How Peter Jackson Made His State-of-the-Art World War I Documentary, They Shall Not Grow Old: An Inside Look

There are very few work­ing direc­tors today who can do what Peter Jack­son does so well—create extra­or­di­nary spec­ta­cles on the grand­est of scales while also stay­ing tight­ly focused on char­ac­ter devel­op­ment and emo­tion­al depth. He’s made mis­steps. His Hob­bit tril­o­gy felt bloat­ed, busy and unnec­es­sary, but one rea­son it so dis­ap­point­ed was because he’d already shown him­self a mas­ter of fan­ta­sy film­mak­ing with what many con­sid­ered the unfilm­ma­ble Lord of the Rings.

Of course non-Tolkien-relat­ed Jack­son films like Heav­en­ly Crea­tures also show­case these strengths, on a small­er scale: the abil­i­ty to retain the human dimen­sion amidst cin­e­mat­ic spec­ta­cles and inhu­man dark­ness (a qual­i­ty he mined explic­it­ly in his years as a hor­ror direc­tor). All of these sen­si­bil­i­ties, includ­ing a pro­nounced streak of dark humor and tal­ent for manip­u­lat­ing his audi­ences, make him the ide­al direc­tor for a doc­u­men­tary on World War I.

It’s a con­flict that makes lit­tle his­tor­i­cal sense to most of us, that unfold­ed on a scale few of us can imag­ine, with few iden­ti­fi­able heroes and vil­lains and a com­pli­cat­ed geopo­lit­i­cal sit­u­a­tion that can feel out of our grasp.

Many doc­u­men­taries on the war are infor­ma­tive but, frankly, quite dull. In striv­ing for objec­tiv­i­ty, they lose sight of human­i­ty. Rather than adopt the voice of god and news­reel look that char­ac­ter­izes the usu­al fare, Jack­son has tak­en an active role in shap­ing the nar­ra­tive for us with cut­ting-edge block­buster cin­e­mat­ic tech­niques. He gives us char­ac­ters to care about in show­ing the hor­ror of trench war­fare, the con­fu­sion and cama­raderie of war. Though he uses orig­i­nal footage, it is dig­i­tal­ly enhanced and col­orized, screened in 3D, with record­ings of remem­brances from the sol­diers them­selves dra­mat­i­cal­ly over­laid to cre­ate the sense that the fig­ures we see onscreen are speak­ing to us.

The result, as Guy Lodge writes at Vari­ety, “is a tech­ni­cal daz­zler with a sur­pris­ing­ly humane streak…. So daz­zling­ly trans­for­ma­tive is the restora­tion of this footage that it may as well be the prod­uct of a movie shoot.” Indeed, once the cred­its roll, view­ers see the same “ver­i­ta­ble army of mag­ic-work­ing tech­ni­cians’ names” as they would on any big-bud­get action movie. Jack­son has, in effect, pro­duced “the world’s most state-of-the-art edu­ca­tion­al film,” apply­ing all the emo­tion­al levers and pul­leys of fea­ture film­mak­ing to a his­tor­i­cal archive.

Like most of us, stu­dents have trou­ble under­stand­ing the scale of the war and con­nect­ing with the lives of peo­ple so indis­tinct­ly pho­tographed and far away in time. Jack­son makes sure that they can do both, and his film will be sent to every high school in the U.K. Those schools will not, of course, be able to repro­duce the 3D effects. Yet even these, though they sound “gim­micky on the face of it,” writes Lodge, prove “to have an expe­ri­en­tial pur­pose, con­vey­ing the jud­der­ing move­ment and chaos of a con­flict many of us have large­ly viewed through cal­ci­fied still images.”

In the inter­views and behind the scenes videos here, we learn how Jack­son and his team solved the film speed prob­lem to make the old reels look nat­ur­al, how they cre­at­ed a col­or palette and removed blur­ri­ness and blem­ish­es. Jack­son also talks about his own per­son­al stake in the project, imag­in­ing what his grand­fa­ther endured in the Great War. This con­nec­tion seems to have spurred him all the more in the effort.

“To memo­ri­al­ize these sol­diers a hun­dred years lat­er,” he says, “is to try to bring some of their human­i­ty back into the world again, to stop them being a black and white cliché.” In cre­at­ing this mov­ing memo­r­i­al, Jack­son goes far beyond the man­date of an edu­ca­tion­al film. He has used all the tech­niques at his dis­pos­al to make good on the promise in Robert Lau­rence Binyon’s 1914 poem “For the Fall­en,” from which the doc­u­men­tary takes its title:

They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years con­demn.
At the going down of the sun and in the morn­ing
We will remem­ber them.

