Download the Software That Provides Stephen Hawking’s Voice

hawking capitalism future

Cre­ative Com­mons image via NASA

Ah to be pos­sessed of a high­ly dis­tinc­tive voice.

Actress Kather­ine Hep­burn had one.

As did FDR…

And not­ed Hol­ly­wood Square Paul Lyn­de…

Physi­cist Stephen Hawk­ing may trump them all, though his famous­ly rec­og­niz­able voice is not organ­ic. The one we all asso­ciate with him has been com­put­er gen­er­at­ed since wors­en­ing Amy­otroph­ic lat­er­al scle­ro­sis, aka Lou Gehrig’s dis­ease, led to a tra­cheoto­my in 1985.

With­out the use of his hands, Hawk­ing con­trols the Assis­tive Con­text-Aware Toolk­it soft­ware with a  sen­sor attached to one of his cheek mus­cles.

Recent­ly, Intel has made the soft­ware and its user guide avail­able for free down­load on the code shar­ing site, Github. It requires a com­put­er run­ning Win­dows XP or above to use, and also a web­cam that will track the visu­al cues of the user’s facial expres­sions.

The mul­ti-user pro­gram allows users to type in MS Word and browse the Inter­net, in addi­tion to assist­ing them to “speak” aloud in Eng­lish.

The soft­ware release is intend­ed to help researchers aid­ing suf­fer­ers of motor neu­ron dis­eases, not pranksters seek­ing to bor­row the famed physicist’s voice for their door­bells and cook­ie jar lids. To that end, the free ver­sion comes with a default voice, not Pro­fes­sor Hawking’s.

Down­load the Assis­tive Con­text-Aware Toolk­it (ACAT) here.

Relat­ed Con­tent:

Stephen Hawking’s Big Ideas Explained with Sim­ple Ani­ma­tion

Stephen Hawk­ing Starts Post­ing on Face­book: Join His Quest to Explain What Makes the Uni­verse Exist

Stephen Hawking’s Uni­verse: A Visu­al­iza­tion of His Lec­tures with Stars & Sound

Free Online Physics Cours­es

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, is cur­rent­ly play­ing in New York City. Fol­low her @AyunHalliday

Gravity Visualized by High School Teacher in an Amazingly Elegant & Simple Way

Just a few miles down the high­way from Open Cul­ture’s gleam­ing head­quar­ters you will find Los Gatos High School, where Dan Burns, an AP Physics Teacher, has fig­ured out a sim­ple but clever way to visu­al­ize grav­i­ty, as it was explained by Ein­stein’s 1915 Gen­er­al The­o­ry of Rel­a­tiv­i­ty. Get $20 of span­dex, some mar­bles, a cou­ple of weights, and you’re all good to go. Using these read­i­ly-avail­able objects, you can demon­strate how mat­ter warps space-time, how objects grav­i­tate towards one anoth­er, and why objects orbit in the way they do. My favorite part comes at the 2:15 mark, where Burns demon­strates the answer to a ques­tion you’ve maybe pon­dered before: why do all plan­ets hap­pen to orbit the sun mov­ing in a clock­wise (rather than counter-clock­wise) fash­ion? Now you can find out why.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via Coudal

Relat­ed Con­tent

Free Online Physics Cours­es

The Feyn­man Lec­tures on Physics, The Most Pop­u­lar Physics Book Ever Writ­ten, Now Com­plete­ly Online

Bertrand Russell’s ABC of Rel­a­tiv­i­ty: The Clas­sic Intro­duc­tion to Ein­stein (Free Audio)

Free Physics Text­books

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Hear Arthur Miller Read From Death of a Salesman, His Great American Play (1955)

1949’s Death of a Sales­man is one of the most endur­ing plays in the Amer­i­can canon, a sta­ple of both com­mu­ni­ty and pro­fes­sion­al the­ater.

Play­wright Arthur Miller recalled that when the cur­tain fell on the first per­for­mance, there were “men in the audi­ence sit­ting there with hand­ker­chiefs over their faces. It was like a funer­al.”

