 Quiz and Discussion - Speed</h2>
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<p><b>Day 24 Quiz and Discussion: Speed</b></p>
<p>Explore the similar views between Koizumi's series and the 8 Artists‘ series.</p>
<p><strong>Image Comparison: Subway</strong></p>
<p>#11<img height="auto" width="50%" src="/assets/courseware/v1/2d100a74a3b1431d03cbc793eff34fbd/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_011_1931_Maekawa_2000w.jpg" alt="Subway (#11), 1931, by Maekawa Senpan (Carnegie Museum of Art)" /> #88<img height="auto" width="38%" src="/assets/courseware/v1/1afe78f92cacc8e52603d7f069d54bd3/asset-v1:MITx+VTx+1T2019+type@asset+block/kk088et_1937_Subway_Spring_2000w.jpg" alt="Subway in Spring (#88), 1937 by Koizumi Kishio" /></p>
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<h5>Captions: ”Subway (#11),“ 1931, by Maekawa Senpan and ”Subway in Spring (#88),“ 1937 by Koizumi Kishio</h5>
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Checkboxes
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<p>Choose the subway print(s) that fits each statement (one or both).</p>
<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 1" role="group"><div class="choicegroup capa_inputtype" id="inputtype_aeac192474c04a1286a0744aba3764cd_2_1">
<fieldset aria-describedby="status_aeac192474c04a1286a0744aba3764cd_2_1">
<legend id="aeac192474c04a1286a0744aba3764cd_2_1-legend" class="response-fieldset-legend field-group-hd">Shows women travelling independently:</legend>
<div class="field">
<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_2_1[]" id="input_aeac192474c04a1286a0744aba3764cd_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="aeac192474c04a1286a0744aba3764cd_2_1-choice_0-label" for="input_aeac192474c04a1286a0744aba3764cd_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_2_1"> Maekawa Senpan
</label>
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<div class="field">
<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_2_1[]" id="input_aeac192474c04a1286a0744aba3764cd_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="aeac192474c04a1286a0744aba3764cd_2_1-choice_1-label" for="input_aeac192474c04a1286a0744aba3764cd_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_2_1"> Koizumi Kioshio
</label>
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<span id="answer_aeac192474c04a1286a0744aba3764cd_2_1"/>
</fieldset>
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<span class="status unanswered" id="status_aeac192474c04a1286a0744aba3764cd_2_1" data-tooltip="Not yet answered.">
<span class="sr">unanswered</span><span class="status-icon" aria-hidden="true"/>
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 2" role="group"><div class="choicegroup capa_inputtype" id="inputtype_aeac192474c04a1286a0744aba3764cd_3_1">
<fieldset aria-describedby="status_aeac192474c04a1286a0744aba3764cd_3_1">
<legend id="aeac192474c04a1286a0744aba3764cd_3_1-legend" class="response-fieldset-legend field-group-hd">Shows a mix of traditional Japanese and Western dress:</legend>
<div class="field">
<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_3_1[]" id="input_aeac192474c04a1286a0744aba3764cd_3_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="aeac192474c04a1286a0744aba3764cd_3_1-choice_0-label" for="input_aeac192474c04a1286a0744aba3764cd_3_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_3_1"> Maekawa Senpan
</label>
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<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_3_1[]" id="input_aeac192474c04a1286a0744aba3764cd_3_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="aeac192474c04a1286a0744aba3764cd_3_1-choice_1-label" for="input_aeac192474c04a1286a0744aba3764cd_3_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_3_1"> Koizumi Kioshio
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<span id="answer_aeac192474c04a1286a0744aba3764cd_3_1"/>
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<span class="status unanswered" id="status_aeac192474c04a1286a0744aba3764cd_3_1" data-tooltip="Not yet answered.">
<span class="sr">unanswered</span><span class="status-icon" aria-hidden="true"/>
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<legend id="aeac192474c04a1286a0744aba3764cd_4_1-legend" class="response-fieldset-legend field-group-hd">Hints at the glamour and entertainments enabled by city transport:</legend>
<div class="field">
<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_4_1[]" id="input_aeac192474c04a1286a0744aba3764cd_4_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="aeac192474c04a1286a0744aba3764cd_4_1-choice_0-label" for="input_aeac192474c04a1286a0744aba3764cd_4_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_4_1"> Maekawa Senpan
</label>
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<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_4_1[]" id="input_aeac192474c04a1286a0744aba3764cd_4_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="aeac192474c04a1286a0744aba3764cd_4_1-choice_1-label" for="input_aeac192474c04a1286a0744aba3764cd_4_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_4_1"> Koizumi Kioshio
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<span id="answer_aeac192474c04a1286a0744aba3764cd_4_1"/>
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<span class="sr">unanswered</span><span class="status-icon" aria-hidden="true"/>
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<legend id="aeac192474c04a1286a0744aba3764cd_5_1-legend" class="response-fieldset-legend field-group-hd">Hints at the infrastructure needed to transport Tokyo's growing population:</legend>
