A Data Visualization of Modern Philosophy, 1950–2018

Those of us who think of our­selves as phi­los­o­phy enthu­si­asts remain free to read and think about what­ev­er we like, no mat­ter how obscure, mar­gin­al, or out-of-fash­ion the ideas. But the acad­e­my presents a dif­fer­ent pic­ture, one fraught with polit­i­cal maneu­ver­ing, fund­ing issues, and fret­ting about tenure. Does pro­fes­sion­al­iza­tion do phi­los­o­phy a dis­ser­vice by cod­i­fy­ing the kinds of prob­lems we should be think­ing and writ­ing about? Or do we need pro­fes­sion­al phi­los­o­phy for exact­ly this rea­son? It depends on who you ask.

One argu­ment against the acad­e­my con­sists in point­ing out that many, if not most, of history’s influ­en­tial philoso­phers have been ama­teurs in one sense or anoth­er: grind­ing away at day jobs, for exam­ple, like Baruch Spin­oza, or liv­ing on fam­i­ly mon­ey, like Lud­wig Wittgen­stein, two rad­i­cal philo­soph­i­cal out­siders whose Ethics and Trac­ta­tus, respec­tive­ly, have been turned into data visu­al­iza­tions by Max­i­m­il­ian Noichl. It’s inter­est­ing to spec­u­late about how these thinkers, both so visu­al­ly-inclined, would respond to the treat­ment.

Noichl’s lat­est project, now in its third and, so far, final iter­a­tion, involves trac­ing “The Struc­ture of Recent Phi­los­o­phy from the 1950s to this day.” Clear­ly implied, but unstat­ed in his descrip­tion is that these maps chart only the spe­cial­ized inter­ests of aca­d­e­m­ic phi­los­o­phy, but the omis­sion high­lights the fact that con­tem­po­rary philo­soph­i­cal work out­side the acad­e­my receives no recog­ni­tion in the lit­er­a­ture and, there­fore, hard­ly qual­i­fies as phi­los­o­phy at all under cur­rent stric­tures.

To con­struct the map at the top (click here to see the full info­graph­ic, then click it again for a high res­o­lu­tion ver­sion), Noichl aggre­gat­ed over 50,000 arti­cles “from var­i­ous phi­los­o­phy jour­nals.” The jour­nals all come from Clar­i­vate Ana­lyt­ics Web of Sci­ence col­lec­tion, which skews the selec­tion. Noichl began with a “snow-ball-sam­pling (a few thou­sand papers),” then extend­ed his sam­ple by “repeat­ed­ly look­ing at the most cit­ed pub­li­ca­tions.” The result­ing papers were then “spa­tial­ly dis­trib­uted accord­ing to their cita­tion-pat­terns.”

Every point on the graph­ic rep­re­sents one arti­cle. Noichl used two dif­fer­ent algo­rithms to sort and group the data, and his explana­to­ry text on the orig­i­nal graph­ic at his site explains the tech­ni­cal details. The clus­ters are “a bit het­ero­genic in their nature,” he writes.

While some are the­mat­ic, oth­ers are deter­mined strong­ly by spe­cif­ic per­sons or eras, which seems in itself to be an inter­est­ing obser­va­tion about the struc­ture of the lit­er­a­ture….. [T]here is… a remark­able cleft between the­o­ry of sci­ence and epis­te­mol­o­gy. And the ways var­i­ous his­tor­i­cal clus­ters group them­selves around moral phi­los­o­phy sug­gests an inter­nal rela­tion. We can also observe that con­ti­nen­tal phi­los­o­phy seems to split into two halves…

The exer­cise presents us with a sum­ma­ry image of some of the field’s most per­sis­tent con­cerns for the past 60 years or so. I can imag­ine his­to­ri­ans of philosophy—and maybe crit­ics of aca­d­e­m­ic philosophy—making excel­lent use of this col­or­ful­ly orga­nized data. Noichl vague­ly men­tions a pos­si­ble use of the map as a “real­i­ty check for some debates.” The ques­tion of what it con­tributes to philo­soph­i­cal think­ing remains open. And we might ask whether big data does phi­los­o­phy a dis­ser­vice by algo­rith­mi­cal­ly repro­duc­ing cer­tain exist­ing con­di­tions, rather than crit­i­cal­ly inter­ro­gat­ing them as philoso­phers have always done.

Yet it’s clear that data visu­al­iza­tions are now stan­dard tools for teach­ing and learn­ing any num­ber of sub­jects, and in many cas­es, they offer help­ful short­hand, as does anoth­er of Noichl’s inter­ac­tive graph­ics, “Rela­tion­ships Between Philoso­phers, 600 B.C.-160 B.C.,” a “delight­ful depic­tion,” writes Justin Wein­berg at Dai­ly Nous, “of the inter­re­la­tion of the ideas of ancient philoso­phers over time.” See Noichl’s site for the three ver­sions of “The Struc­ture of Recent Phi­los­o­phy” and oth­er phi­los­o­phy data visu­al­iza­tions.

