For ChristoÂpher Schwarz, AmerÂiÂcan anarÂchism isn’t “about bombs and leather jackÂets; it’s about being an indeÂpenÂdent designÂer.” It’s about workÂing outÂside “masÂsive and dehuÂmanÂizÂing instiÂtuÂtions” (like corÂpoÂraÂtions) and designÂing beauÂtiÂful objects that last. He writes: “As a designÂer of books, tools and furÂniÂture, I have zero desire to make things that are intendÂed from the get-go to fall apart.” Based in CovÂingÂton, KenÂtucky, Schwarz runs a small woodÂworkÂing busiÂness where he handÂcrafts beauÂtiÂful tables, chairs and othÂer pieces of furÂniÂture. He also runs Lost Art Press, which pubÂlishÂes books like The Anarchist’s Tool Chest, TheAnarchist’s Design Book,The Anarchist’s WorkÂbench, and othÂer titles.
His “AnarÂchist” series of books “repÂreÂsent a 10-year effort to make woodÂworkÂing more accesÂsiÂble, affordÂable and ethÂiÂcal – and less comÂmerÂcial.” TypÂiÂcalÂly the print ediÂtions run $30-$54. But, to the delight of many felÂlow woodÂworkÂers, Schwarz has made sevÂerÂal ediÂtions availÂable as free digÂiÂtal downÂloads. This includes (as of this week) The Anarchist’s Tool Chest, which “shows you how you can build furÂniÂture with only a small kit of high-qualÂiÂty tools. The first half of the book explains in detail how to choose the right tools… The secÂond half of the book shows you how to build a traÂdiÂtionÂal tool chest to hold these tools.” To find a comÂplete list of books availÂable as free downÂloads, see the list below.
Los PolÂlos HerÂmanos, MadriÂgal ElecÂtroÂmoÂtive, Mesa Verde Bank and Trust, Davis & Main: AttorÂneys at Law—all of these brands come from the BreakÂing Bad/BetÂter Call Saul uniÂverse. They also appear in the FicÂtionÂal Brands Archive, a webÂsite dedÂiÂcatÂed to “ficÂtionÂal brands found in films, series and video games.” TakÂing the brands seriÂousÂly as brands, the site draws on research from a new book writÂten by LorenÂzo BerniÂni entiÂtled FicÂtionÂal Brand Design. And, with its many entries, the site proÂvides a “comÂpreÂhenÂsive view of each ficÂtionÂal brand, framÂing them in their own ficÂtionÂal conÂtext and docÂuÂmentÂing their use and exeÂcuÂtion in source work.”
I doubt I need to list for you the many titles of the 18th cenÂtuÂry GerÂman savant and polyÂmath Johann WolfÂgang von Goethe, but allow me to add one or two that were new to me, at least: colÂor theÂoÂrist (or pheÂnomÂeÂnolÂoÂgist of colÂor) and progÂenÂiÂtor of abstract expresÂsionÂism. As a fasÂciÂnatÂing BookÂtryst post informs us, Goethe’s book on colÂor, Zur FarÂbenÂlehre (TheÂoÂry of ColÂors), writÂten in 1810, disÂputÂed the NewÂtonÂian view of the subÂject and forÂmuÂlatÂed a psyÂchoÂlogÂiÂcal and philoÂsophÂiÂcal account of the way we actuÂalÂly expeÂriÂence colÂor as a pheÂnomÂeÂnon. In his account, Goethe describes how he came by his views:
Along with the rest of the world, I was conÂvinced that all the colÂors are conÂtained in the light; no one had ever told me anyÂthing difÂferÂent, and I had nevÂer found the least cause to doubt it, because I had no furÂther interÂest in the subÂject.
But how I was astonÂished, as I looked at a white wall through the prism, that it stayed white! That only where it came upon some darkÂened area, it showed some colÂor, then at last, around the winÂdow sill all the colÂors shone… It didÂn’t take long before I knew here was someÂthing sigÂnifÂiÂcant about colÂor to be brought forth, and I spoke as through an instinct out loud, that the NewÂtonÂian teachÂings were false.
