Japanese Toy Designs from the Late 19th & Early 20th Century: Explore an Online Archive

After two cen­turies of iso­la­tion, Japan re-opened to the world in the 1860s, at which point West­ern­ers imme­di­ate­ly became enam­ored with things Japan­ese. It was in that very same decade that Vin­cent Van Gogh began col­lect­ing ukiyo‑e wood­block prints, which inspired him to cre­ate “the art of the future.” But not every West­ern­er was drawn first to such ele­vat­ed fruits of Japan­ese cul­ture. When the American­ educator­ William ­Elliot­ Griff­is went to Japan in 1876 he mar­veled at a coun­try that seemed to be a par­adise of play: “We do not know of any coun­try in the world in which there are so many toy-shops, or so many fairs for the sale of things which delight chil­dren,” he wrote.

That quote comes from Matt Alt’s Pure Inven­tion: How Japan’s Pop Cul­ture Con­quered the World.  “While West­ern tastemak­ers vora­cious­ly con­sumed prints, glass­ware, tex­tiles, and oth­er grown-up delights, it was in fact toys that formed the back­bone of Japan’s bur­geon­ing export indus­try in the late nine­teenth cen­tu­ry,” Alt writes.

You can expe­ri­ence some of the plea­sures of that peri­od’s Japan­ese visu­al art along with some of the plea­sures of that peri­od’s Japan­ese toy cul­ture in the Ningyo-do Bunko data­base. This dig­i­tal archive’s more than 100 albums of water­col­or toy-design ren­der­ings from the late nine­teenth and ear­ly twen­ti­eth cen­turies are, in the words of Bib­liOdyssey’s Paul Ker­ri­g­an, “by turns scary and intrigu­ing.”

These masks, dolls, tops, and oth­er fan­ci­ful works of the toy­mak­er’s craft may not imme­di­ate­ly appeal to a gen­er­a­tion raised with smart­phones. But their designs, root­ed in Japan­ese mythol­o­gy and region­al cul­tures, nev­er­the­less exude both a still-uncom­mon artistry and a still-fas­ci­nat­ing “oth­er­ness.” If this seems like kid’s stuff, bear in mind the caus­es of Japan’s trans­for­ma­tion from a post-World War II sham­bles to per­haps the most advanced coun­try in the world. As Alt tells the sto­ry of this aston­ish­ing devel­op­ment, Japan went from mak­ing sim­ple tin jeeps to tran­sis­tor radios to karaoke machines to Walk­men to vast cul­tur­al indus­tries of comics, film, tele­vi­sion, and relat­ed mer­chan­dise: all toys, broad­ly defined, and we in the rest of the world under­es­ti­mate their pow­er at our per­il. Rum­mage through the designs here.

Relat­ed con­tent:

Wagashi: Peruse a Dig­i­tized, Cen­turies-Old Cat­a­logue of Tra­di­tion­al Japan­ese Can­dies

Hun­dreds of Won­der­ful Japan­ese Fire­work Designs from the Ear­ly-1900s: Dig­i­tized and Free to Down­load

Watch Tee­ny Tiny Japan­ese Meals Get Made in a Minia­ture Kitchen: The Joy of Cook­ing Mini Tem­pu­ra, Sashi­mi, Cur­ry, Okonomiya­ki & More

How Frank Lloyd Wright’s Son Invent­ed Lin­coln Logs, “America’s Nation­al Toy” (1916)

Watch Bat­tered & Bruised Vin­tage Toys Get Mes­mer­iz­ing­ly Restored to Near Mint Con­di­tion

On Christ­mas, Browse A His­tor­i­cal Archive of More Than 50,000 Toys

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Watch David Hockney Paint with Light, Using the Quantel Paintbox Graphics System (1986)

Think of the tele­vi­sion graph­ics you remem­ber from the nine­teen-eight­ies — or, per­haps more like­ly, the nine­teen-eight­ies tele­vi­sion graph­ics you’ve seen late­ly on Youtube. Much of it looks cheesy today, but some exam­ples have become appeal­ing­ly retro over the decades, and cer­tain works remain gen­uine­ly impres­sive as pieces of dig­i­tal art. Nowa­days we can, in the­o­ry, repli­cate and even out­do the finest TV imagery of the eight­ies on our com­put­ers, or even our phones. But in the days before high-pow­ered per­son­al com­put­ing, let alone smart­phones, how did such bril­liant­ly col­ored, ener­get­i­cal­ly ani­mat­ed, and some­times gen­uine­ly artis­tic graph­ics get made? The answer, nine times out of ten, was on the Quan­tel Paint­box.