And at the links below, see how oth­ers have used data visu­al­iza­tion tools to orga­nize the his­to­ry of phi­los­o­phy in dif­fer­ent ways.

via Dai­ly Nous

Relat­ed Con­tent:

“The Philosopher’s Web,” an Inter­ac­tive Data Visu­al­iza­tion Shows the Web of Influ­ences Con­nect­ing Ancient & Mod­ern Philoso­phers

The Entire Dis­ci­pline of Phi­los­o­phy Visu­al­ized with Map­ping Soft­ware: See All of the Com­plex Net­works

The His­to­ry of Phi­los­o­phy Visu­al­ized in an Inter­ac­tive Time­line

The His­to­ry of Phi­los­o­phy Visu­al­ized

Niet­zsche Lays Out His Phi­los­o­phy of Edu­ca­tion and a Still-Time­ly Cri­tique of the Mod­ern Uni­ver­si­ty (1872)

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

How to Practice Effectively: Lessons from Neuroscience Can Help Us Master Skills in Music, Sports & Beyond

Prac­tice makes per­fect, so the cliché says, although like many clichés, it has also spawned cor­rec­tive vari­ants. “Prac­tice makes per­ma­nent,” a com­mon one of them goes, and what it lacks in catch­i­ness it may well make up for in neu­ro­sci­en­tif­ic truth. We’ve all rec­og­nized that, when we do things a cer­tain way, we tend to keep doing them in that cer­tain way; in fact, the more we’ve done them that way before, the more like­ly we’ll do them that way next time. What holds true for sim­ple habits, formed over long peri­ods of time and often inad­ver­tent­ly, also holds true for delib­er­ate­ly per­fect­ed — or any­way, per­ma­nent-ified — tasks. But what hap­pens in our brains to cause it?

“Prac­tice is the rep­e­ti­tion of an action with the goal of improve­ment, and it helps us per­form with more ease, speed, and con­fi­dence,” says the nar­ra­tor of “How to Prac­tice Effec­tive­ly… for Just About Any­thing,” edu­ca­tors Annie Bosler and Don Greene’s TED Ed video above. It then goes on to explain our two kinds of neur­al tis­sue, grey mat­ter and white mat­ter. The for­mer “process­es infor­ma­tion in the brain, direct­ing sig­nals and sen­so­ry stim­uli to nerve cells,” and the lat­ter “is most­ly made up of fat­ty tis­sue and nerve fibers.” When we move, “infor­ma­tion needs to trav­el from the brain’s grey mat­ter, down the spinal cord, through a chain of nerve fibers called axons to our mus­cles,” and those axons in the white mat­ter “are wrapped with a fat­ty sub­stance called myelin.”

Myelin, and the sheath it forms, is key: “sim­i­lar to insu­la­tion on elec­tri­cal cables,” it “pre­vents ener­gy loss from elec­tri­cal sig­nals that the brain uses, mov­ing them more effi­cient­ly along neur­al path­ways.” (You’ve prob­a­bly read about the weak­en­ing of myelin sheaths as a fac­tor in ALS and oth­er move­ment-relat­ed neu­ro­log­i­cal dis­or­ders.) Recent stud­ies per­formed on mice sug­gest that repeat­ing a motion builds up the lay­ers of those axon-insu­lat­ing myelin sheaths, “and the more lay­ers, the greater the insu­la­tion around the axon chains; form­ing a sort of super­high­way for infor­ma­tion con­nect­ing your brain to your mus­cles.” This, though it has no direct effect on our mus­cles, may be what we’re build­ing when we say we’re build­ing “mus­cle mem­o­ry.”

All inter­est­ing facts, to be sure, but how can they help us in or own prac­tice ses­sions, what­ev­er those ses­sions may find us prac­tic­ing? Bosler and Greene pro­vide a series of tips, each quite sim­ple but all in align­ment with cur­rent neu­ro­sci­en­tif­ic knowl­edge. They include:

  • Focus on the task at hand. “Min­i­mize poten­tial dis­trac­tions by turn­ing off the com­put­er or TV and putting your cell phone on air­plane mode.”
  • Go slow. “Coor­di­na­tion is built with rep­e­ti­tions, whether cor­rect or incor­rect. If you grad­u­al­ly increase the speed of the qual­i­ty rep­e­ti­tions, you have a bet­ter chance of doing them cor­rect­ly.”
  • Fre­quent rep­e­ti­tions with allot­ted breaks. “Stud­ies have shown that many top ath­letes, musi­cians, and dancers spend 50–60 hours per week on activ­i­ties relat­ed to their craft. Many divide their time used for effec­tive prac­tice into mul­ti­ple dai­ly prac­tice ses­sions of lim­it­ed dura­tion.”
  • Prac­tice in your imag­i­na­tion. “In one study, 144 bas­ket­ball play­ers were divid­ed into two groups. Group A phys­i­cal­ly prac­ticed one-hand­ed free throws while Group B only men­tal­ly prac­ticed them. When they were test­ed at the end of the two week exper­i­ment, the inter­me­di­ate and expe­ri­enced play­ers in both groups had improved by near­ly the same amount.”