SchopenÂhauer would latÂer write that “[Goethe] delivÂered in full meaÂsure what was promised by the title of his excelÂlent work: data toward a theÂoÂry of colour. They are imporÂtant, comÂplete, and sigÂnifÂiÂcant data, rich mateÂrÂiÂal for a future theÂoÂry of colour.” It was a theÂoÂry, SchopenÂhauer admits, that does not “[furÂnish] us with a real explaÂnaÂtion of the essenÂtial nature of colour, but realÂly posÂtuÂlates it as a pheÂnomÂeÂnon, and mereÂly tells us how it origÂiÂnates, not what it is.”
AnothÂer latÂer philoÂsophÂiÂcal interÂpreter of Goethe, LudÂwig WittgenÂstein—a thinker greatÂly interÂestÂed in visuÂal perception—also saw Goethe’s work as operÂatÂing very difÂferÂentÂly than NewÂton’s optics—not as a sciÂenÂtifÂic theÂoÂry but rather as an intuÂitive schema. WittgenÂstein remarked that Goethe’s work “is realÂly not a theÂoÂry at all. NothÂing can be preÂdictÂed by means of it. It is, rather, a vague schematÂic outÂline, of the sort we find in [William] James’s psyÂcholÂoÂgy. There is no experÂiÂmenÂtum cruÂcis for Goethe’s theÂoÂry of colour.”
Yet a third latÂer GerÂman genius, WernÂer HeisenÂberg, comÂmentÂed on the influÂence of Zur FarÂbenÂlehre, writÂing that “Goethe’s colour theÂoÂry has in many ways borne fruit in art, physÂiÂolÂoÂgy and aesÂthetÂics. But vicÂtoÂry, and hence influÂence on the research of the folÂlowÂing cenÂtuÂry, has been NewÂton’s.”
I’m not fit to evalÂuÂate the relÂaÂtive merÂits of Goethe’s theÂoÂry, or lack thereÂof, verÂsus NewÂton’s rigÂorÂous work on optics. Whole books have been writÂten on the subÂject. But whatÂevÂer his intenÂtions, Goethe’s work has been well-received as a psyÂchoÂlogÂiÂcalÂly accuÂrate account that has also, through his text and many illusÂtraÂtions you see here, had sigÂnifÂiÂcant influÂence on twenÂtiÂeth cenÂtuÂry painters also greatÂly conÂcerned with the psyÂcholÂoÂgy of colÂor, most notably WassÂiÂly KandinÂsky, who proÂduced his own “schematÂic outÂline” of the psyÂchoÂlogÂiÂcal effects of colÂor titled ConÂcernÂing the SpirÂiÂtuÂal in Art, a clasÂsic of modÂernist aesÂthetÂic theÂoÂry. As is usuÂalÂly the case with Goethe, the influÂence of this sinÂgle work is wider and deepÂer than he probÂaÂbly ever foreÂsaw.
For many, even most of us modÂerns, the cenÂtral reliÂgious choice is a simÂple one: adhere to the belief sysÂtem in which you grew up, or stop adherÂing to it. But if you surÂvey the variÂety of reliÂgions in the world, the sitÂuÂaÂtion no longer seems quite so binaÂry; if you then add the variÂety of reliÂgions that have existÂed throughÂout human hisÂtoÂry, it starts lookÂing downÂright kaleiÂdoÂscopÂic. Or rather, it looks someÂthing like the faintÂly psyÂcheÂdelÂic but also inforÂmaÂtion-rich HisÂtomÂap of ReliÂgion above, creÂatÂed in 1943 by chemist John B. Sparks, whom we’ve preÂviÂousÂly feaÂtured here on Open CulÂture for his origÂiÂnal HisÂtomÂap depictÂing 4,000 Years of World HisÂtoÂry and his subÂseÂquent HisÂtomÂap of EvoÂluÂtion.