Intro­duced in 1981, the Paint­box was a cus­tom-designed dig­i­tal graph­ic work­sta­tion that cost about $250,000 USD, or more than $623,000 today. To major tele­vi­sion sta­tions and net­works that mon­ey was well spent, buy­ing as it did the unprece­dent­ed­ly fast pro­duc­tion of images and ani­ma­tions for broad­cast. ”It used to be that we had a staff of artists who drew and drew,” the New York Times quotes ABC’s direc­tor of pro­duc­tion devel­op­ment as say­ing in an arti­cle on graph­ics for the 1984 Olympics.

“But with the Paint­box an artist can come up with a graph­ic in fif­teen min­utes that used to take two days.” Its capa­bil­i­ties did much to influ­ence the look and feel of that decade, for bet­ter or for worse: look­ing back, design­er Steven Heller rues its prop­a­ga­tion of “shad­ow-rid­den, faux-hand­made eight­ies aes­thet­ics.”

As a cut­ting-edge piece of hard­ware, the Paint­box was beyond the reach of most artists, due not just to its cost but also the con­sid­er­able kn0w-how required to use it. (Skilled “oper­a­tors,” as they were called, could in the eight­ies com­mand a wage of $500 per hour.) But for David Hock­ney, who was already famous, suc­cess­ful, and known for his inter­est in bright col­ors as well as new tech­nol­o­gy, the chance came in 1986 when the BBC invit­ed him to par­tic­i­pate in a tele­vi­sion series called Paint­ing with Light.  A show­case for the cre­ative poten­tial of the Paint­box, it also brought on such lumi­nar­ies as col­lage artist Richard Hamil­ton and “grand­fa­ther of Pop Art” Lar­ry Rivers, sit­ting them down at the work­sta­tion and film­ing as they exper­i­ment­ed with its pos­si­bil­i­ties.

“You’re not draw­ing on a piece of paper,” Hock­ney explains in his episode. “You’re draw­ing, actu­al­ly, direct­ly onto this TV screen where you’re see­ing it now.” By now we’ve all done the same in one way or anoth­er, but in the eight­ies the con­cept was nov­el enough to be hard to artic­u­late. Hock­ney empha­sizes that the Paint­box pro­duces “hon­est” images, in that the elec­tron­ic medi­um in which the artist works is the very same medi­um through which the view­er per­ceives that work. The eager­ness with which he takes up its ground­break­ing pres­sure-sen­si­tive sty­lus (“a bit like a kind of old-fash­ioned ball­point pen”), some­times with a cig­a­rette in the oth­er hand, shows that Hock­ney’s pen­chant for draw­ing on the iPhone and iPad over the past decade or so is hard­ly an iso­lat­ed late-career lark. Even in 1986 he under­stood what you could do with dig­i­tal tech­nol­o­gy, and could also sense one of its prime dan­gers: you’re nev­er sure when to stop doing it.

Relat­ed con­tent:

David Hockney’s iPad Art Goes on Dis­play

David Hock­ney Shows Us His Sketch Book, Page by Page

Andy Warhol Dig­i­tal­ly Paints Deb­bie Har­ry with the Ami­ga 1000 Com­put­er (1985)

Time Trav­el Back to 1926 and Watch Wass­i­ly Kandin­sky Make Art in Some Rare Vin­tage Video

Watch Every Episode of Bob Ross’ The Joy Of Paint­ing Free Online: 403 Episodes Span­ning 31 Sea­sons

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Marina Abramović Brings Back Her Iconic Performance Art Piece, The Artist Is Present, to Raise Money for Ukraine

For a cou­ple of months in 2010, Mari­na Abramović spent her days word­less­ly and motion­less­ly sit­ting at a table in the atri­um of the Muse­um of Mod­ern Art. Any vis­i­tor could sit in the chair oppo­site her, for as long as they liked. In response, Abramović said noth­ing and did almost noth­ing (even dur­ing vis­its from Lou Reed, Bjork, or her long-ago lover and col­lab­o­ra­tor, the late Ulay). The whole expe­ri­ence con­sti­tut­ed a piece of per­for­mance art, titled The Artist Is Present. As with many works of that form, to ask why Abramović did it is to miss the point. Noth­ing like it had been done before, and it thus promised to enter unchart­ed artis­tic, social, and emo­tion­al ter­ri­to­ry.

