Why Jerry Seinfeld Lives by the Stoic Philosophy of Marcus Aurelius

Hav­ing pre­vi­ous­ly con­sid­ered whether come­di­ans are the philoso­phers of our time, we must now ask whether they, too, build upon the work of oth­er philoso­phers. Few of today’s most promi­nent fun­ny men and women live a philo­soph­i­cal life — or have cul­ti­vat­ed the tem­pera­ment nec­es­sary to live a philo­soph­i­cal life — more pub­licly than Jer­ry Sein­feld. This has been sug­gest­ed by, among oth­er things, a 2012 New York Times Mag­a­zine pro­file by Jon­ah Wein­er. “Sein­feld will nurse a sin­gle joke for years, amend­ing, abridg­ing and rework­ing it incre­men­tal­ly, to get the thing just so,” writes Wein­er. “It’s sim­i­lar to cal­lig­ra­phy or samu­rai,” Sein­feld says. “I want to make crick­et cages. You know those Japan­ese crick­et cages? Tiny, with the doors? That’s it for me: soli­tude and pre­ci­sion, refin­ing a tiny thing for the sake of it.”

Or, as Sein­feld puts it in the more recent inter­view above with pod­cast­er Gra­ham Ben­siger, he wants to know what time it is, but he wants even more to take the watch apart in order to learn how it works. This has become his life­long quest, in his pro­fes­sion­al are­na of com­e­dy and with his oth­er obses­sions as well.

Cul­ti­vat­ing both his under­stand­ing and him­self has entailed indulging his taste for dif­fi­cult sit­u­a­tions, or rather, chal­lenges with­in what he calls the appro­pri­ate “brack­et of strug­gle.” At this point in the jour­ney, he’s found what could at first sound like a sur­pris­ing guide: sec­ond-cen­tu­ry Roman emper­or Mar­cus Aure­lius, whose book the Med­i­ta­tions, along with Epicte­tus’ Enchirid­ion and the writ­ings of Seneca the Younger, con­sti­tute the core texts of Sto­icism.

To live Sto­ical­ly in the Aure­lian sense is to bear always in mind that, as Sein­feld puts it, “every­thing that you’re wor­ried about is going to be gone like that. The peo­ple that are crit­i­ciz­ing you, they’re going to be gone. You’re going to be gone. All this hand-wring­ing, wor­ry, and con­cern over ‘How are peo­ple view­ing me,’ ‘Some­one said some­thing bad about me’ — and you get so upset about it — is wast­ed time and ener­gy.” In the view of Mar­cus Aure­lius, “your only focus should be on get­ting bet­ter at what you’re doing. Focus on what you’re doing, get bet­ter at what you’re doing. Every­thing else is a com­plete waste of time.” It’s not hard to under­stand why such a world­view would appeal to the man Sarah Sil­ver­man, in the Times Mag­a­zine Pro­file, calls “the ulti­mate crafts­man” among come­di­ans.

In addi­tion to the Med­i­ta­tions, Sein­feld also relies on the prac­tice of actu­al med­i­ta­tion, which he cred­its with pro­vid­ing him both the phys­i­cal and men­tal ener­gy nec­es­sary to keep pur­su­ing his goals into his sev­en­ties. “Med­i­ta­tion is like if I said to you, ‘I’m going to need you to get in the hot tub once a day, and just sit there for five min­utes. Could you do that? That’s pret­ty easy. Med­i­ta­tion is even eas­i­er than that.” Exer­cise is the oppo­site, since it “takes more effort than any­thing,” but it’s become just as impor­tant a part of his life, the three keys to whose suc­cess he enu­mer­ates as fol­lows: “Tran­scen­den­tal med­i­ta­tion, lift weights, espres­so.” One likes to imag­ine that, had Mar­cus Aure­lius installed a Mar­zoc­co up on Pala­tine Hill, he’d have enjoyed a few shots through­out the day too.

Relat­ed Con­tent:

Mar­cus Aure­lius’ 9 Rules for Liv­ing a Sto­ic Life

What’s the Deal with Pop Tarts? Jer­ry Sein­feld Explains How to Write a Joke

Jer­ry Sein­feld Deliv­ers Com­mence­ment Address at Duke Uni­ver­si­ty: You Will Need Humor to Get Through the Human Expe­ri­ence

Sein­feld, Louis C.K., Chris Rock, and Ricky Ger­vais Dis­sect the Craft of Com­e­dy (NSFW)

How Sein­feld, the Sit­com Famous­ly “About Noth­ing,” Is Like Gus­tave Flaubert’s Nov­els About Noth­ing

The Sto­ic Wis­dom of Roman Emper­or Mar­cus Aure­lius: An Intro­duc­tion in Six Short Videos

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

RIP Gladys Mae West, the Pioneering Black Mathematician Who Helped Lay the Foundation for GPS

Gladys Mae West was born in rur­al Vir­ginia in 1930, grew up work­ing on a tobac­co farm, and died ear­li­er this month a cel­e­brat­ed math­e­mati­cian whose work made pos­si­ble the GPS tech­nol­o­gy most of us use each and every day. Hers was a dis­tinc­tive­ly Amer­i­can life, in more ways than one. Seek­ing an escape from the agri­cul­tur­al labor she’d already got­ten to know all too well, she won a schol­ar­ship to Vir­ginia State Col­lege by becom­ing her high school class vale­dic­to­ri­an; after earn­ing her bach­e­lor’s and mas­ter’s degrees in math­e­mat­ics, she taught for a time and then applied for a job at the naval base up in Dahlgren. She first dis­tin­guished her­self there by ver­i­fy­ing the accu­ra­cy of bomb­ing tables with a hand cal­cu­la­tor, and from there moved on up to the com­put­er pro­gram­ming team.