The UseÂfulCharts video below explains Sparks’ HisÂtomÂap of ReliÂgion in detail, but it also cites his HisÂtomÂap of EvoÂluÂtion, an examÂple of how his worldÂview fails to align with curÂrent perÂcepÂtions of these subÂjects. Even the newÂer HisÂtomÂap of ReliÂgion is by now more than 80 years old, durÂing which time scholÂarÂship in reliÂgion and relatÂed fields has made cerÂtain disÂcovÂerÂies and clarÂiÂfiÂcaÂtions that necÂesÂsarÂiÂly go unreÂflectÂed in Sparks’ work. But if you bear this in mind while lookÂing at the HisÂtomÂap of ReliÂgion, you can still gain a new and useÂful perÂspecÂtive on how the beliefs that mankind has held highÂest have changed and interÂminÂgled over the milÂlenÂnia.
The chart begins in preÂhisÂtoÂry, dividÂing the then-extant faiths into the catÂeÂgories “magÂic and fetishism,” “tabu and totemism,” “ancesÂtor worÂship,” “tribÂal gods and divine kings,” “proÂpiÂtiÂaÂtion of nature spirÂits,” and “ferÂtilÂiÂty cults.” Though Sparks’ inforÂmaÂtion may on the whole be “based on theÂoÂries about the oriÂgins of reliÂgion which have now been either rejectÂed or at least seriÂousÂly revised,” explains UseÂfulCharts creÂator Matt BakÂer, “the genÂerÂal ideas expressed by these six types are still someÂwhat valid.” The expanÂsion and conÂtracÂtion of adherÂence to these types of earÂly reliÂgion through time are reflectÂed by changes in the width of the colÂored columns that repÂreÂsent them. FolÂlow these columns downÂward through hisÂtoÂry, and new, more familÂiar reliÂgions emerge: TaoÂism, Judaism, HinÂduism, BudÂdhism, ChrisÂtianÂiÂty both Catholic and ProtesÂtant.
ThereÂafter come othÂer moveÂments and figÂures perÂhaps not immeÂdiÂateÂly recÂogÂnizÂable as reliÂgious in nature: “humanÂism,” for examÂple, whose repÂreÂsenÂtaÂtives include ShakeÂspeare and Rousseau. LatÂer, the ideas of RussÂian intelÂlecÂtuÂals VisÂsarÂiÂon BelinÂsky and AlexanÂder Herzen branch off to become, after about a cenÂtuÂry, the “corÂrupt phiÂlosÂoÂphy” of comÂmuÂnism, with its “God-less proÂpaÂganÂda” supÂportÂing a “police state aimed at world domÂiÂnaÂtion.” BakÂer objects that, if Sparks counts comÂmuÂnism as a reliÂgion, then sureÂly he should count capÂiÂtalÂism as a reliÂgion as well. This is a fair-enough point, though behold this dense chart of “cults, faiths, and ethÂiÂcal philosoÂphies” long enough, and you’ll start to wonÂder if everyÂthing humanÂiÂty has ever done isn’t, in some sense, ultiÂmateÂly reliÂgious in nature.
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
In 2013, PenÂguin released in the UK a series of new covÂers for five works by George Orwell, includÂing a parÂticÂuÂlarÂly bold covÂer design for Orwell’s best-known work, 1984. AccordÂing to CreÂative Review, the designÂer, David PearÂson, made it so that the book’s title and Orwell’s name were debossed, then almost comÂpleteÂly obscured by black foilÂing, leavÂing just “enough of a dent for the title to be deterÂmined.” No doubt, the design plays on the whole idea of cenÂsorÂship, “refÂerÂencÂing the rewritÂing of hisÂtoÂry carÂried out by the novel’s MinÂistry of Truth.”