A dozen years lat­er, the artist will be present again, but this time with a high­ly spe­cif­ic motive in mind: to raise mon­ey for the besieged nation of Ukraine. “Abramović has part­nered with New York’s Sean Kel­ly Gallery and Art­sy to offer a per­for­mance art meet-and-greet… or at least meet-and-silent­ly-stare,” writes Hyper­al­ler­gic’s Sarah Rose Sharp.

“Through March 25, inter­est­ed par­ties can bid on one of two oppor­tu­ni­ties for a lim­it­ed restag­ing of Abramović’s epic per­for­mance The Artist Is Present.” These meet-and-silent­ly-stares “will be cap­tured by pho­tog­ra­ph­er Mar­co Anel­li, who doc­u­ment­ed almost all of the 1,500 par­tic­i­pants in the orig­i­nal per­for­mance.”

Pro­ceeds “will go to Direct Relief, which is work­ing with Ukraine’s Min­istry of Health to pro­vide urgent med­ical assis­tance as well as long-term aid to the many lives dev­as­tat­ed by the war.” Last month, when Rus­sia launched its inva­sion, Abramović released the video state­ment above. In it she explains hav­ing done some work in Ukraine last year, which afford­ed her an oppor­tu­ni­ty to get to know some of its peo­ple. “They’re proud, they’re strong, and they’re dig­ni­fied,” she says, and an attack on their coun­try “is an attack to all of us,” an “attack to human­i­ty.” If you feel the same way, have some mon­ey to spend, and missed out on the first The Artist Is Present — and if you think you can hold your own across from the for­mi­da­ble pres­ence glimpsed in the video — con­sid­er mak­ing a bid of your own.

via Hyper­al­ler­gic

Relat­ed con­tent:

In Touch­ing Video, Artist Mari­na Abramović & For­mer Lover Ulay Reunite After 22 Years Apart

Mari­na Abramović and Ulay’s Adven­tur­ous 1970s Per­for­mance Art Pieces

Mari­na Abramović’s Method for Over­com­ing Trau­ma: Go to a Park, Hug a Tree Tight, and Tell It Your Com­plaints for 15 Min­utes

Per­for­mance Artist Mari­na Abramović Describes Her “Real­ly Good Plan” to Lose Her Vir­gin­i­ty

Advice to Young Aspir­ing Artists from Pat­ti Smith, David Byrne & Mari­na Abramović

Sav­ing Ukrain­ian Cul­tur­al Her­itage Online: 1,000+ Librar­i­ans Dig­i­tal­ly Pre­serve Arti­facts of Ukrain­ian Civ­i­liza­tion Before Rus­sia Can Destroy Them

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Hear Aldous Huxley Narrate His Dystopian Masterpiece, Brave New World

The CBS Radio Work­shop was an “exper­i­men­tal dra­mat­ic radio anthol­o­gy series” that aired between 1956 and 1957. And it start­ed with style–with a dra­ma­tized adap­ta­tion of Brave New World, nar­rat­ed by Aldous Hux­ley him­self. The broad­cast aired on Jan­u­ary 27 and Feb­ru­ary 3 1956.  The remain­ing 84 pro­grams in the CBS Radio Work­shop series drew on the work of Antoine de Saint-Exupéry, James Thurber, H.L. Menck­en, Mark Twain, Robert Hein­lein, Eugene O’Neil, Balzac, Carl Sand­burg, and so many more. You can hear many of those episodes online here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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!

Relat­ed Con­tent

Aldous Hux­ley Pre­dicts in 1950 What the World Will Look Like in the Year 2000

When Aldous Hux­ley, Dying of Can­cer, Left This World Trip­ping on LSD, Expe­ri­enc­ing “the Most Serene, the Most Beau­ti­ful Death” (1963)

Aldous Hux­ley Tells Mike Wal­lace What Will Destroy Democ­ra­cy: Over­pop­u­la­tion, Drugs & Insid­i­ous Tech­nol­o­gy (1958)

Aldous Hux­ley to George Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

 

Explore Rarely-Seen Art by J. R. R. Tolkien in a New Web Site Created by the Tolkien Estate

J. R. R. Tolkien man­aged to write the Lord of the Rings tril­o­gy, which ought to be accom­plish­ment enough for one mor­tal. But he also wrote the The Hob­bit, the gate­way for gen­er­a­tions of chil­dren into his major work, as well as a host of oth­er works of fic­tion, poet­ry, and schol­ar­ship, many of them not pub­lished until after his death in 1973. And those are only his writ­ings: a life­long artist, Tolkien also pro­duced a great many draw­ings and paint­ingsbook-cov­er designs, and pic­tures meant to delight his own chil­dren as well as the chil­dren of oth­ers.