This was the ear­ly nine­teen-six­ties, when pro­gram­ming a com­put­er meant not cod­ing, but labo­ri­ous­ly feed­ing punch cards into an enor­mous main­frame. West and her col­leagues used IBM’s first tran­sis­tor­ized machine, the 7030 (or “Stretch”), which was for a few years the fastest com­put­er in the world.

It cost an equiv­a­lent of $81,860,000 in today’s dol­lars, but no oth­er com­put­er had the pow­er to han­dle the project of cal­cu­lat­ing the pre­cise shape of Earth as affect­ed by grav­i­ty and the nature of the oceans. About a decade lat­er, anoth­er team of gov­ern­ment sci­en­tists made use of those very same cal­cu­la­tions when putting togeth­er the mod­el employed by the World Geo­det­ic Sys­tem, which GPS satel­lites still use today. Hence the ten­den­cy of cel­e­bra­to­ry obit­u­ar­ies to under­score the point that with­out West­’s work, GPS would­n’t be pos­si­ble.

Nor do any of them neglect to point out the fact that West was black, one of just four such math­e­mati­cians work­ing for the Navy at Dahlgren. Sto­ries like hers have drawn much greater pub­lic inter­est since the suc­cess of Hid­den Fig­ures, the Hol­ly­wood adap­ta­tion of Mar­got Lee Shet­ter­ly’s book about the black female math­e­mati­cians at NASA dur­ing the Space Race. When that movie came out, in 2016, even West­’s own chil­dren did­n’t know the impor­tance of the once-clas­si­fied work she’d done. Only in 2018, when she pro­vid­ed that infor­ma­tion on a bio­graph­i­cal form she filled out for an event host­ed by her col­lege soror­i­ty, did it become pub­lic. She thus spent the last years of her long life as a celebri­ty, sought out by aca­d­e­mics and jour­nal­ists eager to under­stand the con­tri­bu­tions of anoth­er no-longer-hid­den fig­ure. But to their ques­tions about her own GPS use, she report­ed­ly answered that she pre­ferred a good old-fash­ioned paper map.

Relat­ed con­tent:

Mar­garet Hamil­ton, Lead Soft­ware Engi­neer of the Apol­lo Project, Stands Next to Her Code That Took Us to the Moon (1969)

Women’s Hid­den Con­tri­bu­tions to Mod­ern Genet­ics Get Revealed by New Study: No Longer Will They Be Buried in the Foot­notes

Meet Grace Hop­per, the Pio­neer­ing Com­put­er Sci­en­tist Who Helped Invent COBOL and Build the His­toric Mark I Com­put­er (1906–1992)

Joce­lyn Bell Bur­nell Dis­cov­ered Radio Pul­sars in 1974, But the Cred­it Went to Her Advi­sor; In 2018, She Gets Her Due, Win­ning a $3 Mil­lion Physics Prize

Hen­ri­et­ta Lacks Gets Immor­tal­ized in a Por­trait: It’s Now on Dis­play at the Nation­al Por­trait Gallery

Black His­to­ry in Two Min­utes: Watch 93 Videos Writ­ten & Nar­rat­ed by Hen­ry Louis Gates Jr.

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Walter Benjamin Explains How Fascism Uses Mass Media to Turn Politics Into Spectacle (1935)

Image via Wiki­me­dia Com­mons

In his 1935 essay, “The Work of Art in the Age of Mechan­i­cal Repro­ducibil­i­ty,” influ­en­tial Ger­man-Jew­ish crit­ic Wal­ter Ben­jamin intro­duced the term “aura” to describe an authen­tic expe­ri­ence of art. Aura relates to the phys­i­cal prox­im­i­ty between objects and their view­ers. Its loss, Ben­jamin argued, was a dis­tinct­ly 20th-cen­tu­ry phe­nom­e­non caused by mass media’s impo­si­tion of dis­tance between object and view­er, though it appears to bring art clos­er through a sim­u­la­tion of inti­ma­cy.

The essay makes for potent read­ing today. Mass media — which for Ben­jamin meant radio, pho­tog­ra­phy, and film — turns us all into poten­tial actors, crit­ics, experts, he wrote, and takes art out of the realm of the sacred and into the realm of the spec­ta­cle. Yet it retains the pre­tense of rit­u­al. We make offer­ings to cults of per­son­al­i­ty, expand­ed in our time to include influ­encers and revered and reviled bil­lion­aires and polit­i­cal fig­ures who joust in the head­lines like pro­fes­sion­al wrestlers, led around by the chief of all heels. As Ben­jamin writes:

The film responds to the shriv­el­ing of the aura with an arti­fi­cial build-up of the “per­son­al­i­ty” out­side the stu­dio. The cult of the movie star,  fos­tered by the mon­ey of the film indus­try, pre­serves not the unique aura of the per­son but the “spell of the per­son­al­i­ty,” the pho­ny spell of a com­mod­i­ty.