Robert Falls, Artis­tic Direc­tor of Chicago’s Good­man The­ater, brings the expe­ri­ence of dozens of pro­duc­tions to bear when he describes it as the only play that “sends men weep­ing into the Men’s room.”

Small won­der that the tit­u­lar part has become a grail of sorts for aging lead­ing men eager to be tak­en seri­ous­ly. Dustin Hoff­man, George C. Scott, and Philip Sey­mour Hoff­man have all had a go at Willy Loman, a role still asso­ci­at­ed with the tow­er­ing Lee J. Cobb, who orig­i­nat­ed it.

(Willy’s wife, Lin­da, with her famous grave­side admo­ni­tion that “atten­tion must be paid,” is con­sid­ered no less of a plum part.)

On Feb­ru­ary 2, 1955, Arthur Miller joined Salesman’s first Mrs. Loman, Mil­dred Dun­nock, to read selec­tions from the script before a live audi­ence at Manhattan’s 92nd Street YMCA. In addi­tion to read­ing the role of Willy Loman, Miller sup­plied stage direc­tions and explained his ratio­nale for pick­ing the fea­tured scenes. The Pulitzer Prize winner’s New York accent and brusque man­ner make him a nat­ur­al, and of course, who bet­ter to under­stand the nuances, moti­va­tions, and his­tor­i­cal con­text of this trag­i­cal­ly flawed char­ac­ter?

Miller told The New York­er that he based Loman on his fam­i­ly friend, Man­ny New­man:

Man­ny lived in his own mind all the time. He nev­er got out of it. Every­thing he said was total­ly unex­pect­ed. Peo­ple regard­ed him as a kind of strange, com­plete­ly untruth­ful per­son­al­i­ty. Very charm­ing. I thought of him as a kind of won­der­ful inven­tor. For exam­ple, at will, he would sud­den­ly say, “That’s a love­ly suit you have on.” And for no rea­son at all, he’d say, “Three hun­dred dol­lars.” Now, every­body knew he nev­er paid three hun­dred dol­lars for a suit in those days. At a par­ty, he would lie down on his wife’s lap and pre­tend to be suck­ing her breast. He’d curl up on her lap—she was an immense woman. It was crazy. At the same time, there was some­thing in him which was ter­ri­bly mov­ing. It was very mov­ing, because his suf­fer­ing was right on his skin, you see.

If Miller and Dunnock’s per­for­mance leaves you hun­gry for more, you can see her and Lee J. Cobb reprise their roles on tele­vi­sion in a 1966 CBS pro­duc­tion. See Act 1 above, and Act 2 here.

Relat­ed Con­tent:

Albert Camus Talks About Adapt­ing Dos­toyevsky for the The­atre, 1959

Hear Antonin Artaud’s Cen­sored, Nev­er-Aired Radio Play: To Have Done With The Judg­ment of God (1947)

Peter Weiss’s Marat/Sade Pushed the Bound­aries of The­ater, and Still Does

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, is now play­ing in New York City . Fol­low her @AyunHalliday

Harlan Ellison’s Wonderful Rant on Why Writers Should Always Get Paid

In a per­fect world, I could write this post for free. Alas, the rig­ors of the mod­ern econ­o­my demand that I pay reg­u­lar and some­times high prices for food, shel­ter, books, and the oth­er neces­si­ties of life. And so if I spend time work­ing on some­thing — and in my case, that usu­al­ly means writ­ing some­thing — I’d bet­ter ask for mon­ey in exchange, or I’ll find myself out on the street before long. Nobody under­stands this bet­ter than Har­lan Elli­son, the huge­ly pro­lif­ic author of nov­els, sto­ries, essays screen­plays, com­ic books, usu­al­ly in, or deal­ing with, the genre of sci­ence fic­tion.

Elli­son also starred in Dreams with Sharp Teeth, a doc­u­men­tary about his col­or­ful life and all the work he’s writ­ten dur­ing it, a clip of which you can see at the top of the post. In it, he describes receiv­ing a call just the day before from “a lit­tle film com­pa­ny” seek­ing per­mis­sion to include an inter­view clip with him pre­vi­ous­ly shot about the mak­ing of Baby­lon 5, a series on which he worked as cre­ative con­sul­tant. “Absolute­ly,” Elli­son said to the com­pa­ny’s rep­re­sen­ta­tive. “All you’ve got to do is pay me.”

