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The book is a superb general cultural history of the turn of the century period that relates developments in culture and society to new technologies of transportation and communication. He divides the period into subtopics of time and space, as the major chapters focus on changing ways people experienced past, present, future, speed, form, distance, and direction. Two concluding chapters examine how the changing experiences and ideas about time and space in the prewar period shaped World War I--first a chapter on "The Temporality of the July Crisis" and a final chapter, "The Cubist War." The overall aregument is that these new technologies forced a new set of values on the Western world, one which Kern calls a rehierarchization of earlier cultural forms. Kern sees these new technologies as moving society in the direction of greater democracy, a leveling of older aristocratic hegemony, and a secularization of life and thought.
Stephen Kern conducts an innovative examination of the way in which new perceptions of time and space influenced ideas, philosophies, art forms, behavior, politics, and foreign relations. Kern is able to connect such seemingly unrelated topics as the sinking of the RMS Titanic and Friedrich Nietzche's evaluation of the present (an approach he calls "conceptual distance") to create a better understanding of the changing attitudes concerning time and space at the turn of the twentieth century. As Kern points out, the study of such an array of diverse cultural elements in terms of temporal and spatial experiences is essential because time and space are universal. All peoples experience time and space. Ultimately, he explains how the changing notions of time and space culminated in the diplomatic breakdown which led to the First World War.This study is very intriguing, but there are weaknesses in his many conclusions. On the cinema, for example, certainly, it was... read more
The Culture of Time and Space was a pioneering book when it first came out and it is wonderful to see how elegantly it has aged. These connections among the sciences and the arts, and among the arts themselves, were mostly new when Kern first published this essay, and are still too rarely made, even those between literature and painting that we find discreetly suggested by the cover of almost every serious book these days. Best of all, those relationships really exist. The connection between Picasso's cubist representation of space (beginning in 1907) and Einstein's four-dimensional representation of space-time (which depends on the Relativity paper of 1905 and an insight about gravity Einstein had in 1907) is entirely real. This is history, not an "alternative reading," and it is intellectual/cultural history at its best. For me it was the inspiration to finish writing a book of my own, and it's a pleasure to welcome it back to print.
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