Benjamin’s focus on the medi­um as not only expres­sive but con­sti­tu­tive of mean­ing has made his essay a sta­ple on com­mu­ni­ca­tions and media the­o­ry course syl­labi, next to the work of Mar­shall McLuhan. Many read­ings tend to leave aside the pol­i­tics of its epi­logue, like­ly since “his rem­e­dy,” writes Mar­tin Jay — “the politi­ciza­tion of art by Com­mu­nism — was for­got­ten by all but his most mil­i­tant Marx­ist inter­preters,” and hard­ly seemed like much of a rem­e­dy dur­ing the Cold War, when Ben­jamin became more wide­ly avail­able in trans­la­tion.

Benjamin’s own idio­syn­crat­ic pol­i­tics aside, his essay antic­i­pates a cri­sis of author­ship and author­i­ty cur­rent­ly sur­fac­ing in the use of social media as a dom­i­nant form of polit­i­cal spec­ta­cle.

With the increas­ing exten­sion of the press, which kept plac­ing new polit­i­cal, reli­gious, sci­en­tif­ic, pro­fes­sion­al, and local organs before the read­ers, an increas­ing num­ber of read­ers became writers—at first, occa­sion­al ones. It began with the dai­ly press open­ing to its read­ers space for “let­ters to the edi­tor.” And today there is hard­ly a gain­ful­ly employed Euro­pean who could not, in prin­ci­ple, find an oppor­tu­ni­ty to pub­lish some­where or oth­er com­ments on his work, griev­ances, doc­u­men­tary reports, or that sort of thing. Thus, the dis­tinc­tion between author and pub­lic is about to lose its basic char­ac­ter.

Benjamin’s analy­sis of con­ven­tion­al film, espe­cial­ly, leads him to con­clude that its recep­tion required so lit­tle of view­ers that they eas­i­ly become dis­tract­ed. Everyone’s a crit­ic, but “at the movies this posi­tion requires no atten­tion. The pub­lic is an exam­in­er, but an absent-mind­ed one.” Pas­sive con­sump­tion and habit­u­al dis­trac­tion do not make for con­sid­ered, informed opin­ion or a healthy sense of pro­por­tion.

What Ben­jamin referred to (in trans­la­tion) as mechan­i­cal repro­ducibil­i­ty we might now just call The Inter­net (and the coter­ies of “things” it haunts pol­ter­geist-like). Lat­er the­o­rists influ­enced by Ben­jamin fore­saw our age of dig­i­tal repro­ducibil­i­ty doing away with the need for authen­tic objects, and real peo­ple, alto­geth­er. Ben­jamin him­self might char­ac­ter­ize a medi­um that can ful­ly detach from the phys­i­cal world and the mate­r­i­al con­di­tions of its users — a medi­um in which every­one gets a col­umn, pub­lic pho­to gallery, and video pro­duc­tion stu­dio — as ide­al­ly suit­ed to the aims of fas­cism.

Fas­cism attempts to orga­nize the new­ly cre­at­ed pro­le­tar­i­an mass­es with­out affect­ing the prop­er­ty struc­ture which the mass­es strive to elim­i­nate. Fas­cism sees its sal­va­tion in giv­ing these mass­es not their right, but instead a chance to express them­selves. The mass­es have a right to change prop­er­ty rela­tions; Fas­cism seeks to give them an expres­sion while pre­serv­ing prop­er­ty. The log­i­cal result of Fas­cism is the intro­duc­tion of aes­thet­ics into polit­i­cal life.

The log­i­cal result of turn­ing pol­i­tics into spec­ta­cle for the sake of pre­serv­ing inequal­i­ty, writes Ben­jamin, is the roman­ti­ciza­tion of war and slaugh­ter, glo­ri­fied plain­ly in the Ital­ian Futur­ist man­i­festo of Fil­ip­po Marinet­ti and the lit­er­ary work of Nazi intel­lec­tu­als like Ernst Jünger. Ben­jamin ends the essay with a dis­cus­sion of how fas­cism aes­theti­cizes pol­i­tics to one end: the anni­hi­la­tion of aura by more per­ma­nent means.

Under the rise of fas­cism in Europe, Ben­jamin saw that human “self-alien­ation has reached such a degree that it can expe­ri­ence its own destruc­tion as an aes­thet­ic plea­sure of the first order. This is the sit­u­a­tion of pol­i­tics which Fas­cism is ren­der­ing aes­thet­ic.” Those who par­tic­i­pate in this spec­ta­cle seek mass vio­lence “to sup­ply the artis­tic grat­i­fi­ca­tion of a sense per­cep­tion that has been changed by tech­nol­o­gy.” Dis­tract­ed and desen­si­tized, they seek, that is, to com­pen­sate for pro­found dis­em­bod­i­ment and the loss of mean­ing­ful, authen­tic expe­ri­ence.

You can read Ben­jam­in’s essay here, or find it in this col­lect­ed vol­ume.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent: 

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

Toni Mor­ri­son Lists the 10 Steps That Lead Coun­tries to Fas­cism (1995)

Are You a Fas­cist?: Take Theodor Adorno’s Author­i­tar­i­an Per­son­al­i­ty Test Cre­at­ed to Com­bat Fas­cism (1947)

The Sto­ry of Fas­cism: Rick Steves’ Doc­u­men­tary Helps Us Learn from the Hard Lessons of the 20th Cen­tu­ry

Lessons in Creativity from Rick Rubin: Focus on Your Art, Not the Audience

If you’ve heard Run‑D.M.C.‘s Rais­ing Hell, Rage Against the Machine’s self-titled debut, John­ny Cash’s Amer­i­can Record­ings, or Adele’s 21, you’ve heard the work of Rick Rubin. Yet even if you’ve lis­tened close­ly to every song on which he’s been cred­it­ed as a pro­duc­er over the past 45 years, you may have trou­ble pin­ning down what, exact­ly, the work of Rick Rubin is. Though his résumé includes such pro­fes­sion­al achieve­ments as co-found­ing both Def Jam Record­ings and Amer­i­can Record­ings, as well as shar­ing the pres­i­den­cy of Colum­bia Records for a stretch, he’s become best known in recent years as a kind of bare­foot sage of cre­ativ­i­ty.