If you’d like more sug­ges­tions on how to prac­tice effec­tive­ly, have a look at the list of twelve tips from Wyn­ton Marsalis we fea­tured here on Open Cul­ture last year. He takes a more expan­sive approach, encour­ag­ing those who prac­tice — not just music but sports, art, or any­thing else besides — to adopt strate­gies like writ­ing out a sched­ule, avoid­ing show­ing off, and stay­ing opti­mistic. We must also stay real­is­tic: opti­mism, even opti­mism backed by sci­ence, can’t make our skills per­fect. None of our skills are per­fect — not even Wyn­ton Marsalis’ — but with the right tech­niques, we can at least give them some degree of per­ma­nence.

Relat­ed Con­tent:

Play­ing an Instru­ment Is a Great Work­out For Your Brain: New Ani­ma­tion Explains Why

Wyn­ton Marsalis Gives 12 Tips on How to Prac­tice: For Musi­cians, Ath­letes, or Any­one Who Wants to Learn Some­thing New

What Are the Most Effec­tive Strate­gies for Learn­ing a For­eign Lan­guage?: Six TED Talks Pro­vide the Answers

How Bud­dhism & Neu­ro­science Can Help You Change How Your Mind Works: A New Course by Best­selling Author Robert Wright

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

RIP Todd Bol, Founder of the Little Free Library Movement: He Leaves Behind 75,000 Small Libraries That Promote Reading Worldwide

“The Lit­tle Free Library: Bil­lions and bil­lions read.”

In the 2013 Ted‑X talk above, Todd Bol, founder of the Lit­tle Free Library move­ment, expressed the desire that one day, he might be able to boast that his labor of love had sur­passed McDon­alds with regard to the num­ber of cus­tomers’ served.

It’s clos­ing in…

Bol, who passed away ear­li­er this month, was inspired by Andrew Carnegie’s mis­sion of repay­ing his own good for­tune by estab­lish­ing 2,509 free pub­lic libraries.

The Lit­tle Free Libraries are vast­ly more numer­ous if less impos­ing than Carnegie’s state­ly edi­fices.

Some, like the pro­to­type Bol craft­ed with lum­ber sal­vaged from a garage door in his late mother’s hon­or, resem­ble doll hous­es.

One in Detroit is a dead ringer for Doc­tor Who’s TARDIS.

There’s a bright yel­low one embla­zoned with char­ac­ters from The Simp­sons, auto­graphed by series cre­ator Matt Groen­ing.

Oth­ers are housed in repur­posed suit­cas­es, stor­age cab­i­nets, or news­pa­per hon­or box­es.

While the non-prof­it Lit­tle Free Library store sells sev­er­al stur­dy, weath­er­proof mod­els and its web­site hosts a healthy col­lec­tion of blue­prints and tips for DIY­ers, Bol was nev­er doc­tri­naire about the aes­thet­ics, pre­fer­ring to leave that up to each vol­un­teer stew­ard.

He seemed proud­est of the libraries’ com­mu­ni­ty build­ing effect (though he was also pret­ty chuffed when Read­er’s Digest ranked the project above Bruce Spring­steen in its 2013 fea­ture ”50 Sur­pris­ing Rea­sons We Love Amer­i­ca.” )

While not entire­ly devoid of naysay­ers, the good­will sur­round­ing the Lit­tle Free Library move­ment can­not be under­es­ti­mat­ed.

A stew­ard who post­ed news of his dog’s death on the side of his library received sym­pa­thy cards from neigh­bors both known and unknown to him.

A stew­ard who spe­cial­izes in giv­ing away cook­books, and invites patrons to snip herbs from an adja­cent gar­den, fre­quent­ly wakes to find home­made quiche and oth­er good­ies on the doorstep.

And when an arson­ist torched a Lit­tle Free Library in Indi­anapo­lis, the com­mu­ni­ty ral­lied, vow­ing to get enough dona­tions to replace it with 100 more.

To date, stew­ards have reg­is­tered over 75,000, in 85 coun­tries, in ser­vice of Bol’s “Take a book, Leave a book” phi­los­o­phy.

Find a Lit­tle Free Library near you, learn how to become a stew­ard, or make a dona­tion on the project’s web­site.