Relat­ed Con­tent:

Peter Jackson’s New Film on World War I Fea­tures Incred­i­ble Dig­i­tal­ly-Restored Footage From the Front Lines: Get a Glimpse

Watch World War I Unfold in a 6 Minute Time-Lapse Film: Every Day From 1914 to 1918

The Great War: Video Series Will Doc­u­ment How WWI Unfold­ed, Week-by-Week, for the Next 4 Years

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

The Solar System Quilt: In 1876, a Teacher Creates a Handcrafted Quilt to Use as a Teaching Aid in Her Astronomy Class

Ded­i­cat­ed teach­ers often go well beyond the call of duty, sac­ri­fic­ing large amounts of free time for the bet­ter­ment of their class­rooms and their pupils.

Any teacher who’s ever paid for sup­plies out of their own pock­et, then spent the week­end con­struct­ing an elab­o­rate bul­letin board dis­play, will appre­ci­ate the her­culean efforts of Sarah Ellen Hard­ing Bak­er.

Bak­er, a teacher and astronomer in Cedar Coun­ty, Iowa, is rumored to have spent 7 years embroi­der­ing a beau­ti­ful appliquéd quilt to use as a visu­al aid in lec­tures.

Fin­ished in 1876, the quilt is large enough that even a near-sight­ed stu­dent could see its plan­ets and moons from the back row.

Orbits are indi­cat­ed with silken threads against a black back­ground.

A comet in the upper left is thought to be Hal­ley’s Comet, whose last appear­ance would have been in 1835, 12 years before Baker’s birth.

The Smith­son­ian Nation­al Muse­um of Amer­i­can His­to­ry, where Baker’s quilt is housed, notes that astron­o­my was deemed an accept­able inter­est for 19th-cen­tu­ry women, which may explain the num­ber of celes­tial-themed quilts that date to the peri­od.

Author and quilt his­to­ri­an Bar­bara Brack­man includes a few on her Mate­r­i­al Cul­ture blog, while her His­tor­i­cal­ly Mod­ern blog vis­its some more recent exam­ples, includ­ing one that makes use of a stars-and-earth hot-iron trans­fer pub­lished in Good House­keep­ing mag­a­zine, to accom­pa­ny an arti­cle cel­e­brat­ing the win­ners of its 1939 World of Tomor­row Quilt Con­test.

Bak­er got just ten years out of her quilt before suc­cumb­ing to tuber­cu­lo­sis at the age of 39, the moth­er of 7 chil­dren, 5 of whom sur­vived her.

via Messy Nessy

Relat­ed Con­tent:

A Mas­sive, Knit­ted Tapes­try of the Galaxy: Soft­ware Engi­neer Hacks a Knit­ting Machine & Cre­ates a Star Map Fea­tur­ing 88 Con­stel­la­tions

The Ancient Astron­o­my of Stone­henge Decod­ed

Too Big for Any Muse­um, AIDS Quilt Goes Dig­i­tal Thanks to Microsoft

Watch Nina Paley’s “Embroi­der­ma­tion,” a New, Stun­ning­ly Labor-Inten­sive Form of Ani­ma­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC this Decem­ber for the 10th anniver­sary pro­duc­tion of Greg Kotis’ apoc­a­lyp­tic hol­i­day tale, The Truth About San­ta, and the next month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

The Library of Congress Makes Thousands of Fabulous Photos, Posters & Images Free to Use & Reuse

The his­to­ry of the ven­er­a­ble Library of Con­gress demon­strates the vast impor­tance that the founders of the U.S. accord­ed to read­ing and study­ing. It may be one of the country’s most durable insti­tu­tions, “the old­est fed­er­al cul­tur­al insti­tu­tion in the nation,” it pro­claims. While par­ti­san ran­cor, war, and vio­lence recur, the LoC has stolid­ly held an ever-increas­ing­ly diverse col­lec­tion of arti­facts sit­ting peace­ful­ly along­side each oth­er on sev­er­al hun­dred miles of shelves, a mon­u­ment to the life of the mind that ought to get more atten­tion.