Yet some­how more mate­r­i­al has remained in the vault, and only now brought out for prop­er pub­lic con­sid­er­a­tion. As report­ed ear­li­er this month by Art­net’s Sarah Cas­cone, Tolkien’s estate “has released a new web­site fea­tur­ing art­works, some pre­vi­ous­ly unseen,” all cre­at­ed by the man him­self.

“In addi­tion to a num­ber of detailed maps, the estate has released illus­tra­tions Tolkien cre­at­ed for The Hob­bitThe Lord of the Rings, and The Sil­mar­il­lion, as well as draw­ings he made for his chil­dren, land­scapes drawn from real life, and imag­ined abstrac­tions.”

Tolkie­nol­o­gists will also thrill to the new site’s “pre­vi­ous­ly unpub­lished pho­tographs of Tolkien and his fam­i­ly, includ­ing his son Christo­pher, who drew the final ver­sions of the Lord of the Rings maps for pub­li­ca­tion.” (Christo­pher died in 2020, and Tolkien’s last sur­viv­ing child Priscil­la died just last month.) Divid­ed into sec­tions ded­i­cat­ed to his writ­ing, his paint­ing, his schol­ar­ship, his let­ters, his life, and relat­ed audio-visu­al mate­r­i­al, this online exhi­bi­tion presents Tolkien as not just a world-builder but a man in full. In his life and work, he estab­lished the mod­el for the mod­ern fan­ta­sy nov­el­ist, but also — as under­scored by a jour­ney across his full nar­ra­tive, intel­lec­tu­al, and artis­tic range — an ide­al unlike­ly to be equaled any time soon. Vis­it the site here.

via Smith­son­ian Mag­a­zine

Relat­ed con­tent

110 Draw­ings and Paint­ings by J. R. R. Tolkien: Of Mid­dle-Earth and Beyond

Dis­cov­er J. R. R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

Map of Mid­dle-Earth Anno­tat­ed by Tolkien Found in a Copy of Lord of the Rings

The Largest J. R. R. Tolkien Exhib­it in Gen­er­a­tions Is Com­ing to the U.S.: Orig­i­nal Draw­ings, Man­u­scripts, Maps & More

Dis­cov­er J. R. R. Tolkien’s Lit­tle-Known and Hand-Illus­trat­ed Children’s Book, Mr. Bliss

J. R. R. Tolkien Sent Illus­trat­ed Let­ters from Father Christ­mas to His Kids Every Year (1920–1943)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

What Was Actually Lost When the Library of Alexandria Burned?

The Library of Alexan­dria has been phys­i­cal­ly gone for about eigh­teen cen­turies now, but the insti­tu­tion endures as a pow­er­ful sym­bol. Today we have the inter­net, which none can deny is at least well on its way to becom­ing a dig­i­tal store of all human knowl­edge. But despite hav­ing emerged from an ever more enor­mous­ly com­plex tech­no­log­i­cal infra­struc­ture, the inter­net is dif­fi­cult to cap­ture in a leg­i­ble men­tal pic­ture. The Library of Alexan­dria, by con­trast, actu­al­ly stood in Egypt for some 300 years after its com­mis­sion­ing by Ptole­my I and II, and ear­ly in the sec­ond cen­tu­ry B.C. it bid fair to hold prac­ti­cal­ly all writ­ten knowl­edge in exis­tence with­in its walls (and those of its “daugh­ter library” the Ser­apeum, con­struct­ed when the main build­ing ran out of space).

Inter­est­ing enough as a lost work of ancient archi­tec­ture, the Library of Alexan­dria is remem­bered for its con­tents — not that his­to­ry has been able to remem­ber in much detail what those con­tents actu­al­ly were. “Some ancient authors claimed that it con­tained 700,000 books,” says ancient-his­to­ry schol­ar Gar­ret Ryan in the video above.

