The origins and definition of the word ‘Americanitis’ are opaque at best. It is generally believed to have appeared in medical journals of the late nineteenth century, describing
a particular nervous ailment found in the inhabitants of the United States of America. Thought to cause disease, heart attack, nervous exhaustion, and even insanity, Americanitis was seen as a serious threat to the American public. In fact, in 1925, Time Magazine reported that Americanitis was responsible for claiming up to 240,000—white—lives a year.1 Nevertheless, with the passing of the Great Depression, its position as a legitimate disease faded in the public eye. Now virtually forgotten, I wish to resurrect it, and propose that it be used to describe a disease that truly does claim lives: white supremacy.
It’s the charm of Bavaria, in the heart of the Blue Ridge Mountains, reads the tagline on the official website of the town of Helen, Georgia. In contrast to the bustle of Atlanta about a hundred miles southward, the bucolic mountains surrounding Helen are home to some of the Southeast’s most beautiful national forests. At dawn, their valleys, carved over millennia by the Chattahoochee River, are often covered in a heavy mist. A cluster of exaggerated Fachwerk structures, appearing like a gingerbread village, peeks above this mist: the towers and spires of the town of Helen. As you drive into Helen from Atlanta, you pass the Nacoochee Mound, an ancient Native American burial mound topped with an ornate nineteenth-century gazebo.
In its most simple form, the intention of this essay is to parallel the emergence of a notion of “infinity”, which was established in the Renaissance, with its subsequent dissolution during the nuclear apocalyptic tensions of the Cold War.
“Spatial logic is thrown askew by the spherical distortions of the ultra-wide-angle lens. This modernist space – the likes of which were prevalent throughout the Vedado district of pre-revolutionary Havana – is liquified by the camera. Through the camera, it shapeshifts, surrounding and consuming the characters that pass through it, drawing a direct link to the swimmers in the rooftop pool. It is, as Lefebvre continues, “capitalism’s absorption of the entirety of space for its own purposes…” (p. 95, Lefebvre). People caught within these abstract spaces are permeated by the logic-systems of commodity and profit. Abstract space, as represented in Soy Cuba, is therefore liquid architecture.”