Rubin has proven ready to dis­pense some­times-cryp­tic wis­dom in what­ev­er con­texts he finds him­self, and in the twen­ty-twen­ties, that role nat­u­ral­ly involves appear­ing on a lot of long-form inter­view pod­casts.

For Rubin in par­tic­u­lar, the pub­li­ca­tion of his book The Cre­ative Act: A Way of Being con­sti­tut­ed an incen­tive — or per­haps an excuse — to take a seat across from pop­u­lar pod­cast­ers like Lex Frid­man, Jay Shet­ty, and Andrew Huber­man. Nat­u­ral­ly, these con­ver­sa­tions spend a good deal of time on ques­tions of what it takes to cre­ate a work of art, great or oth­er­wise, in music or whichev­er medi­um it may be.

One of the most sur­pris­ing points to which Rubin returns again and again is that the best art is nev­er made to please an audi­ence. Instead of try­ing to antic­i­pate the tastes of oth­ers, you must first sat­is­fy your­self with your work. Think back to your first encounter with your very favorite albums, films, or books, and you’ll real­ize the truth of Rubin’s words. Even then, it must have felt like the musi­cian, the direc­tor, or the author did­n’t guess what you want­ed, but worked to cre­ate some­thing per­son­al­ly res­o­nant that went on to res­onate with you — and, per­haps, mil­lions of oth­ers as well.

The fac­tors involved in such an artis­tic con­nec­tion are many and inscrutable, in Rubin’s telling, and attempts at their expla­na­tion tend to verge on the mys­ti­cal. But they can’t be reduced to a for­mu­la that applies always and every­where, which means that cre­ators of all kinds have to go through expe­ri­ence after long expe­ri­ence of tri­al and error through­out their careers. For many, this can neces­si­tate get­ting a day job, Rubin’s advo­ca­cy of which puts him at odds with anoth­er of the most famous music producer/gurus of all time. But then, there’s more than one way to get cre­ative in this world.

Relat­ed con­tent:

Rick Rubin: The Invis­i­bil­i­ty of Hip Hop’s Great­est Pro­duc­er

The Beast­ie Boys & Rick Rubin Reunite and Revis­it Their For­ma­tive Time Togeth­er in 1980s NYC

Rick Rubin Revis­its the Ori­gins of Def Jam Records & the NYU Dorm Room Where It All Began

Mal­colm Glad­well and Rick Rubin Launch a New Music Pod­cast, Bro­ken Record: Lis­ten Online

Famed New Orleans Music Pro­duc­er Mark Bing­ham Dis­cuss­es His Songs and Col­lab­o­ra­tions: A Naked­ly Exam­ined Music Con­ver­sa­tion (#136)

The Long Game of Cre­ativ­i­ty: If You Haven’t Cre­at­ed a Mas­ter­piece at 30, You’re Not a Fail­ure

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Enjoy a Medieval Cover of R.E.M.‘s “Losing My Religion”

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Dur­ing her life­time, the medieval abbess Hilde­gard von Bin­gen (1098–1179) com­posed rough­ly 77 songs and hymns. She remains the ear­li­est known woman com­pos­er in West­ern clas­si­cal music and one of the most impor­tant com­posers of the High Mid­dle Ages.

In her hon­or, a YouTu­ber who goes by Hilde­gard von Blin­gin’ has devel­oped a pen­chant for mak­ing Bard­core music, “a pas­tiche genre that takes mod­ern songs and makes them ‘old-timey’ with Medieval and Renais­sance inspired instru­men­ta­tion.” Most of the instru­men­tals fea­ture a mix of vir­tu­al and real instru­ments, includ­ing the Celtic harp, Irish whis­tle, and recorder.

Hildy’s lat­est release offers a cre­ative take on R.E.M.’s “Los­ing My Reli­gion,” com­plete with some revised lyrics:

I thought that I heard thee laugh­ing
I thought that I heard thee sing
I think I thought I saw thee try
That was but a dream
That was but a dream
That’s me in the cor­ner
‘Tis I in the cor­ner
‘Tis I in the fire­light, los­ing my reli­gion

If you need a short escape from real­i­ty, this will serve you well. Enjoy!

Relat­ed Con­tent 

Expe­ri­ence the Mys­ti­cal Music of Hilde­gard Von Bin­gen: The First Known Com­pos­er in His­to­ry (1098 – 1179)

Hear an Enchant­ed Medieval Cov­er of Dol­ly Parton’s Clas­sic Ode to Jeal­ousy, “Jolene

Lis­ten to Medieval Cov­ers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hilde­gard von Blin­gin’

Scott Galloway Explains How YOU Can Stop Government Overreach Using the Power of Your Purse


Above, Scott Gal­loway and Kara Swish­er explain how every­day Amer­i­cans can push back against gov­ern­ment overreach—by focus­ing on the eco­nom­ic deci­sions they make each day. “Trump does not respond to out­rage. He responds to mar­kets,” says Gal­loway. Ergo, it’s time for an “eco­nom­ic strike,” a “short-term coor­di­nat­ed with­draw­al from spend­ing.” He con­tin­ues: “if wealthy house­holds took their spend­ing down 10% and mid­dle class and low­er income house­holds … took it down 5%, you would take GDP neg­a­tive almost overnight.”

