by Jerome du Bois
Last week, while rich people impressed each other at Christie's auction house, and news reports gasped about record prices for some useless human artifacts, I was reading about a couple of other human artifacts, M and K.
M and K appear in Peter Galison's science history book Einstein's Clocks, Poincaré's Maps, which is partly about the standardization of measurement. Like a Klimt or a Pollock, each is unrepeatable, each is unique, but neither is for sale. Their millions of replications, though, have meant more to the advancement of the human race --at least since 1889-- than all the Pollocks, all the Klimts, all the art, ever.
Those who created M and K treated their work with the solemnity it deserved. Let me quote Galison --at length.
Paris, Hôtel Des Affaires Étrangères, 20 May 1875, 2:00 PM. Represented by their plenipotentiaries, seventeen names will be put to a treaty . . . We are at the solemn signing of the Convention of the Meter. After years of negotiation, the High Contracting Parties now called into existence an international bureau of weights and measures. The new prototypes of the meter and kilogram it was charged with certifying would supplant the myriad of competing national measures, establish the relation between these gauges and all others, and compare results with the standards used to map the earth . . .
Signing the Convention of the Meter started, rather than ended, the process of distributing the meter. . . . For fourteen years, French engineers and British metallurgists hammered and smelted their way to a tough, durable iridium-platinum alloy.
While a British firm pounded these hard, pure bars into meter sticks with an inflexible "X" cross section, the French concentrated on producing an enormous "universal comparator" that would, by strict procedure, allow a standard length to be reproduced on another bar to within two ten-thousandths of a millimeter. It was painstaking, nerve-wracking work. When the British metal workers delivered their precious bars to the French, the operator at the conservatoire would set both the standard meter and the blank bar on the bridge of the comparator. Peering through a microscope, the operator would line up the one-meter mark on the standard. Then the operator would activate a lever, causing a diamond blade to inscribe a fine line precisely at the one-meter point on the blank. Carving subdivisions was just as difficult. The two microscopes would be set, say, ten centimeters apart. The operators would mark that length. Sliding the bar down, they would etch a second ten-centimeter length into the bar, and so on. To prepare the 30 standard bars that the international delegates would take home with them, the operators repeated this operation 13,000 times. The slightest slip with the diamond point meant starting over again with repolishing of the blank.
Finally, on Saturday, 28 September 1889, two years after Poincaré was elected to the Academy of Sciences, eighteen representatives of the contracting parties gathered in Breteuil for the final sanctioning of the meter. The president of the conference canvassed their votes --unanimous-- and then pronounced: "This prototype of the meter will from now forward represent, at the temperature of melting ice, the metric unit of length," while "this prototype [kilogram] will be considered from now on the unit of mass." All standards stood on display in the meeting room: meters sheathed by protective tubes, kilograms nested in triple glass bell jars. According to plan, each delegate ceremoniously picked a ticket from an urn, the number received assigning his country a meter stick, for which he offered a signed receipt. . . .
Later that afternoon, at 1:30 to be precise, the commission charged with depositing the international prototypes gathered in the lower basement of the Breteuil Observatory. There the delegates certified that the international prototype M would from that moment forward be enclosed in a case covered on the interior with velvet, lodged within a hard cylinder of brass, screwed tight, locked, and placed in the vault. Alongside M the standard bearers then prepared two "witnesses" for burial (meter sticks, not delegates). These metallic observers would forever testify, by the very conditions of their bodies, to anything that might befall M. In the same ceremonial interment, convention delegates sanctioned the kilogram, K, elevating and renaming it as the universal standard of mass. It too found its eternal resting place in the underground iron vault in the company of its witnesses. With two keys, and in full view of the delegates, the director of the International Bureau of Weights and Measures locked the case, secured the inner basement door with a third key, and bolted the exterior door with a fourth and a fifth key. At the conclusion of these solemn events, the president of the conference handed these latter keys in separate, sealed envelopes: one to the director of the International Bureau, one to the general guard of the National Archives, and the last to the president of the International Committee. From that time on, all three basement keys would be needed to enter the sanctum sanctorum.
This was a remarkable moment. M, the most precisely forged and measured object in history, the most individually specified humanmade thing, had become, by its burial, the most universal. Here was an object manifestly in France and yet not in France, religiously redolent and yet stridently rational, absolutely material and yet completely abstract.
Those last two sentences, with some modification, express the ambitions of many artists. And yet none have even come close to the accomplishments of a piece of metal you can pick up at the hardware store for a minute fraction of the cost of a Pollock or Picasso, a de Kooning or a Klimt.
Posted by Jerome at November 16, 2006 03:45 PM | TrackBack