Years latÂer, you’ll have difÂfiÂculÂty buyÂing new copies of PearÂsonÂ’s design. They’re in pretÂty short supÂply. But anyÂone with a well-worn copy of the book might disÂcovÂer what one RedÂdiÂtor has also observed–that the covÂer design “becomes less cenÂsored with wear.” ComÂpare the “before” image above to the “after” image down below. Was this all part of PearÂsonÂ’s long-range masÂter plan? Or someÂthing of a design flaw? We’ll probÂaÂbly nevÂer know. But if you’re lookÂing for a book that gets betÂter with age, then this is one to add to your list.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
Are mulÂtiÂple interÂpreÂtaÂtions posÂsiÂble?
Artist Jim SanÂborn’s masÂsive sculpÂture KrypÂtos may inspire varÂiÂous reacÂtions in its viewÂers, but there’s defÂiÂniteÂly a sinÂgle corÂrect interÂpreÂtaÂtion.
But 78-year-old SanÂborn isn’t sayÂing what…
He wants someÂone else to idenÂtiÂfy it.
KrypÂtos’ main mysÂtery — more like “a ridÂdle wrapped in a mysÂtery inside an enigÂma” to quote WinÂston Churchill — was hand cut into an S‑shaped copÂper screen using jigÂsaws.
Image courÂtesy of the CIA
ProÂfesÂsionÂal cryptÂanÂaÂlysts, hobÂbyÂists, and stuÂdents have been attemptÂing to crack the code of its 865 letÂters and 4 quesÂtion marks since 1990, when it was installed on the grounds of CIA headÂquarÂters in LanÂgÂley, VirÂginia.
The hands-on part fell well withÂin Sanborn’s purview. But a MasÂters in sculpÂture from Pratt InstiÂtute does not autoÂmatÂiÂcalÂly conÂfer crypÂtogÂraÂphy bonafides, so SanÂborn enlistÂed Edward ScheiÂdt, the retired chairÂman of the CIA’s CrypÂtoÂgraphÂic CenÂter, for a crash course in late 20th-cenÂtuÂry codÂing sysÂtems.
SanÂborn samÂpled varÂiÂous codÂing methÂods for the finÂished piece, wantÂiÂng the act of deciÂpherÂing to feel like “peelÂing layÂers off an onion.”
That onion has been parÂtialÂly peeled for years.
GilloÂgly arrived at his soluÂtion in 1999, using a PenÂtium II.
Stein reached the same conÂcluÂsion a year earÂliÂer, after chipÂping away at it for some 400 hours with penÂcil and paper, though the CIA kept his achieveÂment on the down low until GilloÂgly went pubÂlic with his.
The folÂlowÂing year the NationÂal SecuÂriÂty Agency claimed that four of their employÂees, workÂing colÂlabÂoÂraÂtiveÂly, had reached an idenÂtiÂcal soluÂtion in 1992, a fact corÂrobÂoÂratÂed by docÂuÂments obtained through the FreeÂdom of InforÂmaÂtion Act.
This still leaves the 97-charÂacÂter phrase from the final panÂel up for grabs. CrackÂing it will be the penulÂtiÂmate step in solvÂing KrypÂtos’ puzÂzle. As SanÂborn told NPR in 2020, “that phrase is in itself a ridÂdle:”
It’s mysÂteÂriÂous. It’s going to lead to someÂthing else. It’s not going to be finÂished when it’s decodÂed.
The pubÂlic is welÂcome to conÂtinÂue makÂing eduÂcatÂed guessÂes.
SanÂborn has leaked three clues over the years, all words that can be found in the final pasÂsage of decryptÂed text.
BERLIN, at posiÂtions 64 — 69 (2010)
CLOCK, at posiÂtions 70 — 74 (2014)
NORTHEAST, at posiÂtion 26 — 34
Have you solved it, yet?
No?
Don’t feel bad…
SanÂborn has been fieldÂing incorÂrect answers daiÂly for decades, though a risÂing tide of aggresÂsive and racist mesÂsages led him to charge 50 bucks per subÂmisÂsion, to which he responds via e‑mail, with absoluteÂly no hope of hints.