Relat­ed Con­tent:

The New York Pub­lic Library Lets Patrons Check Out Ties, Brief­cas­es & Hand­bags for Job Inter­views

The Rise and Fall of the Great Library of Alexan­dria: An Ani­mat­ed Intro­duc­tion

Down­load 150 Free Col­or­ing Books from Great Libraries, Muse­ums & Cul­tur­al Insti­tu­tions: The British Library, Smith­son­ian, Carnegie Hall & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 12 for anoth­er month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

The Ancient Egyptians Wore Fashionable Striped Socks, New Pioneering Imaging Technology Imaging Reveals

If you grew up in cer­tain decades of the 20th cen­tu­ry, you almost cer­tain­ly spent your child­hood wear­ing striped socks, and you may even have returned to the prac­tice in recent years as they’ve regained their sar­to­r­i­al respectabil­i­ty. But new research has revealed that this sort of mul­ti­col­ored hosiery has a more dis­tant his­tor­i­cal prece­dent than we may imag­ine, one going all the way back to ancient Egypt. The sub­ject of that research, the small sock pic­tured above, evi­dences the fash­ion­abil­i­ty of striped socks among the Egypt­ian youth of more than 1700 years ago, though its own stripes have only recent­ly been revealed by the most mod­ern imag­ing tech­nol­o­gy.

“Sci­en­tists at the British Muse­um have devel­oped pio­neer­ing imag­ing to dis­cov­er how enter­pris­ing Egyp­tians used dyes on a child’s sock, recov­ered from a rub­bish dump in ancient Anti­noupo­lis in Roman Egypt, and dat­ing from 300AD,” writes The Guardian’s Car­o­line Davies. “New mul­ti­spec­tral imag­ing can estab­lish which dyes were used – mad­der (red), woad (blue) and weld (yel­low) – but also how peo­ple of the late antiq­ui­ty peri­od used dou­ble and sequen­tial dying and weav­ing, and twist­ing fibers to cre­ate myr­i­ad col­ors from their scarce resources.”

This and oth­er sim­i­lar­ly advanced research, such as the use of ultra­vi­o­let light and infrared and x‑ray spec­troscopy that found the bright col­ors of ancient Greek sculp­ture, no doubt has us all rethink­ing the broad­ly mono­chro­mat­ic fash­ion in which we’ve long envi­sioned the ancient world.

We may also have to start imag­in­ing it a lit­tle less ele­gant­ly than we have been. “The ancient Egyp­tians employed a sin­gle-nee­dle loop­ing tech­nique, often referred to as nål­bind­ning, to cre­ate their socks,” writes Smith­son­ian’s Kather­ine J. Wu. “Notably, the approach could be used to sep­a­rate the big toe and four oth­er toes in the sock — which just may have giv­en life to the ever-con­tro­ver­sial socks-and-san­dals trend.” It brings to mind the archae­o­log­i­cal research that came out a few years ago sug­gest­ing that the Romans in Britain two mil­len­nia ago may have worn socks with their san­dals as well. That infor­ma­tion has made it to the Wikipedia page specif­i­cal­ly ded­i­cat­ed to socks and san­dals; an enter­pris­ing read­er might have a look at the British Muse­um sci­en­tists’ paper, “A mul­ti­spec­tral imag­ing approach inte­grat­ed into the study of Late Antique tex­tiles from Egypt,” and add in a bit about the ancient wear­ing of striped socks with san­dals as well.

via Smith­son­ian

Relat­ed Con­tent:

How Did the Egyp­tians Make Mum­mies? An Ani­mat­ed Intro­duc­tion to the Ancient Art of Mum­mi­fi­ca­tion

How the Egypt­ian Pyra­mids Were Built: A New The­o­ry in 3D Ani­ma­tion

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

The Met Dig­i­tal­ly Restores the Col­ors of an Ancient Egypt­ian Tem­ple, Using Pro­jec­tion Map­ping Tech­nol­o­gy

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The CIA’s Former Chief of Disguise Show How Spies Use Costumes in Undercover Operations

Think on this as you ready your Hal­loween fin­ery. Some­times it’s not a case of win­ning a cos­tume con­test, or impress­ing your friends with your wit­ty take on cur­rent events or pop cul­ture.

Some­times, mas­quer­ade is a thin line between life and death.

The CIA’s for­mer Chief of Dis­guise, Jon­na Mendez, rose up through the ranks, hav­ing signed on as recep­tion­ist short­ly after her fiancé revealed—three days before the wedding—that he was actu­al­ly an under­cov­er agent.

As Chief of Dis­guise, her mis­sion was to pro­tect case offi­cers in dan­ger­ous sit­u­a­tions, as well as for­eign sources who rou­tine­ly put their lives at risk by meet­ing with Amer­i­can oper­a­tives.