But he also gets more spe­cif­ic than that:  “If you want­ed the fastest blue line path … I believe if you could con­vince Amer­i­ca, the entire econ­o­my now is built on AI… if you could con­vince a bunch of Amer­i­cans to can­cel their Chat­G­PT or Ope­nAI accounts and all of a sud­den Ope­nAI had to announce that their sub­scrip­tions had fall­en off a cliff, that would rip­ple into Nvidia. That would rip­ple into Microsoft. And these are the peo­ple that Trump cares about.”

He goes on to add: “If you could fig­ure out a way to basi­cal­ly kick a small num­ber of com­pa­nies relat­ed to the tech econ­o­my that account for 40% of the S&P right now … if all of a sud­den, if you took all of your mon­ey out of any JP Mor­gan–affil­i­at­ed bank and trans­ferred it to a local region­al bank, if you can­celled all of your stream­ing media plat­forms, if you can­celled Ope­nAI and Anthrop­ic and you said “I am not upgrad­ing my Apple phone,” and there was a real move­ment that reg­is­tered and they had to dis­close it in their earn­ings calls — this would come to an end pron­to.” CEOs would stop bend­ing their knees and sud­den­ly find their voice.

Every dol­lar we spend—or withhold—sends a sig­nal to the mar­ket and to Trump. When enough peo­ple hold back, the pow­er of the purse can do what courts and elect­ed offi­cials can­not. Trump reversed many tar­iffs after mar­kets freaked out on ‘Lib­er­a­tion Day.’ What’s to say it wouldn’t work again?

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The World’s Oldest Cave Art, Discovered in Indonesia, Is at Least 67,800 Years Old

Image by Ahdi Agus Okta­viana

Over the cen­turies, a vari­ety of places have laid cred­i­ble claim to being the world’s art cen­ter: Con­stan­tino­ple, Flo­rence, Paris, New York. But on the scale of, say, ten mil­len­nia, the hot spots become rather less rec­og­niz­able. Up until about 20,000 years ago, it seems that cre­ators and view­ers of art alike spent a good deal in one par­tic­u­lar cave: Liang Metan­duno, locat­ed on Muna Island in Indone­si­a’s South­east Sulawe­si province. The many paint­ings on its walls of rec­og­niz­able humans, ani­mals, and boats have brought it fame in our times as a kind of ancient art gallery. But in recent years, a much old­er piece of work has been dis­cov­ered there, one whose cre­ation occurred at least 67,800 years ago.

The cre­ation in ques­tion is a hand­print, faint but detectable, prob­a­bly made by blow­ing a mix­ture of ochre and water over an actu­al human hand. To deter­mine its age, researchers per­formed what’s called ura­ni­um-series analy­sis on the deposits of cal­ci­um car­bon­ate that had built up on and around it.

The num­ber of 67,800 years is, of course, not exact, but it’s also just a min­i­mum: in fact, the hand­print could well be much old­er. In a paper pub­lished last week in Nature, the researchers point out that its age exceeds both that of the old­est sim­i­lar rock art found else­where in Indone­sia and that of a hand sten­cil in Spain attrib­uted to Nean­derthals, “which until now rep­re­sent­ed the old­est demon­strat­ed min­i­mum-age con­straint for cave art world­wide.”

It isn’t impos­si­ble that this at least 67,800-year-old hand­print could also have been made by Nean­derthals. The obvi­ous mod­i­fi­ca­tion of the hand’s shape, how­ev­er, an exten­sion and taper­ing of the fin­gers that brings to mind ani­mal claws (or the clutch­es of Nos­fer­atu), sug­gests to cer­tain sci­en­tif­ic eyes the kind of cog­ni­tion attrib­ut­able specif­i­cal­ly to Homo sapi­ens. This dis­cov­ery has great poten­tial rel­e­vance not just to art his­to­ry, but even more so to oth­er fields con­cerned with the devel­op­ment of our species. While it had pre­vi­ous­ly been thought, for instance, that the first human set­tlers of Aus­tralia made their way there through Indone­sia (in a time of much low­er sea lev­els) between 50,000 and 65,000 years ago, the hand­print­’s exis­tence in Liang Metan­duno sug­gests that the migra­tion took place even ear­li­er. All these mil­len­nia lat­er, Aus­tralia remains a favored des­ti­na­tion for a vari­ety of immi­grants — some of whom do their part to keep Syd­ney’s art scene inter­est­ing.

Relat­ed Con­tent:

Alger­ian Cave Paint­ings Sug­gest Humans Did Mag­ic Mush­rooms 9,000 Years Ago

Was a 32,000-Year-Old Cave Paint­ing the Ear­li­est Form of Cin­e­ma?

