Like many of the early avant-garde manifestos in this book, Swiss/French architect Le Corbusier’s manifesto considers the way in which mechanization, and in particular the mechanization brought about by the camera lens, changes the viewer’s relationship to the real, revealing in the process a heretofore unseen scientific reality. Like the constructivists, Le Corbusier sees mechanization as the twentieth century’s defining principle, but he also considers the role played by vision in a way that foreshadows Stan Brakhage’s infamous manifesto on vision (see the excerpt from Brakhage’s Metaphors on Vision later in this chapter).


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