Chapter 6, "Traffic as the Art of Citizenship," examines the complex relationship between traffic, society, and individual experience in Weimar Republic Germany. The chapter starts by setting the scene of the rapid increase in automobile ownership in the 1920s, contrasting it with the earlier luxury of private cars and chauffeurs. The increasing density of traffic becomes a source of both fascination and anxiety, mirroring the broader social changes and anxieties of the era. The chapter explores how traffic, viewed as the fluid of coexistence, became both a means of connection and a symbol of potential harm.
The philosopher Teodor Lessing’s early concerns about noise pollution are highlighted, foreshadowing the dystopian visions of cities like Fritz Lang's *Metropolis*. Alfred Döblin's *Berlin Alexanderplatz* provides a literary illustration of this anxiety, with the protagonist, Franz Biberkopf, experiencing a "birth trauma" upon his release from prison as he is overwhelmed by the city's chaotic traffic. The city itself becomes an antagonist, shaking off individuals and challenging traditional notions of narrative and identity.
The rapid growth of Berlin's population further intensified these anxieties, creating a sense of living in a city that existed simultaneously in the present and in a dystopian future. Traffic jams and crowds fueled fears of an impending "Babylon and Gomorrah," compounded by concerns about crime and vice, painting the city as a devouring monster.
To combat gridlock, city planner Martin Wagner envisioned a modern, efficient city centered around the needs of traffic. His plans for Alexanderplatz aimed to streamline movement with multi-level thoroughfares and differentiate traffic flows for pedestrians, trams, and cars. While some of his ideas didn't materialize, his roundabout design ultimately resulted in an aesthetically underwhelming space, marked by vacant lots and a sense of emptiness. The removal of the Berolina statue, deemed too old-fashioned for the modern age, symbolized this shift towards a "fat-free" urban landscape.
Wagner’s vision, driven by both functionality and profit, sought to integrate consumption with traffic flow, ensuring the city's continuous renewal through urban development investments. This vision, while progressive, clashed with conservative ideals, which lamented the loss of tradition and the rise of cosmopolitanism.
The chapter then introduces contrasting perspectives on the city. While conservatives condemned urban life, figures like Josef Roth embraced the city and its infrastructure, seeing the "Gleisdreieck" as a symbol of a dynamic future. This sparked cultural debates, with "asphalt literati" praising the city and figures like Hermann Plessner advocating for "tack" – tactful social interaction – as a means to navigate anonymous urban life.
The chapter highlights the significance of traffic lights and signals, as analyzed by Zekewid Karkawa, reflecting the new forms of concentration and intuition required to navigate the complex urban environment. Plessner's theories, emphasizing compromise and social distance, were particularly relevant in the context of Weimar Republic society, where diverse individuals had to learn to coexist.
The chapter contrasts the experiences of "flâneurs," observers of the city, with those of car drivers. Franz Hessel's emphasis on slow, deliberate strolling challenged the cult of speed. The motorcar was seen as a symbol of both modernity and individual freedom, inspiring poetry from Bertolt Brecht but also raising concerns about its destructive potential.
The chapter concludes by exploring the changing representations of women and cars in the 1920s. From the empowering images of women at the wheel to cautionary tales of accidents, the car symbolized a new era of female independence. Figures like Cleoore Stinis, Irre Kammann, and Roud Landshaw embodied this changing landscape, but the chapter also acknowledges that not all women experienced this freedom, and there were vast inequities at play.