“Books, in this con­text, mean­ing papyrus scrolls,” and their actu­al num­ber was almost cer­tain­ly small­er. By the time the Library itself — or at least part of it — was burned down by Julius Cae­sar in 48 B.C., it had been falling into dis­use for quite some time. “It is some­times said that the destruc­tion of the Library of Alexan­dria set civ­i­liza­tion back by cen­turies,” Ryan tells us. “This is a wild exag­ger­a­tion.”

The Library of Alexan­dria might have been the most impres­sive intel­lec­tu­al repos­i­to­ry in the ancient world, but it was hard­ly the only one. Most of the works in its col­lec­tion, Ryan explains, would also have been held by oth­er libraries, though they would also decline along with the gen­er­al inter­est in clas­si­cal cul­ture. “Although there were cer­tain­ly many works of math­e­mat­ics and physics, the most impor­tant of these were wide­ly dis­sem­i­nat­ed else­where. What per­ished with the Library were, over­whelm­ing­ly, less­er-known works of lit­er­a­ture and phi­los­o­phy, com­men­taries and mono­graphs: all the residue and intro­spec­tion of an extreme­ly sophis­ti­cat­ed lit­er­ary cul­ture.” To schol­ars of ancient lit­er­a­ture, of course, such a loss is incal­cu­la­ble. And in our own cul­ture today, we’ll still do well to hold up the Library of Alexan­dria as an image of what it is to amass human knowl­edge — as well as what it is to let that knowl­edge decay.

Relat­ed con­tent:

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

Behold 3,000 Dig­i­tized Man­u­scripts from the Bib­lio­the­ca Palati­na: The Moth­er of All Medieval Libraries Is Get­ting Recon­struct­ed Online

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

A 16th Cen­tu­ry “Data­base” of Every Book in the World Gets Unearthed: Dis­cov­er the Libro de los Epí­tomes Assem­bled by Christo­pher Colum­bus’ Son

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Aldous Huxley Predicts in 1950 What the World Will Look Like in the Year 2000

I’ve been think­ing late­ly about how and why utopi­an fic­tion shades into dystopi­an. Though we some­times imag­ine the two modes as inver­sions of each oth­er, per­haps they lie instead on a con­tin­u­um, one along which all soci­eties slide, from func­tion­al to dys­func­tion­al. The cen­tral prob­lem seems to be this: Utopi­an thought relies on putting the com­pli­ca­tions of human behav­ior on the shelf to make a max­i­mal­ly effi­cient social order—or of find­ing some con­ve­nient way to dis­pense with those com­pli­ca­tions. But it is pre­cise­ly with this lat­ter move that the trou­ble begins. How to make the mass of peo­ple com­pli­ant and pacif­ic? Mass media and con­sumerism? Forced col­lec­tiviza­tion? Drugs?

Read­ers of dystopi­an fic­tion will rec­og­nize these as some of the design flaws in Aldous Huxley’s utopian/dystopian soci­ety of Brave New World, a nov­el that asks us to wres­tle with the philo­soph­i­cal prob­lem of whether we can cre­ate a ful­ly func­tion­al soci­ety with­out rob­bing peo­ple of their agency and inde­pen­dence. Doesn’t every utopia, after all, imag­ine a world of strict hier­ar­chies and con­trols? The original—Thomas More’s Utopia—gave us a patri­ar­chal slave soci­ety (as did Plato’s Repub­lic). Huxley’s Brave New World sim­i­lar­ly sit­u­ates human­i­ty in a caste sys­tem, sub­or­di­nat­ed to tech­nol­o­gy and sub­dued with med­ica­tion.

While Huxley’s utopia has erad­i­cat­ed the nuclear fam­i­ly and nat­ur­al human reproduction—thus solv­ing a pop­u­la­tion crisis—it is still a soci­ety ruled by the ideas of found­ing fathers: Hen­ry Ford, H.G. Wells, Freud, Pavlov, Shake­speare, Thomas Robert Malthus. If you want­ed to know, in the ear­ly 20th cen­tu­ry, what the future would be like, you’d typ­i­cal­ly ask a famous man of ideas. Red­book mag­a­zine did just that in 1950, writes Matt Novak at Pale­o­fu­ture; they “asked four experts—curiously all men, giv­en that Red­book was and is a mag­a­zine aimed at women—about what the world may look like fifty years hence.”