This sim­ple request seemed to take the representative—who went on to insist that “every­one else is just doing it for noth­ing” and that “it would be good publicity”—quite by sur­prise. â€śDo you get a pay­check?” Elli­son then asked. “Does your boss get a pay­check? Do you pay the telecine guy? Do you pay the cam­era­man? Do you pay the cut­ters? Do you pay the Team­sters when they schlep your stuff on the trucks? Would you go to the gas sta­tion and ask them to give you free gas? Would you go to the doc­tor and have them take out our spleen for noth­ing?”

This line of ques­tion­ing has come up again and again since Elli­son told this sto­ry, as when the jour­nal­ist Nate Thay­er, or more recent­ly Wil Wheaton, spoke out against the expec­ta­tion that writ­ers would hand out the rights to their work “for expo­sure.” The prag­mat­ic Elli­son frames the mat­ter as fol­lows: “Cross my palm with sil­ver, and you can use my inter­view.” But do finan­cial­ly-ori­ent­ed atti­tudes such as his (“I don’t take a piss with­out get­ting paid for it”) taint the art and craft of writ­ing? He does­n’t think so: “I sell my soul,” he admits, “but at the high­est rates.”

Relat­ed Con­tent:

William Faulkn­er Explains Why Writ­ing is Best Left to Scoundrels … Prefer­ably Liv­ing in Broth­els (1956)

Stephen King’s Top 20 Rules for Writ­ers

Ray Brad­bury on Zen and the Art of Writ­ing (1973)

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Horror Legend Christopher Lee Reads Bram Stoker’s Dracula

Did Bram Stoker’s world-famous Drac­u­la character—perhaps the most cul­tur­al­ly unkil­l­able of all hor­ror mon­sters—derive from Irish folk­lore? Search the Gael­ic “Droch-Fhoula” (pro­nounced droc’ola) and, in addi­tion to the req­ui­site met­al bands, you’ll find ref­er­ences to the “Cas­tle of the Blood Vis­age,” to a blood-drink­ing chief­tain named Abhar­tach, and to oth­er pos­si­ble native sources of Irish writer Bram Stok­er’s 1897 nov­el. These Celtic leg­ends, the BBC writes, “may have shaped the sto­ry as much as Euro­pean myths and Goth­ic lit­er­a­ture.”

Despite all this intrigu­ing spec­u­la­tion about Dracula’s Irish ori­gins, the actors play­ing him have come from a vari­ety of places. One recent incar­na­tion, TV series Drac­u­la, did cast an Irish actor, Jonathan Rhys Mey­ers, in the role.

Hun­gar­i­an Bela Lugosi comes clos­est to the fic­tion­al character’s nation­al­i­ty, as well as that of anoth­er, per­haps dubi­ous source, Roman­ian war­lord Vlad the Impaler. Pro­tean Brit Gary Old­man played up the char­ac­ter as Slav­ic aris­to­crat in Fran­cis Ford Coppola’s some­what more faith­ful take. But one too-oft-over­looked por­tray­al by anoth­er Eng­lish actor, Christo­pher Lee, deserves much more atten­tion than it receives.

In ten low-bud­get films made by British exploita­tion stu­dio Ham­mer, Lee por­trayed the mon­strous-yet-seduc­tive blood-suck­ing noble­man as a very prop­er Eng­lish­man with “a cer­tain las­civ­i­ous sex appeal”—begin­ning with 1958’s Hor­ror of Drac­u­la (see a trail­er above) and end­ing with 1973’s The Satan­ic Rites of Drac­u­la. I find Lee’s Drac­u­la so mem­o­rable that I was delight­ed to hear the audio above of him read­ing an adap­ta­tion of the nov­el, in ten parts. The video begins with titles and an estab­lish­ing shot from the Ham­mer films, then segues to images from a 1966 Drac­u­la graph­ic nov­el, the source of the “pret­ty faith­ful” adap­ta­tion by Otto Binder and Craig Ten­nis, for which Lee wrote an intro­duc­tion.

