télégraph aérien (12. 575)

Having previously learned about the invention of the optical or semaphore communications system of Claude Chappe, we appreciated this retrospective and chance to revisit the contentious innovation that informed public perception and art movements into the nineteenth century. Hailed as a great advancement, the tachygraphic network that was being introduced just as the French Revolution was beginning in 1792 as a series of relay towers throughout the countryside and in metropolitan areas was by turns regarded as an achievement, condemned as an eyesore and viewed with suspicion. The cellular masts (or windmills) of their day, their addition to the tops of buildings, profane and sacred, was considered despoiling aesthetically—numerous examples of paintings from that period feature them prominently, sort of like the scaffolding that encased the Statue of Liberty during the eighties that become as iconic and emblematic as the unobscured monument—and the coded messages (the arrangement of the blades or wings corresponded to ninety-eight numbers) to be deciphered and passed on the next operator) were taken as something sinister, prompting the destruction of some towers either as signs of witchcraft (compare to the attacks on the 5G masts during COVID either as its cause or a government conspiracy to implant microchips in the population to control it) or to hinder accelerated responses to quell uprisings, the government privileged with this speeded up reaction not available to the protesters. A group of investors in Bordeaux were jailed, though ultimately acquitted, for bribing operators to transmit stock market figures from Paris hours ahead of when the gains and losses would be available to the competition—an abuse for the sight-lines that was never envisioned. Much more from Hyperallergic at the link above.