One of those men was Hux­ley, and in his answers, he draws on at least two of Brave New World’s intel­lec­tu­al founders, Ford and Malthus, in pre­dic­tions about pop­u­la­tion growth and the nature of work. In addi­tion to the ever-present threats of war, Hux­ley first turns to the Malthu­sian prob­lems of over­pop­u­la­tion and scarce resources.

Dur­ing the next fifty years mankind will face three great prob­lems: the prob­lem of avoid­ing war; the prob­lem of feed­ing and cloth­ing a pop­u­la­tion of two and a quar­ter bil­lions which, by 2000 A.D., will have grown to upward of three bil­lions, and the prob­lem of sup­ply­ing these bil­lions with­out ruin­ing the planet’s irre­place­able resources.

As Novak points out, Huxley’s esti­ma­tion is “less than half of the 6.1 bil­lion that would prove to be a real­i­ty by 2000.” In order to address the prob­lem of feed­ing, hous­ing, and cloth­ing all of those peo­ple, Hux­ley must make an “unhap­pi­ly… large assumption—that the nations can agree to live in peace. In this event mankind will be free to devote all its ener­gy and skill to the solu­tion of its oth­er major prob­lems.”

“Huxley’s pre­dic­tions for food pro­duc­tion in the year 2000,” writes Novak, “are large­ly a call for the con­ser­va­tion of resources. He cor­rect­ly points out that meat pro­duc­tion can be far less effi­cient than using agri­cul­tur­al lands for crops.” Hux­ley rec­om­mends sus­tain­able farm­ing meth­ods and the devel­op­ment of “new types of syn­thet­ic build­ing mate­ri­als and new sources for paper” in order to curb the destruc­tion of the world’s forests. What he doesn’t account for is the degree to which the over­whelm­ing greed of a pow­er­ful few would dri­ve the exploita­tion of finite resources and hold back efforts at sus­tain­able design, agri­cul­ture, and energy—a sit­u­a­tion that some might con­sid­er an act of war.

But Hux­ley’s utopi­an pre­dic­tions depend upon putting aside these com­pli­ca­tions. Like many mid-cen­tu­ry futur­ists, he imag­ined a world of increased leisure and greater human ful­fill­ment, but he “sees that poten­tial for bet­ter work­ing con­di­tions and increased stan­dards of liv­ing as obtain­able only through a sus­tained peace.” When it comes to work, Hux­ley’s fore­casts are part­ly Fordist: Advances in tech­nol­o­gy are one thing, but “work is work,” he writes, “and what mat­ters to the work­er is nei­ther the prod­uct nor the tech­ni­cal process, but the pay, the hours, the atti­tude of the boss, the phys­i­cal envi­ron­ment.”

To most office and fac­to­ry work­ers in 2000 the appli­ca­tion of nuclear fis­sion to indus­try will mean very lit­tle. What they will care about is what their fathers and moth­ers care about today—improvement in the con­di­tions of labor. Giv­en peace, it should be pos­si­ble, with­in the next fifty years, to improve work­ing con­di­tions very con­sid­er­ably. Bet­ter equipped, work­ers will pro­duce more and there­fore earn more.

Unfor­tu­nate­ly, Novak points out, “per­haps Huxley’s most inac­cu­rate pre­dic­tion is his assump­tion that an increase in pro­duc­tiv­i­ty will mean an increase in wages for the aver­age work­er.” Despite ris­ing prof­its and effi­cien­cy, this has proven untrue. In a Freudi­an turn, Hux­ley also pre­dicts the decen­tral­iza­tion of indus­try into “small coun­try com­mu­ni­ties, where life is cheap­er, pleas­an­ter and more gen­uine­ly human than in those breed­ing-grounds of mass neu­ro­sis…. Decen­tral­iza­tion may help to check that march toward the asy­lum, which is a threat to our civ­i­liza­tion hard­ly less grave than that of ero­sion and A‑bomb.”

While tech­no­log­i­cal improve­ments in mate­ri­als may not fun­da­men­tal­ly change the con­cerns of work­ers, improve­ments in robot­ics and com­put­er­i­za­tion may abol­ish many of their jobs, leav­ing increas­ing num­bers of peo­ple with­out any means of sub­sis­tence. So we’re told again and again. But this was not yet the press­ing con­cern in 2000 that it is for futur­ists just a few years lat­er. Per­haps one of Huxley’s most pre­scient state­ments takes head-on the issue fac­ing our cur­rent society—an aging pop­u­la­tion in which “there will be more elder­ly peo­ple in the world than at any pre­vi­ous time. In many coun­tries the cit­i­zens of six­ty-five and over will out­num­ber the boys and girls of fif­teen and under.”