Tout­ing itself as “the largest library in the world,” its col­lec­tions “are uni­ver­sal, not lim­it­ed by sub­ject, for­mat, or nation­al bound­ary, and include research mate­ri­als from all parts of the world and in more than 450 lan­guages.”

Its first mate­ri­als were, of course, books—including over six-thou­sand books pur­chased from Thomas Jefferson’s pri­vate col­lec­tion after the British burned the orig­i­nal library down in 1814. Now, it “adds approx­i­mate­ly 12,000 items to the col­lec­tion dai­ly,” in every pos­si­ble for­mat one can imag­ine.

And since its dig­i­tal col­lec­tions came online, any­one, any­where in the world can call up these vast resources with an inter­net con­nec­tion and a few clicks. Though we tend to take such things for grant­ed in our fer­vid­ly dis­tract­ed times, a lit­tle reflec­tion should remind us of how incred­i­ble that is. But before we wax too rhap­sod­ic, let’s remem­ber there’s a busi­ness end to the LoC and it’s called the U.S. Copy­right Office, that guardian of intel­lec­tu­al prop­er­ty that both ensures cre­ators can prof­it from their labors and pre­vents the free and open use of so many enrich­ing mate­ri­als long after those cre­ators have need of them.

But the Library has done its dig­i­tal users a ser­vice in this regard as well, with its “Free to Use and Reuse Sets,” a siz­able col­lec­tion of images that the Library “believes… is either in the pub­lic domain, has no known copy­right, or has been cleared by the copy­right own­er for pub­lic use.” (The use of the word “believes” seems to leave room for doubt, but if you got it with per­mis­sion from the LoC, you’re prob­a­bly safe.) Need pho­tographs of Abra­ham Lincoln—and scans of his speech­es, let­ters, and “duel­ing instruc­tions”—for that book you’re writ­ing? You’re cov­ered with this gallery. Need a col­lec­tion of clas­sic chil­dren’s books for your web­site (or your read­ing plea­sure)? Here you go.

From the graph­ic genius of vin­tage WPA and trav­el posters to icon­ic jazz por­traits by William Got­tlieb to base­ball cards to end­less­ly quaint and quirky Amer­i­can road­side attrac­tions to pic­tures of dogs and their peo­ple… you nev­er know when you might need such images, but when you do you now know where to find them. Want to know what’s in the set called “Not an Ostrich”? A valkyrie cat named Brunnhilde, for one thing, and much more here.

The Library cur­rent­ly high­lights its “Poster Parade”—a set of posters from the 1890s to the 1960s fea­tur­ing “trav­el, com­mer­cial prod­ucts, war pro­pa­gan­da, enter­tain­ment, and more”—in col­lab­o­ra­tion with Poster House, a muse­um open­ing in New York next year. These range from delec­table art nou­veau ads to shouty broad­sides telling you to drink your milk, brush your teeth, or have “More Cour­tesy.” Sen­si­ble pre­scrip­tions, but we also need more knowl­edge, study, and thought. Start at the LoC’s Dig­i­tal Col­lec­tions here and har­vest your free to use and reuse images here.

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:

The Library of Con­gress Makes 25 Mil­lion Records From Its Cat­a­log Free to Down­load

Large Archive of Han­nah Arendt’s Papers Dig­i­tized by the Library of Con­gress: Read Her Lec­tures, Drafts of Arti­cles, Notes & Cor­re­spon­dence

Get­ty Images Makes 35 Mil­lion Pho­tos Free to Use Online

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

 

36 Artists Give Advice to Young Creators: Wim Wenders, Jonathan Franzen, Lydia Davis, Patti Smith, David Byrne, Umberto Eco & More

“What­ev­er you do, nobody else can do that bet­ter than you. You have to find what you can do bet­ter than any­one else, what you have in your­self that nobody else has in them. Don’t do any­thing that you know, deep in your heart, that some­body else can do bet­ter, but do what nobody else can do except for you.” That sounds like fine advice, but when receiv­ing advice we should always con­sid­er the source. In this case we could hard­ly do bet­ter: the source is Wim Wen­ders, direc­tor of Alice in the CitiesParis, TexasWings of Desire, and many oth­er films besides, an auteur sel­dom accused of mak­ing movies any­one else could make.