KrypÂtos’ most dedÂiÂcatÂed fans, like game develÂopÂer /cryptologist ElonÂka Dunin, seen plyÂing SanÂborn with copiÂous quanÂtiÂties of sushi above in Great Big StoÂry’s video, find valÂue in workÂing togethÂer and, someÂtimes, in perÂson.
Their dream is that SanÂborn might inadÂverÂtentÂly let slip a valuÂable tidÂbit in their presÂence, though that seems like a long shot.
The artist claims to have gotÂten very skilled at mainÂtainÂing a pokÂer face.
(Wait, does that sugÂgest his interÂlocuÂtors have been getÂting warmer?)
Dunin has relinÂquished all fanÂtasies of solvÂing KrypÂtos solo, and now works to help someÂone — anyÂone — solve it.
SanÂford has put a conÂtinÂgency plan in place in case no one ever manÂages to get to the botÂtom of the KrypÂtos (ancient Greek for “hidÂden”) conunÂdrum.
He, or repÂreÂsenÂtaÂtives of his estate, will aucÂtion off the soluÂtion. He is conÂtent with letÂting the winÂning bidÂder decide whether or not to share what’s been revealed to them.
“I do realÂize that the valÂue of KrypÂtos is unknown and that perÂhaps this conÂcept will bear litÂtle fruit,” he told the New York Times, though if one takes the massÂes of peoÂple desÂperÂate to learn the soluÂtion and facÂtors in Sanford’s intenÂtion to donate all proÂceeds to cliÂmate research, it may well bear quite a healthy amount of fruit.
Join ElonÂka Dunin’s online comÂmuÂniÂty of KrypÂtos enthuÂsiÂasts here.
To give you a taste of what you’re in for, here are the first two panÂels, folÂlowed by their soluÂtions, with the artist’s intenÂtionÂal misÂspellings intact.
1. EncryptÂed Text
EMUFPHZLRFAXYUSDJKZLDKRNSHGNFIVJ
YQTQUXQBQVYUVLLTREVJYQTMKYRDMFD
DecryptÂed Text
Between subÂtle shadÂing and the absence of light lies the nuance of iqluÂsion.
DecryptÂed Text
It was totalÂly invisÂiÂble Hows that posÂsiÂble? They used the Earths magÂnetÂic field X
The inforÂmaÂtion was gathÂered and transÂmitÂted underÂgruÂund to an unknown locaÂtion X
Does LanÂgÂley know about this? They should Its buried out there someÂwhere X
Who knows the exact locaÂtion? Only WW This was his last mesÂsage X
ThirÂty eight degrees fifty sevÂen minÂutes six point five secÂonds north
SevÂenÂty sevÂen degrees eight minÂutes forty four secÂonds west ID by rows
View step by step soluÂtions for the first three of KrypÂtos’ encryptÂed panÂels here.
Author, eduÂcaÂtor and book restoraÂtion expert Sophia Bogle is in a conÂstant race against time. Her misÂsion: to resÂcue and restore ill-treatÂed books before their lamÂenÂtaÂble conÂdiÂtions can conÂsign them to the landÂfill.
To the untrained eye, many of these volÂumes appear beyond repair, but Bogle has nerves of steel, preterÂnatÂurÂal patience, surÂgiÂcal preÂciÂsion, and over thirÂty years of expeÂriÂence.
In the Wired video above, she uses a 106-year-old first ediÂtion of Frank L. Baum’s The Lost Princess of Ozto demonÂstrate some of the steps of her craft — from cutÂting open an old book’s spine and washÂing dirty pages to repairÂing tears and recolÂorÂing illusÂtraÂtions.
PriÂor to takÂing the final step, she scrawls a hidÂden mesÂsage on the backÂing mateÂrÂiÂal of the spine:
I do love the fact that there’s the stoÂry in the book, there’s the stoÂry of the restoraÂtion of the book, there’s the stoÂry of who has owned the book and now, I’m just in there just a litÂtle bit more.