Archae­ol­o­gists Dis­cov­er the World’s First “Art Stu­dio” Cre­at­ed in an Ethiopi­an Cave 43,000 Years Ago

A Recent­ly Dis­cov­ered 44,000-Year-Old Cave Paint­ing Tells the Old­est Known Sto­ry

40,000-Year-Old Sym­bols Found in Caves World­wide May Be the Ear­li­est Writ­ten Lan­guage

Archae­ol­o­gists Dis­cov­er 200,000-Year-Old Hand & Foot­prints That Could Be the World’s Ear­li­est Cave Art

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

 

Hannah Arendt Explains How Propaganda Uses Lies to Erode All Truth & Morality: Insights from The Origins of Totalitarianism

Image by Bernd Schwabe, via Wiki­me­dia Com­mons

At least when I was in grade school, we learned the very basics of how the Third Reich came to pow­er in the ear­ly 1930s. Para­mil­i­tary gangs ter­ror­iz­ing the oppo­si­tion, the incom­pe­tence and oppor­tunism of Ger­man con­ser­v­a­tives, the Reich­stag Fire. And we learned about the crit­i­cal impor­tance of pro­pa­gan­da, the delib­er­ate mis­in­form­ing of the pub­lic in order to sway opin­ions en masse and achieve pop­u­lar sup­port (or at least the appear­ance of it). While Min­is­ter of Pro­pa­gan­da Joseph Goebbels purged Jew­ish and left­ist artists and writ­ers, he built a mas­sive media infra­struc­ture that played, writes PBS, “prob­a­bly the most impor­tant role in cre­at­ing an atmos­phere in Ger­many that made it pos­si­ble for the Nazis to com­mit ter­ri­ble atroc­i­ties against Jews, homo­sex­u­als, and oth­er minori­ties.”

How did the minor­i­ty par­ty of Hitler and Goebbels take over and break the will of the Ger­man peo­ple so thor­ough­ly that they would allow and par­tic­i­pate in mass mur­der? Post-war schol­ars of total­i­tar­i­an­ism like Theodor Adorno and Han­nah Arendt asked that ques­tion over and over, for sev­er­al decades after­ward. Their ear­li­est stud­ies on the sub­ject looked at two sides of the equa­tion. Adorno con­tributed to a mas­sive vol­ume of social psy­chol­o­gy called The Author­i­tar­i­an Per­son­al­i­ty, which stud­ied indi­vid­u­als pre­dis­posed to the appeals of total­i­tar­i­an­ism. He invent­ed what he called the F‑Scale (“F” for “fas­cism”), one of sev­er­al mea­sures he used to the­o­rize the Author­i­tar­i­an Per­son­al­i­ty Type.

Arendt, on the oth­er hand, looked close­ly at the regimes of Hitler and Stal­in and their func­tionar­ies, at the ide­ol­o­gy of sci­en­tif­ic racism, and at the mech­a­nism of pro­pa­gan­da in fos­ter­ing “a curi­ous­ly vary­ing mix­ture of gulli­bil­i­ty and cyn­i­cism with which each mem­ber… is expect­ed to react to the chang­ing lying state­ments of the lead­ers.” So she wrote in her 1951 Ori­gins of Total­i­tar­i­an­ism, going on to elab­o­rate that this “mix­ture of gulli­bil­i­ty and cyn­i­cism… is preva­lent in all ranks of total­i­tar­i­an move­ments”:

In an ever-chang­ing, incom­pre­hen­si­ble world the mass­es had reached the point where they would, at the same time, believe every­thing and noth­ing, think that every­thing was pos­si­ble and noth­ing was true… The total­i­tar­i­an mass lead­ers based their pro­pa­gan­da on the cor­rect psy­cho­log­i­cal assump­tion that, under such con­di­tions, one could make peo­ple believe the most fan­tas­tic state­ments one day, and trust that if the next day they were giv­en irrefutable proof of their false­hood, they would take refuge in cyn­i­cism; instead of desert­ing the lead­ers who had lied to them, they would protest that they had known all along that the state­ment was a lie and would admire the lead­ers for their supe­ri­or tac­ti­cal clev­er­ness.

Why the con­stant, often bla­tant lying? For one thing, it func­tioned as a means of ful­ly dom­i­nat­ing sub­or­di­nates, who would have to cast aside all their integri­ty to repeat out­ra­geous false­hoods and would then be bound to the leader by shame and com­plic­i­ty. “The great ana­lysts of truth and lan­guage in pol­i­tics”—writes McGill Uni­ver­si­ty polit­i­cal phi­los­o­phy pro­fes­sor Jacob T. Levy—includ­ing “George Orwell, Han­nah Arendt, Vaclav Havel—can help us rec­og­nize this kind of lie for what it is.… Say­ing some­thing obvi­ous­ly untrue, and mak­ing your sub­or­di­nates repeat it with a straight face in their own voice, is a par­tic­u­lar­ly star­tling dis­play of pow­er over them. It’s some­thing that was endem­ic to total­i­tar­i­an­ism.”

Arendt and oth­ers rec­og­nized, writes Levy, that “being made to repeat an obvi­ous lie makes it clear that you’re pow­er­less.” She also rec­og­nized the func­tion of an avalanche of lies to ren­der a pop­u­lace pow­er­less to resist, the phe­nom­e­non we now refer to as “gaslight­ing”:

The result of a con­sis­tent and total sub­sti­tu­tion of lies for fac­tu­al truth is not that the lie will now be accept­ed as truth and truth be defamed as a lie, but that the sense by which we take our bear­ings in the real world—and the cat­e­go­ry of truth ver­sus false­hood is among the men­tal means to this end—is being destroyed.