The audio here was also record­ed in 1966 by the book’s edi­tor Russ Jones. Comics blog­ger Steven Thomp­son remarks that “since Drac­u­la is made up of a series of let­ters, jour­nal and diary entries, the writ­ers here log­i­cal­ly take a more straight­for­ward route of telling the tale while main­tain­ing the episod­ic feel quite well.” Rather than the voice of Count Drac­u­la, Lee reads as the nov­el­’s epis­to­lary nar­ra­tor Jonathan Hark­er, and the Drac­u­la in the art­work, drawn by artist Al McWilliams, “bears more than a pass­ing resem­blance here to actor John Car­ra­dine,” a notable Amer­i­can actor who played the char­ac­ter in Uni­ver­sal’s House of Franken­stein and House of Drac­u­la. Nonethe­less, Lee’s voice is enough to con­jure his many excep­tion­al per­for­mances as the pro­to­typ­i­cal vam­pire, a char­ac­ter and con­cept that will like­ly nev­er die.

Schol­ar and writer Bob Cur­ran, a pro­po­nent of the Irish ori­gins of Drac­u­la, argues in his book Vam­pires that leg­ends of undead, blood-drink­ing ghouls are found all over the world, which goes a long way toward explain­ing the endur­ing pop­u­lar­i­ty of Drac­u­la in par­tic­u­lar and vam­pires in gen­er­al. We’ll prob­a­bly see anoth­er actor inher­it the role of Stok­er’s seduc­tive­ly creepy count in the near future. Who­ev­er it is will have to mea­sure him­self against not only the per­for­mances of Lugosi, Car­ra­dine, Old­man, and Mey­ers, but also against the debonair Christo­pher Lee. He would do well, wher­ev­er he comes from, to study Lee’s Drac­u­la films close­ly, and lis­ten to him read the sto­ry in the adap­ta­tion above.

Relat­ed Con­tent:

Christo­pher Lee (R.I.P.) Reads Edgar Allan Poe’s “The Raven,” and From “The Fall of the House of Ush­er”

Christo­pher Lee Nar­rates a Beau­ti­ful Ani­ma­tion of Tim Burton’s Poem, Night­mare Before Christ­mas

Watch Nos­fer­atu, the Sem­i­nal Vam­pire Film, Free Online (1922)

Hear Edgar Allan Poe’s “The Tell Tale Heart” Read by the Great Bela Lugosi (1946)

800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Stephen Hawking Wonders Whether Capitalism or Artificial Intelligence Will Doom the Human Race

hawking capitalism future

Cre­ative Com­mons image via NASA

It should­n’t be espe­cial­ly con­tro­ver­sial to point out that we live in a piv­otal time in human history—that the actions we col­lec­tive­ly take (or that plu­to­crats and tech­nocrats take) will deter­mine the future of the human species—or whether we even have a future in the com­ing cen­turies. The threats posed by cli­mate change and war are exac­er­bat­ed and accel­er­at­ed by rapid­ly wors­en­ing eco­nom­ic inequal­i­ty. Expo­nen­tial advances in tech­nol­o­gy threat­en to eclipse our abil­i­ty to con­trol machines rather than be con­trolled, or stamped out, by them.

It’s also the case that our most well-regard­ed sci­en­tists and tech­no­log­i­cal inno­va­tors have not remained silent in the face of these crises. Physi­cist Stephen Hawk­ing has issued some dire warn­ings late­ly when it comes to human­i­ty’s future. Sev­er­al years ago, he pre­dict­ed that “our only chance of long term sur­vival” may be to “spread out into space,” a la Inter­stel­lar. In addi­tion to the wors­en­ing cli­mate cri­sis, the rise of arti­fi­cial intel­li­gence con­cerns Hawk­ing. Along with Bill Gates and Elon Musk, he has warned of what futur­ist Ray Kurzweil has called “the sin­gu­lar­i­ty,” the point at which machine intel­li­gence sur­pass­es our own.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Where Kurzweil has seen this event through an opti­mistic, New Age lens, Hawk­ing’s view seems more in line with dystopi­an sci-fi visions of robot apoc­a­lypse. “Suc­cess in AI would be the biggest event in human his­to­ry,” he wrote in The Inde­pen­dent last year, â€śUnfor­tu­nate­ly it might also be the last.” Giv­en the design of autonomous weapons sys­tems and, as he told the BBC, the fact that “Humans, who are lim­it­ed by slow bio­log­i­cal evo­lu­tion, could­n’t com­pete and would be super­seded,” the prospect looks chill­ing, but it isn’t inevitable.