Wen­ders’ inter­view clip and the oth­ers here come from “Advice to the Young,” a video series cre­at­ed by the Louisiana Muse­um in Den­mark (which has quite an impres­sive gift shop, inci­den­tal­ly, if you hap­pen to need advice on gift-shop­ping). Jonathan Franzen, author of nov­els like The Cor­rec­tionsFree­dom, and Puri­ty, admits to feel­ing embar­rass­ment about “giv­ing advice to the young writer,” but he still has valu­able words for cre­ators in any domain: “The most impor­tant advice I have is to have fun, to try to cre­ate some­thing that is fun to work on.”

And by fun he means fun like you have on a ten­nis court, where “you’re not just mess­ing around, you’re not just hit­ting the ball wher­ev­er you want — you are focused on hav­ing a game, and once you are in it you are hav­ing fun. That’s the kind of focused fun I’m talk­ing about, and if you are hav­ing that kind of focused fun, there’s a good chance that the read­er will too.”

The range of writ­ers from which Louisiana Muse­um has sought advice also includes Lydia Davis, whose sen­si­bil­i­ty may dif­fer from Franzen’s but who has gar­nered an equal (or even greater) degree of respect from her read­er­ship. “You learn from mod­els and you ana­lyze them, you study them, you ana­lyze them very close­ly, one thing at a time,” she says, begin­ning her more expan­sive advice based on her own method. “You don’t just sort of read the para­graph and say, ‘Oh, that real­ly flows, you know? That’s good.’ You say, ‘What kind of adjec­tives? How many? What kind of nouns? How long are the sen­tences? What’s the rhythm?’ You know, you pick it apart, and that’s very help­ful.” Her oth­er sug­ges­tions include to “be very patient, even patient with chaos” and to keep a note­book (“it takes some of the ten­sion and the wor­ry away, because if you write it down, it may just be a note. It does­n’t have to be the begin­ning of any­thing”).

“Do what you want to do,” Davis con­cludes, “and don’t wor­ry if it’s a lit­tle odd or does­n’t fit the mar­ket.” That bit of guid­ance seems to have worked for her, and in the great vari­ety of forms it can take seems to have worked for seem­ing­ly every oth­er artist. Take Ed Ruscha, for instance, whose can­vass­es of gas sta­tions, cor­po­rate sig­nage, and oth­er icons of Amer­i­can blank­ness must hard­ly have seemed geared toward any par­tic­u­lar “mar­ket” when first he paint­ed them. For the young he has only one piece of advice, received sec­ond-hand and briefly deliv­ered: “No one could ever beat this thing that Max Ernst said. They asked him what a young artist should do, and he said, ‘cut off an ear.’ That’s good advice to fol­low. You can’t beat that.”

Oth­er artists fea­tured in the video playlist include Lau­rie Ander­son, David Byrne, Umber­to Eco, Pat­ti Smith & more.

Relat­ed Con­tent:

21 Artists Give “Advice to the Young:” Vital Lessons from Lau­rie Ander­son, David Byrne, Umber­to Eco, Pat­ti Smith & More

Bri­an Eno’s Advice for Those Who Want to Do Their Best Cre­ative Work: Don’t Get a Job

To Make Great Films, You Must Read, Read, Read and Write, Write, Write, Say Aki­ra Kuro­sawa and Wern­er Her­zog

John Cleese’s Advice to Young Artists: “Steal Any­thing You Think Is Real­ly Good”

Walt Whit­man Gives Advice to Aspir­ing Young Writ­ers: “Don’t Write Poet­ry” & Oth­er Prac­ti­cal Tips (1888)

Ursu­la Le Guin Gives Insight­ful Writ­ing Advice in Her Free Online Work­shop

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 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

Meet Berea College, the Innovative College That Charges No Tuition & Gives Students a Chance to Graduate Debt-Free

“The loom­ing stu­dent loan default cri­sis is worse than we thought,” writes Pro­fes­sor of Eco­nom­ics Judith Scott-Clay­ton at Brook­ings. I’ll leave it to you to parse the report, but to sum up… it looks bad. Sub­prime mort­gage cri­sis bad. Maybe… there’s anoth­er way? Work­ing mod­els of ful­ly sub­si­dized high­er ed sys­tems in oth­er countries—like ful­ly sub­si­dized health­care systems—strongly sug­gest as much. Some high-end pro­grams in the U.S., like NYU’s new­ly free med­ical school, have tak­en an ear­ly lead, hop­ing to solve the prob­lem of doc­tor short­ages.