The epis­te­mo­log­i­cal ground thus pulled out from under them, most would depend on what­ev­er the leader said, no mat­ter its rela­tion to truth. “The essen­tial con­vic­tion shared by all ranks,” Arendt con­clud­ed, “from fel­low trav­el­er to leader, is that pol­i­tics is a game of cheat­ing and that the ‘first com­mand­ment’ of the move­ment: ‘The Fuehrer is always right,’ is as nec­es­sary for the pur­pos­es of world pol­i­tics, i.e., world-wide cheat­ing, as the rules of mil­i­tary dis­ci­pline are for the pur­pos­es of war.”

Arendt wrote Ori­gins of Total­i­tar­i­an­ism from research and obser­va­tions gath­ered dur­ing the 1940s, a very spe­cif­ic his­tor­i­cal peri­od. Nonethe­less the book, Jef­frey Isaacs remarks at The Wash­ing­ton Post, “rais­es a set of fun­da­men­tal ques­tions about how tyran­ny can arise and the dan­ger­ous forms of inhu­man­i­ty to which it can lead.” Arendt’s analy­sis of pro­pa­gan­da and the func­tion of lies seems par­tic­u­lar­ly rel­e­vant at this moment. The kinds of bla­tant lies she wrote of might become so com­mon­place as to become banal. We might begin to think they are an irrel­e­vant sideshow. This, she sug­gests, would be a mis­take.

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent:

Are You a Fas­cist?: Take Theodor Adorno’s Author­i­tar­i­an Per­son­al­i­ty Test Cre­at­ed to Com­bat Fas­cism (1947)

Umber­to Eco’s List of the 14 Com­mon Fea­tures of Fas­cism

The Sto­ry of Fas­cism: Rick Steves’ Doc­u­men­tary Helps Us Learn from the Painful Lessons of the 20th Cen­tu­ry

Han­nah Arendt on “Per­son­al Respon­si­bil­i­ty Under Dic­ta­tor­ship:” Bet­ter to Suf­fer Than Col­lab­o­rate

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Discover the World’s First Earthquake Detector, Invented in China 2,000 Years Ago

The Renais­sance did not, strict­ly speak­ing, occur in Chi­na. Yet it seems that the Mid­dle King­dom did have its Renais­sance men, so to speak, and in much ear­li­er times at that. We find one such illus­tri­ous fig­ure in the Han dynasty of the first and sec­ond cen­turies: a states­man named Zhang Heng (78–139 AD), who man­aged to dis­tin­guish him­self across a range of fields from math­e­mat­ics to astron­o­my to phi­los­o­phy to poet­ry. His accom­plish­ments in sci­ence and tech­nol­o­gy include invent­ing the first hydraulic armil­lary sphere for observ­ing the heav­ens, improv­ing water clocks with a sec­ondary tank, cal­cu­lat­ing pi fur­ther than it had been in Chi­na to date, and mak­ing dis­cov­er­ies about the nature of the moon. He also, so records show, put togeth­er the first-ever seis­mo­scope, a device for detect­ing earth­quakes.

A visu­al expla­na­tion of Zhang’s design appears in the Sci­ence­World video above. His seis­mo­scope, its nar­ra­tor says, “was called hòufēng dìdòngyí, which means ‘instru­ment for mea­sur­ing sea­son­al winds and move­ments of the earth,’ ” and it could “deter­mine rough­ly the direc­tion in which an earth­quake occurred.”

Each of its eight drag­on heads (a com­bi­na­tion of num­ber and crea­ture that, in Chi­na, could hard­ly be more aus­pi­cious) holds a ball; when the ground shook, the drag­on point­ing toward the epi­cen­ter of the quake drops its ball into the mouth of one of the dec­o­ra­tive toads wait­ing below. At one time, as his­to­ry has record­ed, it “detect­ed an earth­quake 650 kilo­me­ters, or 400 miles away, that was­n’t felt at the loca­tion of the seis­mo­scope.”

Not bad, con­sid­er­ing that nei­ther Zhang nor any­one else had yet heard of tec­ton­ic plates. But as all engi­neers know, prac­ti­cal devices often work just fine even in the absence of com­plete­ly sound the­o­ry. Though no con­tem­po­rary exam­ples of hòufēng dìdòngyí sur­vive from Zhang’s time, “researchers believe that inside the seis­mo­scope were a pen­du­lum, a bronze ball under the pen­du­lum, eight chan­nels, and eight levers that acti­vat­ed the drag­ons’ mouths.” Mov­ing in response to a shock wave, the pen­du­lum would release the ball in the oppo­site direc­tion, which would roll down a chan­nel and release the mouth at the end of it. How­ev­er inno­v­a­tive it was for its time, this scheme could, of course, pro­vide no infor­ma­tion about exact­ly how far away the earth­quake hap­pened, to say noth­ing of pre­dic­tion. For­tu­nate­ly, cen­turies of Renais­sance men still lay ahead to fig­ure all that out.