Our tech isn’t active­ly out to get us. “The real risk with AI isn’t mal­ice but com­pe­tence,” Hawk­ing clar­i­fied, in a fas­ci­nat­ing Red­dit “Ask Me Any­thing” ses­sion last month. Due to the physi­cist’s phys­i­cal lim­i­ta­tions, read­ers post­ed ques­tions and vot­ed on their favorites. From these, Hawk­ing elect­ed the “ones he feels he can give answers to.” In response to a top-rat­ed ques­tion about the so-called “Ter­mi­na­tor Con­ver­sa­tion,” he wrote, “A super­in­tel­li­gent AI will be extreme­ly good at accom­plish­ing its goals, and if those goals aren’t aligned with ours, we’re in trou­ble.”

This prob­lem of mis­aligned goals is not of course lim­it­ed to our rela­tion­ship with machines. Our pre­car­i­ous eco­nom­ic rela­tion­ships with each oth­er pose a sep­a­rate threat, espe­cial­ly in the face of mas­sive job loss due to future automa­tion. We’d like to imag­ine a future where tech­nol­o­gy frees us of toil and want, the kind of soci­ety Buck­min­ster Fuller sought to cre­ate. But the truth is that wealth and income inequal­i­ty, at their high­est lev­els in the U.S. since at least the Gild­ed Age, may deter­mine a very dif­fer­ent path—one we might think of in terms of “The Ely­si­um Con­ver­sa­tion.” Asked in the same AMA Red­dit ses­sion, “Do you fore­see a world where peo­ple work less because so much work is auto­mat­ed? Do you think peo­ple will always either find work or man­u­fac­ture more work to be done?,” Hawk­ing elab­o­rat­ed,

If machines pro­duce every­thing we need, the out­come will depend on how things are dis­trib­uted. Every­one can enjoy a life of lux­u­ri­ous leisure if the machine-pro­duced wealth is shared, or most peo­ple can end up mis­er­ably poor if the machine-own­ers suc­cess­ful­ly lob­by against wealth redis­tri­b­u­tion. So far, the trend seems to be toward the sec­ond option, with tech­nol­o­gy dri­ving ever-increas­ing inequal­i­ty.

For decades after the Cold War, cap­i­tal­ism had the sta­tus of an unques­tion­ably sacred doctrine—the end of his­to­ry and the best of all pos­si­ble worlds. Now, not only has Hawk­ing iden­ti­fied its excess­es as dri­vers of human decline, but so have oth­er decid­ed­ly non-Marx­ist fig­ures like Bill Gates, who in a recent Atlantic inter­view described the pri­vate sec­tor as “in gen­er­al inept” and unable to address the cli­mate cri­sis because of its focus on short-term gains and max­i­mal prof­its. “There’s no for­tune to be made,” he said, from deal­ing with some of the biggest threats to our sur­vival. But if we don’t deal with them, the loss­es are incal­cu­la­ble.

via Huff Po

Relat­ed Con­tent:

187 Big Thinkers Answer the Ques­tion: What Do You Think About Machines That Think?

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

Sev­en Ques­tions for Stephen Hawk­ing: What Would He Ask Albert Ein­stein & More

Stephen Hawk­ing: Aban­don Earth Or Face Extinc­tion

Noam Chom­sky Explains Where Arti­fi­cial Intel­li­gence Went Wrong

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Citizen Maths: A Free Online Course That Teaches Adults the Math They Missed in High School

Many peo­ple still have a major fear of math­e­mat­ics, hav­ing suf­fered through school and not real­ly hav­ing been in the right frame of mind to grasp con­cepts that we’ve been told will come in handy in our future work­ing lives. When Britons get to the age of 16, many can choose to leave school, escap­ing the ter­ror of math (or, as they say, maths).