But there’s an ear­li­er, hum­bler, more pro­gres­sive mod­el of free col­lege in the States, Kentucky’s lit­tle-known Berea Col­lege, found­ed in 1855 by an abo­li­tion­ist Pres­by­ter­ian min­is­ter John Gregg Fee as the first inte­grat­ed, co-edu­ca­tion­al col­lege in the Amer­i­can South. “It has not charged stu­dents tuition since 1892,” Adam Har­ris reports at The Atlantic. “Every stu­dent on cam­pus works, and its labor pro­gram is like work-study on steroids. The work includes every­day tasks such as jan­i­to­r­i­al ser­vices, but old­er stu­dents are often assigned jobs aligned to their vol­un­teer pro­grams.”

Rather than work­ing to pay off tuition, “stu­dents receive a phys­i­cal check for their labor that can go toward hous­ing and liv­ing expens­es.” Near­ly half of the school’s grad­u­ates leave with no debt, with the remain­ing car­ry­ing an aver­age of less than $7,000 from room and board expens­es. Com­pare that to a nation­al aver­age of $37,172 in loan debt per stu­dent for the class of 2016. How does Berea do it? It funds tuition with its large endow­ment of 1.2 bil­lion dol­lars.

Through a per­verse his­tor­i­cal irony, as Har­ris describes, the same racist hatred that ran Berea’s founder out of town in 1859, and forced the school to seg­re­gate in 1904, made cer­tain that its fund­ing mod­el would sus­tain it far into its (re)integrated future. After Kentucky’s pas­sage of the so-called “Day Law,” bar­ring black stu­dents from attend­ing, mon­ey began to pour in.

The prospect of edu­cat­ing poor white peo­ple from Appalachia for no tuition was some­thing that the com­mu­ni­ty could get behind. And near­ly 100 years ago, on Octo­ber 20, 1920, the board made sure that the col­lege would be able to do so for a long time. Accord­ing to Jeff Amburgey, the school’s chief finan­cial offi­cer, “The board essen­tial­ly said, for Berea to sus­tain its fund­ing mod­el,” any unre­strict­ed bequests—essentially mon­ey that some­one leaves the insti­tu­tion after they have passed away, that is not tagged for a spe­cif­ic purpose—could not be spent right away. Instead, he says, the mon­ey was expect­ed to be treat­ed as part of the endow­ment, and only the return on that invest­ment could be spent.

Berea could not, as some oth­er schools do, spend mil­lions on foot­ball sta­di­ums instead of invest­ing in its stu­dents. In the 50s, the school rein­te­grat­ed, but the process was very slow, as it was every­where in the coun­try. “The com­mu­ni­ty was gone,” says Berea his­to­ry pro­fes­sor Alices­tyne Tur­ley, refer­ring to the Recon­struc­tion-era com­mu­ni­ty that had a stu­dent body mix of 50–50 black and white stu­dents.

The school had to relearn its found­ing prin­ci­ples, as expressed in its founder’s cho­sen mot­to, from the Book of Acts: “God has made of one blood all peo­ples of the earth.” Now most of the enrollees, low-income white and black stu­dents most­ly from Appalachia, qual­i­fy for Pell grants. 10 per­cent of the bud­get comes from char­i­ta­ble gifts. But the school pays the bulk of the tuition, $39,400 per stu­dent, from its endow­ment.

Is this sus­tain­able? Time will tell. Though a 1937 pro­mo­tion­al film, above, from the college’s seg­re­gat­ed past decries “the false glit­ter of easy pros­per­i­ty,” its cur­rent pres­i­dent tells Har­ris “we’re not the kind of insti­tu­tion that holds the world of finance in dis­dain. We are depen­dent on it.” A stock mar­ket crash could bank­rupt Berea, and no bailouts would be forth­com­ing. But for now, the col­lege thrives, with very impres­sive rank­ing num­bers in the U.S. News Best Col­leges report (it comes in a #4 in Best Under­grad­u­ate Teach­ing and #3 in Most Inno­v­a­tive Schools).

The school hosts bell hooks as a pro­fes­sor in res­i­dence and boasts as an alum­nus Carter G. Wood­son, the “father of black his­to­ry,” with a cen­ter named for him whose mis­sion is “to assert the kin­ship of all peo­ple and pro­vide inter­ra­cial edu­ca­tion with a par­tic­u­lar empha­sis on under­stand­ing and equal­i­ty among blacks and whites as a foun­da­tion for build­ing com­mu­ni­ty among all peo­ples of the earth.”