Trans­form­ing their appear­ance was an addi­tive proposition—while it’s dif­fi­cult to make some­one short­er, slim­mer, or younger, it’s not dif­fi­cult to ren­der them taller, heav­ier, old­er…

In her expe­ri­ence, women are eas­i­ly dis­guised as men. (She shared with The New York Times’ Matthew Rosen­berg how she her­self passed unde­tect­ed in male mufti, thanks pri­mar­i­ly to a lit cig­ar.)

Men have a tougher time pass­ing as women. Fans of RuPaul’s Drag Race might take excep­tion to this posi­tion, were it not for the asser­tion that blend­ing in is key.

The goal is to be for­get­table, not fab­u­lous.

For Amer­i­cans abroad, this pos­es cer­tain cul­tur­al chal­lenges.

Mendez stress­es that dis­guise is much more than a sim­ple facial trans­for­ma­tion, involv­ing make­up, false hair, and pros­thet­ics.

It’s dress, car­riage, gait, jew­el­ry, scent…

The biggest Amer­i­can give­away is our shoes. An Ital­ian civil­ian can peg ‘em with one swift glance.

Pass­ing requires fur­ther behav­ioral mod­i­fi­ca­tions in the realms of table man­ners, gait, and even hang­ing out. (Euro­peans dis­trib­ute their weight even­ly, where­as Amer­i­cans lean.)

To fly beneath the radar, the dis­guised oper­a­tive must shoot to trans­form every aspect of their appear­ance. Imag­ine a sur­vey where­in the par­tic­i­pant recalls every phys­i­cal aspect of some­one they’ve just encoun­tered. The goal is to nudge that par­tic­i­pant into answer­ing every ques­tion incor­rect­ly.

What col­or are your eyes? Your hair? How much do you weigh? How tall are you? How old?  How would you describe your nose? Your voice? Your cloth­ing?

Change it.

Change it all.

You can do so by low tech meth­ods, using what­ev­er is on hand. Mendez once maneu­vered an agent out of a tight spot on the Sub-Con­ti­nent, by impro­vis­ing a quick change with Dr. Scholl’s pow­der and cos­met­ics col­lect­ed from local CIA wives.

She cred­its her own sec­ond hus­band, CIA “mas­ter of dis­guise” Tony Mendez (the inspi­ra­tion for Ben Affleck’s char­ac­ter in Argo) with many trade secrets she put into reg­u­lar prac­tice: den­tal facades, speech-alter­ing arti­fi­cial palettes, pros­thet­ics…

At the high end is the mask she wore to brief for­mer CIA Chief, Pres­i­dent George HW Bush, on devel­op­ments with­in the dis­guise pro­gram. The Pres­i­dent was none the wis­er.

Mean­while, a masked Amer­i­can agent chucked his mask under a Moscow rock when dan­ger com­pelled him to scup­per his mis­sion mid­way through. That mask now resides in the KGB muse­um where Mendez can­not vis­it it.

Check out the Mendezes’ book Spy­dust for more infor­ma­tion on their adven­tures in the field.

Relat­ed Con­tent:

Read the CIA’s Sim­ple Sab­o­tage Field Man­u­al: A Time­less Guide to Sub­vert­ing Any Orga­ni­za­tion with “Pur­pose­ful Stu­pid­i­ty” (1944)

The CIA Assess­es the Pow­er of French Post-Mod­ern Philoso­phers: Read a New­ly Declas­si­fied CIA Report from 1985

Declas­si­fied CIA Doc­u­ment Reveals That Ben Franklin (and His Big Ego) Put U.S. Nation­al Secu­ri­ty at Risk

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 12 for anoth­er month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

David Lynch Is Creating a Virtual Reality Experience for Twin Peaks

David Lynch and Mark Frost’s Black Lodge/Red Room, the extra-dimen­sion­al space that is both an inte­gral part of Twin Peaks and icon­ic in its set design, is a place most of us would not want to vis­it. Detec­tive Dale Coop­er got trapped there for 25 years and it was not pleas­ant. But that hasn’t stopped fans from want­i­ng to cre­ate that space any chance they get, whether as a bar or place to sing karaoke. And when the final episode of the sec­ond sea­son showed the lodge was an end­less series of rooms con­nect­ed by hall­ways, it wasn’t long until the video game ver­sions start­ed appear­ing.

Well, now you can real­ly get lost in the Black Lodge with the slow unveil­ing of Twin Peaks VR, which AdWeek says will be avail­able “some­time in 2019” on Steam for HTC Vive and Ocu­lus Rift.

Fans who fol­low the Wel­come to Twin Peaks blog have been hear­ing about this game/not game since the begin­ning of the year, but it seems that the footage out there was only proof of con­cept graph­ics or some such attempt.