Pen­sions and a point­less leisure offer no solu­tion to the prob­lems of an aging pop­u­la­tion. In 2000 the younger read­ers of this arti­cle, who will then be in their sev­en­ties, will prob­a­bly be inhab­it­ing a world in which the old are pro­vid­ed with oppor­tu­ni­ties for using their expe­ri­ence and remain­ing strength in ways sat­is­fac­to­ry to them­selves, and valu­able to the com­mu­ni­ty.

Giv­en the decrease in wages, ris­ing inequal­i­ty, and loss of home val­ues and retire­ment plans, more and more of the peo­ple Hux­ley imag­ined are instead work­ing well into their sev­en­ties. But while Hux­ley failed to fore­see the pro­found­ly destruc­tive force of unchecked greed—and had to assume a per­haps unob­tain­able world peace—he did accu­rate­ly iden­ti­fy many of the most press­ing prob­lems of the 21st cen­tu­ry. Eight years after the Red­book essay, Hux­ley was called on again to pre­dict the future in a tele­vi­sion inter­view with Mike Wal­lace. You can watch it in full at the top of the post.

Wal­lace begins in a McCarthyite vein, ask­ing Hux­ley to name “the ene­mies of free­dom in the Unit­ed States.” Hux­ley instead dis­cuss­es “imper­son­al forces,” return­ing to the prob­lem of over­pop­u­la­tion and oth­er con­cerns he addressed in Brave New World, such as the threat of an over­ly bureau­crat­ic, tech­no­crat­ic soci­ety too heav­i­ly depen­dent on tech­nol­o­gy. Four years after this inter­view, Hux­ley pub­lished his final book, the philo­soph­i­cal nov­el Island, in which, writes Vel­ma Lush, the evils he had warned us about, “over-pop­u­la­tion, coer­cive pol­i­tics, mil­i­tarism, mech­a­niza­tion, the destruc­tion of the envi­ron­ment and the wor­ship of sci­ence will find their oppo­sites in the gen­tle and doomed Utopia of Pala.”

The utopia of IslandHuxley’s wife Lau­ra told Alan Watts—is “pos­si­ble and actu­al… Island is real­ly vision­ary com­mon sense.” But it is also a soci­ety, Hux­ley trag­i­cal­ly rec­og­nized, made frag­ile by its unwill­ing­ness to con­trol human behav­ior and pre­pare for war.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

via Pale­o­fu­ture

Relat­ed Con­tent:

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

Zen Mas­ter Alan Watts Dis­cov­ers the Secrets of Aldous Hux­ley and His Art of Dying

Hear Aldous Hux­ley Read Brave New World. Plus 84 Clas­sic Radio Dra­mas from CBS Radio Work­shop (1956–57)

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

 

‘Kyiv Calling:’ Ukrainian Punk Band Rerecords The Clash’s Anthem as a Call to Arms

Accord­ing to The Guardian, the sur­viv­ing mem­bers of The Clash have giv­en their bless­ing to the Ukrain­ian punk band, Beton, to record a new ver­sion of their 1979 clas­sic Lon­don Call­ing. Record­ed near the front­line of the bat­tle in Ukraine, Kyiv Call­ing (above) “has lyrics that call upon the rest of the world to sup­port the defence of the coun­try from Russ­ian invaders. All pro­ceeds of what is now billed as a ‘war anthem’ will go to the Free Ukraine Resis­tance Move­ment (FURM) to help fund a shared com­mu­ni­ca­tions sys­tem that will alert the pop­u­la­tion to threats and lob­by for inter­na­tion­al sup­port.”

You can donate to the Free Ukraine Resis­tance Move­ment here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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 Boing­Bo­ing

Relat­ed Con­tent

The Sto­ry Behind the Icon­ic Bass-Smash­ing Pho­to on the Clash’s Lon­don Call­ing

“Joe Strummer’s Lon­don Call­ing”: All 8 Episodes of Strummer’s UK Radio Show Free Online

Mick Jones Plays Three Clas­sics by The Clash at the Pub­lic Library

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