This playÂful bit of hard-won license is a far cry from some shady restoraÂtion pracÂtices she menÂtions in an interÂview on the WelÂcome to LitÂerÂary AshÂland blog, in an attempt to arm the genÂerÂal pubÂlic with tools for spotÂting potenÂtial fraud:
I am not sure that there is anyÂthing in the world that canÂnot be twistÂed with evil intent…Swapping out pages with pubÂlishÂers inforÂmaÂtion in order to make the book appear to be a more valuÂable ediÂtion. ScratchÂing out/removing numÂbers or words for the same purÂpose. And lastÂly, swapÂping out pages to insert the author’s sigÂnaÂture. None of those things can be done withÂout intent to defraud and it is the intent that matÂters most.
Book lovers who have both the time and the temÂperaÂment for bookÂbindÂing, as well as Bogle’s pasÂsion for preÂservÂing culÂture one book at a time, might conÂsidÂer applyÂing for a Save Your Books scholÂarÂship.
Or, they may be left wishÂing you’d givÂen them a vastÂly more hugÂgable machine-made plushie verÂsion, espeÂcialÂly if you can’t help suckÂing in your breath every time they start fumÂbling with that exquisÂiteÂly craftÂed ￥330,000 yen heirÂloom-to-be. (That’s $2341.81 in US dolÂlars.)
Of course, direcÂtor Hayao MiyazaÂki’s 1988 aniÂmatÂed feaÂture My NeighÂbor Totorohas legions of fans of all ages, and some will conÂsidÂer themÂselves quite lucky if they win the lotÂtery that grants them the abilÂiÂty to purÂchase such a treaÂsure.
They’re not only carved by skilled artiÂsans in InaÂmi, the city of woodÂcarvÂing, but the wood is also that of a camÂphor tree — the natÂurÂal habiÂtat of the mysÂteÂriÂous, magÂiÂcal Totoro! (It’s also conÂsidÂered holy by pracÂtiÂtionÂers of the ShinÂto reliÂgion.)
Still, if it’s unclear that the recipÂiÂent will truÂly appreÂciÂate such thoughtÂfulÂness, you’re probÂaÂbly betÂter off going with anothÂer offerÂing from StuÂdio Ghibli’s Totoro-themed colÂlabÂoÂraÂtion with NakÂaÂgawa Masashichi Shoten, a purÂveyÂor of traÂdiÂtionÂal JapanÂese crafts.
PerÂhaps a￥4180 bud vase fired in UreÂshiÂno City’s Edo-periÂod Yozan Kiln, feaÂturÂing Totoro or a clusÂter of susuwatari, the pom pom-like soot sprites infestÂing the KusakÂabe famÂiÂly’s new home, who also play a part in SpirÂitÂed Away.
Maybe a tiny Totoro bell amulet, moldÂed by craftsÂmen in Odawara, celÂeÂbratÂed for the qualÂiÂty of their metÂalÂwork since the earÂly 1500s, when they outÂfitÂted samuÂrai with weapons, armor and helÂmets?
As one of the leadÂing towns along the trunk road, YatuÂso flourÂished through … proÂducÂtion of wrapÂping paper for the nation-wide famous “ToyaÂma MedÂiÂcine”. At its goldÂen age, from the Edo Era to the beginÂning of the MeiÂji Era in the 19th cenÂtuÂry, many peoÂple were engaged in paperÂmakÂing by handÂwork in their homes. YatÂsuo JapanÂese paper was expectÂed to be unbreakÂable because it was used as packÂage for expenÂsive medÂiÂcine and at the same time it should look brilÂliant. It had to be thick and stout so that it could be imperÂviÂous to water and the label printÂed on the surÂface would not be smeared.
The list of Totoro-inspired traÂdiÂtionÂal crafts is impresÂsive. A repÂreÂsenÂtaÂtive samÂpling:
Chusen-dyed tenugui handÂkerÂchiefs and t‑shirts…
DishÂtowÂels made from five layÂers of Kayaori fabÂric that “was introÂduced to Japan durÂing the Nara periÂod and is said to allow wind to pass through but keep mosÂquiÂtoes out”…
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