Relat­ed Con­tent:

How the Ancient Greeks Invent­ed the First Com­put­er: An Intro­duc­tion to the Antikythera Mech­a­nism (Cir­ca 87 BC)

The Advanced Tech­nol­o­gy of Ancient Rome: Auto­mat­ic Doors, Water Clocks, Vend­ing Machines & More

Behold Col­or Pho­tographs Tak­en Dur­ing the After­math of San Francisco’s Dev­as­tat­ing 1906 Earth­quake

China’s 8,000 Ter­ra­cot­ta War­riors: An Ani­mat­ed & Inter­ac­tive Intro­duc­tion to a Great Archae­o­log­i­cal Dis­cov­ery

What Ancient Chi­nese Phi­los­o­phy Can Teach Us About Liv­ing the Good Life Today: Lessons from Harvard’s Pop­u­lar Pro­fes­sor, Michael Puett

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Short Surrealist Film That Revolutionized Cinema: Luis Buñuel & Salvador Dalí’s Un Chien Andalou (1929)

Un Chien Andalou means “an Andalu­sian dog,” though the much-stud­ied 1929 short film of that title con­tains no dogs at all, from Andalu­sia or any­where else. In fact, it alludes to a Span­ish expres­sion about how the howl­ing of an Andalu­sian sig­nals that some­one has died. And indeed, there is death in Un Chien Andalou, as well as sex, albeit death and sex as processed through the uncon­scious minds of the young film­mak­er Luis Buñuel and artist Sal­vador Dalí, whose col­lab­o­ra­tion on this endur­ing­ly strange movie did much to make their names. Two of its mem­o­rable images — among six­teen straight min­utes of mem­o­rable images — came straight from their dreams: a hand crawl­ing with ants, and a razor blade slic­ing the moon as if it were an eye.

“Less than two min­utes into the pic­ture, a man — played by the stocky, unmiss­able fig­ure of Buñuel him­self — stands on a bal­cony, gaz­ing wolfish­ly at the moon,” writes New York­er film crit­ic Antho­ny Lane. “Cut to the face of a woman. Cut back to the moon; a thin slice of cloud drifts across its face. Cut to an eye; a razor blade knifes neat­ly and with­out hes­i­ta­tion across the eye­ball, whose con­tents well and spill like an out­sized tear. Cut. At this point, if you are of a ner­vous dis­po­si­tion, you faint.”

Buñuel him­self told Dalí that the sequence made him sick, though he also pub­licly described Un Chien Andalou as “a des­per­ate and pas­sion­ate appeal to mur­der.” Aller­gic to the direct incor­po­ra­tion of pol­i­tics into art, he pre­ferred to use the tech­niques of Sur­re­al­ism to advo­cate for the destruc­tion of soci­ety itself.

Yet as their careers went on, Buñuel and Dalí even­tu­al­ly occu­pied respect­ed posi­tions in soci­ety. Curi­ous! Though Buñuel would keep recom­mit­ting to the pow­er of absur­di­ty through­out his fil­mog­ra­phy (not least in the sev­en­ties with his final tril­o­gy, The Dis­creet Charm of the Bour­geoisie, The Phan­tom of Lib­er­ty, and That Obscure Object of Desire), it is Un Chien Andalou that holds the title of one of the most impor­tant works in the his­to­ry of cin­e­ma, rec­og­nized even by those who’ve nev­er seen it, some of whom no doubt sus­pect they could­n’t bear to. But if they can sum­mon the will, they’ll find the film’s parade of unset­tling­ly coher­ent inco­her­ence is more acces­si­ble than ever, since it has now fall­en into the pub­lic domain, accord­ing to the Inter­net Archive. Its sense of humor may sur­prise them, but so too may the undi­min­ished vivid­ness of its flash­es of sex and death, which have always been stand­bys of cin­e­ma — and of dreams.

Relat­ed con­tent:

Two Vin­tage Films by Sal­vador Dalí and Luis Buñuel: Un Chien Andalou and L’Age d’Or

Watch Luis Buñuel’s Sur­re­al Trav­el Doc­u­men­tary A Land With­out Bread (1933)

The 10 Favorite Films of Avant-Garde Sur­re­al­ist Film­mak­er Luis Buñuel (Includ­ing His Own Col­lab­o­ra­tion with Sal­vador Dalí)

Sal­vador Dalí Goes to Hol­ly­wood & Cre­ates a Wild Dream Sequence for Alfred Hitch­cock

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

Film­mak­er Luis Buñuel Shows How to Make the Per­fect Dry Mar­ti­ni

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

 

Brazilian Musician Seu Jorge Performs 15 Iconic Bowie Songs in Portuguese to Mark the 10th Anniversary of Bowie’s Passing

In 2004, the Brazil­ian musi­cian Seu Jorge record­ed a series of Por­tuguese cov­ers of David Bowie songs for Wes Anderson’s film The Life Aquat­ic with Steve Zis­sou. The next year, he released a full album of 13 Bowie clas­sics, and in 2016–2017, he even took the songs on tour. Now, in 2026, to mark the 10th anniver­sary of Bowie’s pass­ing, Jorge returns with the per­for­mance above. Set against a beau­ti­ful Brazil­ian coast­line, he sings some of Bowie’s most beloved tracks, all while in char­ac­ter as Pelé dos San­tos, the role he played in Anderson’s film. See the full track list below and enjoy.

Lady Star­dust
Rock ’n’ Roll Sui­cide
Queen Bitch
Oh! You Pret­ty Things
Suf­fragette City
Changes
Rebel Rebel
Quick­sand
Five Years
Team Zis­sou
Zig­gy Star­dust
Space Odd­i­ty
When I Live My Dream
Life on Mars?
Star­man

Relat­ed Con­tent 

David Bowie’s 100 Must Read Books

Every Wes Ander­son Movie, Explained by Wes Ander­son

Why Do Wes Ander­son Movies Look Like That?

The Art Col­lec­tion of David Bowie: An Intro­duc­tion


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