But we shouldn’t live in fear, so along comes Cit­i­zen Maths, a UK-based free online course that pur­ports to help adults catch up with Lev­el 2 math (aka what a 16-year-old should know) with­out get­ting hit with a ruler or a spit wad. The course is fund­ed by the UFI Char­i­ta­ble Trust, which focus­es on pro­vid­ing free edu­ca­tion for adults.

The Cit­i­zen Maths course cur­rent­ly con­sists of three units—Proportion, Uncer­tain­ty, and Rep­re­sen­ta­tion. Addi­tion­al sec­tions on Pat­tern and Mea­sure­ments will soon fol­low. All units come with videos and tests that take about an hour of the viewer’s time. As the nar­ra­tor says, you can “learn in safe­ty, with­out fear of being told off or exposed.” The full course takes, on aver­age, about 20 hours.

And the tuto­ri­als bring in the real world, not just the abstract. Ratios and odds are expe­ri­enced through roulette, horse rac­ing, and play­ing dice. Under­stand­ing insur­ance comes into the tuto­r­i­al on mak­ing deci­sions. Mod­el­ing is explained by try­ing to under­stand weath­er pat­terns. And pro­por­tion is explained through bak­ing recipes and mak­ing cock­tails.

You will need a Google Account to get start­ed, though, for those with­out one, there is a sim­ple guide to get you start­edThe tuto­ri­als fea­ture YouTube instruc­tion along with an embed­ded app called Scratch.

As of this post, three of the five sec­tions are avail­able, with the com­plete course due up by next year. You can find more advanced Math cours­es in our col­lec­tion of Free Online Math Cours­es.

via Boing­Bo­ing

Relat­ed Con­tent:

Free Online Math Cours­es

Free Math Text­books

The Unex­pect­ed Math Behind Van Gogh’s “Star­ry Night”

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Poignant and Unsettling Post-Mortem Family Portraits from the 19th Century

victoriaanse-post-mortem-fotografie-op-de-foto-met-1

The 19th cen­tu­ry wit­nessed the birth of pho­tog­ra­phy. And, before too long, Vic­to­ri­an soci­ety found impor­tant appli­ca­tions for the new medi­um — like memo­ri­al­iz­ing the dead. A recent post on a Dutch ver­sion of Nation­al Geo­graph­ic notes that “Pho­tograph­ing deceased fam­i­ly mem­bers just before their bur­ial was enor­mous­ly pop­u­lar in cer­tain Vic­to­ri­an cir­cles in Europe and the Unit­ed States. Although adults were also pho­tographed, it was main­ly chil­dren who were com­mem­o­rat­ed in this way. In a peri­od plagued by unprece­dent­ed lev­els of infant mor­tal­i­ty, post-mortem pic­tures often pro­vid­ed the only tan­gi­ble mem­o­ry of the deceased child.”

victoriaanse-post-mortem-fotografie-op-de-foto-met

Though unusu­al by mod­ern stan­dards, the pic­tures played an impor­tant role in a fam­i­ly’s griev­ing process and often became one of its cher­ished pos­ses­sions — cher­ished because it was like­ly the only pho­to of the deceased child that fam­i­lies had. Dur­ing the ear­ly days of pho­tog­ra­phy, por­traits were expen­sive, which meant that most fam­i­lies did­n’t take pic­tures dur­ing the course of every­day life. It was only death that gave them a prompt.

post mortem pic 3

The prac­tice of tak­ing post mortem pic­tures peaked in the 19th cen­tu­ry, right around the time when “snap­shot” pho­tog­ra­phy became more preva­lent, allow­ing fam­i­lies to take por­traits at a low­er cost, when every­one was in the full swing of life. Hence obvi­at­ing the need for post-mortem pho­tos. You can learn more about this bygone prac­tice by vis­it­ing the Burns Archive or get­ting the book, Sleep­ing Beau­ty: Memo­r­i­al Pho­tog­ra­phy in Amer­i­ca.

via Dutch Nat Geo/ Sci­ence Dump

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