The first video dropped in Jan­u­ary of 2018, and it’s er, some­thing:

No doubt made by fans, this gives us a brief vis­it to the Red Room; a very strange and not par­tic­u­lar­ly flat­ter­ing por­tray­al of the Man from Anoth­er Place; a trip to the RR Din­er fea­tur­ing what I assume is Major Brig­gs; and a return to the fright­en­ing glass box some­where in New York City first seen in The Return. The man play­ing the VR seems appro­pri­ate­ly con­fused. “Is it future or past?” It’s your liv­ing room, man!

This sec­ond clip gives us a bit more of the Red Room and a dubi­ous look­ing Audrey Horne. The Con­ve­nience Store, how­ev­er, is well done.

But this is, we stress, nowhere near a fin­ished ver­sion. It’s not even clear if any of this will make it into the final ver­sion.

A beta ver­sion pre­miered two weeks ago at Lynch’s Fes­ti­val of Dis­rup­tion in Los Ange­les. AdWeek had the only real descrip­tion of the five minute demo, which starts near the ring of saplings in Glas­ton­bury Grove:

Imme­di­ate­ly after the pool turns to blood, view­ers are trans­port­ed to the Red Room, an extra-dimen­sion­al space that’s been a key fea­ture of Twin Peaks in both the orig­i­nal series from the 1990s and the mod­ern revival that aired last year. (It’s also a loca­tion fre­quent­ly vis­it­ed by the show’s main char­ac­ter, FBI Spe­cial Agent Dale Coop­er.) Inside the room, view­ers aren’t able to walk like they can in some VR expe­ri­ences, but they’re able to tele­port with­in the room as it rapid­ly changes in ways sim­i­lar to what hap­pens in the show itself. (One moment, a stat­ue falls over before run­ning around as a shad­ow on the oth­er side of a cur­tain. In anoth­er, users can pick up a cof­fee mug that won’t emp­ty until the sec­ond time it’s picked up.) The demo ends as a white horse appears in the room in the dis­tance, sur­round­ed in dark­ness but unreach­able.

The best news is that the com­pa­ny devel­op­ing the game, Col­lid­er Games, is giv­ing cre­ative con­trol to Lynch, so hope­ful­ly the game won’t be like those ter­ri­ble non-Lynch episodes in Sea­son Two. Says AdWeek:

“[T]he more we show, and the more we progress with this devel­op­ment, hope­ful­ly the more [Lynch] will want to be involved,” Ras­sool said. “And the more we can do with maybe even some new narrative—because I’m not going to write new nar­ra­tive for this. I’m only ever going to let David Lynch [write].”

Here’s to hop­ing Lynch doesn’t just give us a cheap VR ver­sion of what we’ve already seen. Instead, let’s hope he gives us some­thing that blows our minds (and a rea­son to final­ly buy a VR head­set).

via Wel­come to Twin Peaks

Relat­ed Con­tent:

Watch an Epic, 4‑Hour Video Essay on the Mak­ing & Mythol­o­gy of David Lynch’s Twin Peaks

Twin Peaks Tarot Cards Now Avail­able as 78-Card Deck

Play the Twin Peaks Video Game: Retro Fun for David Lynch Fans

David Lynch’s Twin Peaks Title Sequence, Recre­at­ed in an Adorable Paper Ani­ma­tion

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Yale Professor Jason Stanley Identifies 3 Essential Features of Fascism: Invoking a Mythic Past, Sowing Division & Attacking Truth

New books on fas­cism are pop­ping up every­where, from inde­pen­dent press­es, for­mer world lead­ers like Madeleine Albright, and aca­d­e­mics like Jason Stan­ley, Jacob Urowsky Pro­fes­sor of Phi­los­o­phy at Yale Uni­ver­si­ty. Stanley’s lat­est book, How Fas­cism Works: The Pol­i­tics of Us and Them, has been described as a “vital read for a nation under Trump.” And yet, as The Guardian’s Tom McCarthy writes, one of the ironies Stan­ley points out is that—despite the wide­spread cur­ren­cy of the term these days—fascism suc­ceeds by mak­ing “talk of fas­cism… seem out­landish.”

Is it?

The word has cer­tain­ly been dilut­ed by years of mis­use. Umber­to Eco wrote in his 1995 essay “Ur-Fas­cism” that “fas­cist” as an epi­thet was casu­al­ly thrown around “by Amer­i­can rad­i­cals… to refer to a cop who did not approve of their smok­ing habits.” When every author­i­ty fig­ure who seems to abuse pow­er gets labeled a fas­cist, the word los­es its explana­to­ry pow­er and its his­to­ry dis­ap­pears. But Eco, who grew up under Mus­soli­ni and under­stood fas­cist Europe, insist­ed that fas­cism has clear­ly rec­og­niz­able, and portable, if not par­tic­u­lar­ly coher­ent, fea­tures.