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<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_5_1[]" id="input_aeac192474c04a1286a0744aba3764cd_5_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="aeac192474c04a1286a0744aba3764cd_5_1-choice_0-label" for="input_aeac192474c04a1286a0744aba3764cd_5_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_5_1"> Maekawa Senpan
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<input type="checkbox" name="input_aeac192474c04a1286a0744aba3764cd_5_1[]" id="input_aeac192474c04a1286a0744aba3764cd_5_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="aeac192474c04a1286a0744aba3764cd_5_1-choice_1-label" for="input_aeac192474c04a1286a0744aba3764cd_5_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_aeac192474c04a1286a0744aba3764cd_5_1"> Koizumi Kioshio
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<span id="answer_aeac192474c04a1286a0744aba3764cd_5_1"/>
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<p><strong>Image Comparison: Ginza</strong></p>
<p>#65<img height="auto" width="45%" src="/assets/courseware/v1/6815306916ca5b3cd6874b4fb54029eb/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_065_1929_Kawakami_crop_2000w.jpg" alt="Ginza (#65), 8/7/1929, Kawakami Sumio (Carnegie Museum of Art)" /> #12<img height="auto" width="45%" src="/assets/courseware/v1/9954ab95baa6cb6019c5394e8475af31/asset-v1:MITx+VTx+1T2019+type@asset+block/kk012a_1931_w095_ginza_crop_2000w.jpg" alt="Night View of Ginza in the Spring (#12a), March 1931 by Koizumi Kishio" /></p>
<h5>Captions: ”Ginza (#65)“, 8/7/1929, Kawakami Sumio; and ”Night View of Ginza in the Spring (#12a),“ March 1931 by Koizumi Kishio</h5>
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Checkboxes
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<p>Choose the Ginza print(s) that fits each statement (one or both).</p>
<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 1" role="group"><div class="choicegroup capa_inputtype" id="inputtype_6e768aa9dafc435dbf721550f57d4127_2_1">
<fieldset aria-describedby="status_6e768aa9dafc435dbf721550f57d4127_2_1">
<legend id="6e768aa9dafc435dbf721550f57d4127_2_1-legend" class="response-fieldset-legend field-group-hd">Stands out as one of the most memorable prints of the series:</legend>
<div class="field">
<input type="checkbox" name="input_6e768aa9dafc435dbf721550f57d4127_2_1[]" id="input_6e768aa9dafc435dbf721550f57d4127_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="6e768aa9dafc435dbf721550f57d4127_2_1-choice_0-label" for="input_6e768aa9dafc435dbf721550f57d4127_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_6e768aa9dafc435dbf721550f57d4127_2_1"> Kawakami Sumio
</label>
</div>
<div class="field">
<input type="checkbox" name="input_6e768aa9dafc435dbf721550f57d4127_2_1[]" id="input_6e768aa9dafc435dbf721550f57d4127_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="6e768aa9dafc435dbf721550f57d4127_2_1-choice_1-label" for="input_6e768aa9dafc435dbf721550f57d4127_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_6e768aa9dafc435dbf721550f57d4127_2_1"> Koizumi Kishio
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 2" role="group"><div class="choicegroup capa_inputtype" id="inputtype_6e768aa9dafc435dbf721550f57d4127_3_1">
<fieldset aria-describedby="status_6e768aa9dafc435dbf721550f57d4127_3_1">
<legend id="6e768aa9dafc435dbf721550f57d4127_3_1-legend" class="response-fieldset-legend field-group-hd">The lights suggest the &#8221;speed&#8220; of modernity in the composition:</legend>
<div class="field">
<input type="checkbox" name="input_6e768aa9dafc435dbf721550f57d4127_3_1[]" id="input_6e768aa9dafc435dbf721550f57d4127_3_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="6e768aa9dafc435dbf721550f57d4127_3_1-choice_0-label" for="input_6e768aa9dafc435dbf721550f57d4127_3_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_6e768aa9dafc435dbf721550f57d4127_3_1"> Kawakami Sumio
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<span id="answer_6e768aa9dafc435dbf721550f57d4127_3_1"/>
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<span class="status unanswered" id="status_6e768aa9dafc435dbf721550f57d4127_3_1" data-tooltip="Not yet answered.">
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 3" role="group"><div class="choicegroup capa_inputtype" id="inputtype_6e768aa9dafc435dbf721550f57d4127_4_1">
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<legend id="6e768aa9dafc435dbf721550f57d4127_4_1-legend" class="response-fieldset-legend field-group-hd">The color choice was inspired by the artist's interest in Matisse.</legend>
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<p>Which print do you prefer as a representation of ”Tokyo Modern?“</p>
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<p><strong>Discussion - Image Comparisons: Speed</strong></p>
<p>In the discussion below, please weigh in on your thoughts about the image comparisons above:</p>
<ul>
<ul>
<li><span style="font-size: 1em;">Which print(s) do you prefer and why?</span></li>
<li><span style="font-size: 1em;">Elaborate on some of the differences.</span></li>
<li><span style="font-size: 1em;">Does it help to see more than one version of a location?</span></li>
<li><span style="font-size: 1em;">Do the prints convey something about the "speed" of modernity in Tokyo?</span></li>
</ul>
</ul>
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<p>The discussions in Module IV are complete. Next, you can view the reference sections—the gallery of views by the 8 artists; and a reiteration of the comparative views between the two series.</p>
<p>After that, take the Module IV Final Exam!</p>
<p>_____________________</p>
<h5>Source for images: The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection, except ”Subway (#11),“ courtesy Carnegie Museum of Art</h5>
</div>
</div>
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