“The fas­cist game can be played in many forms,” Eco wrote, depend­ing on the nation­al mytholo­gies and cul­tur­al his­to­ry of the coun­try in which it takes root. Rather than a sin­gle polit­i­cal phi­los­o­phy, Eco argued, fas­cism is “a col­lage… a bee­hive of con­tra­dic­tions.” He enu­mer­at­ed four­teen fea­tures that delin­eate it from oth­er forms of pol­i­tics. Like Eco, Stan­ley also iden­ti­fies some core traits of fas­cism, such as “pub­li­ciz­ing false charges of cor­rup­tion,” as he writes in his book, “while engag­ing in cor­rupt prac­tice.”

In the short New York Times opin­ion video above, Stan­ley sum­ma­rizes his “for­mu­la for fascism”—a “sur­pris­ing­ly sim­ple” pat­tern now repeat­ing in Europe, South Amer­i­ca, India, Myan­mar, Turkey, the Philip­pines, and “right here in the Unit­ed States.” No mat­ter where they appear, “fas­cist politi­cians are cut from the same cloth,” he says. The ele­ments of his for­mu­la are:

1. Con­jur­ing a “myth­ic past” that has sup­pos­ed­ly been destroyed (“by lib­er­als, fem­i­nists, and immi­grants”). Mus­soli­ni had Rome, Turkey’s Erdoğan has the Ottoman Empire, and Hungary’s Vik­tor Orban rewrote the country’s con­sti­tu­tion with the aim of “mak­ing Hun­gary great again.” These myths rely on an “over­whelm­ing sense of nos­tal­gia for a past that is racial­ly pure, tra­di­tion­al, and patri­ar­chal.” Fas­cist lead­ers “posi­tion them­selves as father fig­ures and strong­men” who alone can restore lost great­ness. And yes, the fas­cist leader is “always a ‘he.’”

2. Fas­cist lead­ers sow divi­sion; they suc­ceed by “turn­ing groups against each oth­er,” inflam­ing his­tor­i­cal antag­o­nisms and ancient hatreds for their own advan­tage. Social divi­sions in themselves—between class­es, reli­gions, eth­nic groups and so on—are what we might call pre-exist­ing con­di­tions. Fas­cists may not invent the hate, but they cyn­i­cal­ly instru­men­tal­ize it: demo­niz­ing out­groups, nor­mal­iz­ing and nat­u­ral­iz­ing big­otry, stok­ing vio­lence to jus­ti­fy repres­sive “law and order” poli­cies, the cur­tail­ing of civ­il rights and due process, and the mass impris­on­ment and killing of man­u­fac­tured ene­mies.

3. Fas­cists “attack the truth” with pro­pa­gan­da, in par­tic­u­lar “a kind of anti-intel­lec­tu­al­ism” that “cre­ates a petri dish for con­spir­a­cy the­o­ries.” (Stanley’s fourth book, pub­lished by Prince­ton Uni­ver­si­ty Press, is titled How Pro­pa­gan­da Works.) We would have to be extra­or­di­nar­i­ly naïve to think that only fas­cist politi­cians lie, but we should focus here on the ques­tion of degree. For fas­cists, truth doesn’t mat­ter at all. (As Rudy Giu­liani says, “truth isn’t truth.”) Han­nah Arendt wrote that fas­cism relies on “a con­sis­tent and total sub­sti­tu­tion of lies for fac­tu­al truth.” She described the phe­nom­e­non as destroy­ing “the sense by which we take our bear­ings in the real world.… [T]he cat­e­go­ry of truth vers­es false­hood [being] among the men­tal means to this end.” In such an atmos­phere, any­thing is pos­si­ble, no mat­ter how pre­vi­ous­ly unthink­able.

Using this rubric, Stan­ley links the tac­tics and state­ments of fas­cist lead­ers around the world with those of the cur­rent U.S. pres­i­dent. It’s a per­sua­sive case that would prob­a­bly sway ear­li­er the­o­rists of fas­cism like Eco and Arendt. Whether he can con­vince Amer­i­cans who find talk of fas­cism “outlandish”—or who loose­ly use the word to describe any politi­cian or group they don’t like—is anoth­er ques­tion entire­ly.

FYI: You can down­load Stan­ley’s new book How Fas­cism Works, as a free audio­book if you want to try out Audible.com’s no-risk, 30-day free tri­al pro­gram. Find details here.

Relat­ed Con­tent:

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

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

George Orwell Tries to Iden­ti­fy Who Is Real­ly a “Fas­cist” and Define the Mean­ing of This “Much-Abused Word” (1944)

20 Lessons from the 20th Cen­tu­ry About How to Defend Democ­ra­cy from Author­i­tar­i­an­ism, Accord­ing to Yale His­to­ri­an Tim­o­thy Sny­der

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

The Art Institute of Chicago Puts 44,000+ Works of Art Online: View Them in High Resolution

After the fire that total­ly destroyed Brazil’s Museu Nacional in Rio, many peo­ple lament­ed that the muse­um had not dig­i­tal­ly backed up its col­lec­tion and point­ed to the event as a trag­ic exam­ple of why such dig­i­ti­za­tion is so nec­es­sary. Just a cou­ple decades ago, stor­ing and dis­play­ing this much infor­ma­tion was impos­si­ble, so it may seem like a strange demand to make. And in any case, two-dimen­sion­al images stored on servers—or even 3D print­ed copies—cannot replace or sub­sti­tute for orig­i­nal, price­less arti­facts or works of art.

But muse­ums around the world that have dig­i­tized most–or all–of their col­lec­tions don’t claim to have repli­cat­ed or replaced the expe­ri­ence of an in-per­son vis­it, or to have ren­dered phys­i­cal media obso­lete.

Dig­i­tal col­lec­tions pro­vide access to mil­lions of peo­ple who can­not, or will not, ever trav­el to the major cities in which fine art resides, and they give mil­lions of schol­ars, teach­ers, and stu­dents resources once avail­able only to a select few.

We can’t all take the day off like Fer­ris Bueller and stand in front of Georges Seurat’s Sun­day After­noon on the Island of La Grande Jat­te. But thanks to the Art Insti­tute of Chica­go, we can all view and down­load the 1884 pointil­list paint­ing in high res­o­lu­tion, zoom in close­ly like the trou­bled Cameron to spe­cif­ic details, share the dig­i­tal image under a Cre­ative Com­mons Zero license, and sim­i­lar­ly inter­act with an oil sketch for the final paint­ing and sev­er­al con­té cray­on stud­ies.

And if that weren’t enough, the muse­um also includes a bib­li­og­ra­phy, exhi­bi­tion his­to­ry, notes on prove­nance, audio and video his­to­ries and descrip­tions, and edu­ca­tion­al resources like teacher man­u­als, les­son plans, and exams. This goes for many of the 44,312—with more to come—digital images online, includ­ing such famous works of art as Vin­cent van Gogh’s 1889 The Bed­room, Grant Wood’s 1930 Amer­i­can Goth­ic, Pablo Picasso’s 1903–4 blue peri­od paint­ing The Old Gui­tarist, Edward Hopper’s 1942 Nighthawks, Mary Cassatt’s 1893 The Child’s Bath, and so many more that it bog­gles the mind.

Browse Impres­sion­ism, Pop Art, works from the African Dias­po­ra, Cityscapes, Fash­ion, Mytho­log­i­cal Works, and oth­er gen­res and cat­e­gories. Search artists, dates, styles, media, depart­ments, places, and more.

A per­son­al vis­it to the Art Insti­tute is an awe-inspir­ing, and some­what over­whelm­ing expe­ri­ence, if you can get the day to go. You can vis­it the web­site, with full unre­strict­ed access, and gath­er infor­ma­tion, study, mar­vel, and casu­al­ly browse, at any time of day—every day if you like. No, it’s not the same, but as a learn­ing expe­ri­ence, in some ways, it’s even bet­ter. And if, by some awful chance, any­thing should hap­pen to this art, we won’t have to rely on user-sub­mit­ted pho­tos to recon­struct the cul­tur­al mem­o­ry.

The launch of this col­lec­tion comes as part of the museum’s web­site redesign, and it is an exten­sive, and expen­sive, endeav­or. The Art Insti­tute, which charges for entry, can afford to make its col­lec­tions free online. Some oth­er muse­ums charge image fees to sup­port their online work. Ide­al­ly, as art his­to­ri­an Ben­dor Grosvenor writes at Art His­to­ry News, muse­ums should offer free and open access to both phys­i­cal and online col­lec­tions, and some insti­tu­tions, like Sweden’s National­mu­se­um, have shown that this is pos­si­ble.

And, as Grosvenor shows, the suc­cess of open access online col­lec­tions has yield­ed anoth­er ben­e­fit, for both view­ers and muse­ums alike. The more peo­ple are exposed to art online, the more like­ly they are to vis­it muse­ums in per­son. Chica­go awaits you. Until then, vir­tu­al­ly immerse your­self in the Art Institute’s many thou­sands of trea­sures here.

Relat­ed Con­tent:

25 Mil­lion Images From 14 Art Insti­tu­tions to Be Dig­i­tized & Put Online In One Huge Schol­ar­ly Archive

1.8 Mil­lion Free Works of Art from World-Class Muse­ums: A Meta List of Great Art Avail­able Online

Wikipedia Leads Effort to Cre­ate a Dig­i­tal Archive of 20 Mil­lion Arti­facts Lost in the Brazil­ian Muse­um Fire

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

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