Maybe if there were a way to, say, fund Berea, and col­leges and uni­ver­si­ties nation­wide, through some kind of, say, tax­a­tion on, say, the most prof­itable com­pa­nies on the plan­et, or some such… just imag­ine.…

via The Atlantic

Relat­ed Con­tent:

A Mas­ter List of 1,300 Free Cours­es From Top Uni­ver­si­ties: 45,000 Hours of Audio/Video Lec­tures

How Fin­land Cre­at­ed One of the Best Edu­ca­tion­al Sys­tems in the World (by Doing the Oppo­site of U.S.)

In Japan­ese Schools, Lunch Is As Much About Learn­ing As It’s About Eat­ing

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

A New Academic Hoax–Complete with Fake Articles Published in Academic Journals–Ventures to Show the “Corruption” of Cultural Studies

We should be sus­pi­cious when researchers assume their con­clu­sion; when the results of an aca­d­e­m­ic study mere­ly con­firm the author’s pre-exist­ing bias­es. Humans are wired to seek con­fir­ma­tion, a cog­ni­tive deficit so deeply engrained that it can be exploit­ed among laypeo­ple and spe­cial­ists alike. Art his­to­ri­ans have been fooled by forg­eries, his­to­ri­ans by fake man­u­scripts, and pale­on­tol­o­gists by pho­ny fos­sils. Physi­cist Steven Wein­berg ref­er­enced such high-lev­el hoax­es in a 1996 essay in The New York Review of Books, and he placed that year’s aca­d­e­m­ic scandal—known as the “Sokal Hoax”—among them.

The gist of the Sokal affair runs as fol­lows: NYU math­e­mat­i­cal physi­cist Alan Sokal sus­pect­ed that post-struc­tural­ist-influ­enced cul­tur­al stud­ies was jar­gon-laden, obfus­cat­ing BS, and he set out to prove it by author­ing his own “post­mod­ernist” text, an arti­cle full of mis­used ter­mi­nol­o­gy from quan­tum physics. He sent it off to the jour­nal Social Text, who pub­lished it in their Spring/Summer issue. Sokal then revealed in anoth­er jour­nal, Lin­gua Fran­ca, that the arti­cle had been a fraud, “lib­er­al­ly salt­ed with non­sense,” and had only been accept­ed because “(a) it sound­ed good and (b) it flat­tered the editor’s ide­o­log­i­cal pre­con­cep­tions.”

Sokal’s hoax, it was round­ly claimed, demon­strat­ed that cer­tain fash­ion­able quar­ters of the aca­d­e­m­ic human­i­ties had dete­ri­o­rat­ed into bab­ble, sig­ni­fy­ing noth­ing more than rigid ide­o­log­i­cal com­mit­ments and a gen­er­al dis­re­gard for the actu­al mean­ings of words and con­cepts. Wein­berg wasn’t so sure. At most, per­haps, it showed the edi­to­r­i­al fail­ings of Social Text. And while human­ists may abuse sci­en­tif­ic ideas, Wein­berg points out that sci­en­tists of the stature of Wern­er Heisen­berg have also been prone to slip­shod, qua­si-mys­ti­cal think­ing.

But the Sokal hoax did expose to the wider pub­lic a ten­den­cy among a coterie of aca­d­e­mics to indulge in mys­ti­fy­ing lan­guage, includ­ing the mis­use of jar­gon from oth­er fields of study, usu­al­ly in imi­ta­tion of French the­o­rists like Jacques Lacan, Julia Kris­te­va, or Jacques Derrida—whom, it must be said, all wrote in a very dif­fer­ent intel­lec­tu­al cul­ture (one that expects, Michel Fou­cault once admit­ted, at least “ten per­cent incom­pre­hen­si­ble”). For a good many peo­ple in the aca­d­e­m­ic human­i­ties, this wasn’t much of a rev­e­la­tion. (Sokal has since pub­lished a more thor­ough­ly crit­i­cal book with the apt title Beyond the Hoax.)

Part of the prob­lem with his hoax as a seri­ous cri­tique is that it began with its con­clu­sion. Cul­tur­al stud­ies are rife with crap argu­ments, ide­ol­o­gy, and incom­pre­hen­si­ble non­sense, Sokal believed. And so, when his paper was accept­ed, he sim­ply rest­ed his case, mak­ing no effort to engage char­i­ta­bly with good schol­ar­ship while he ridiculed the bad. Which brings us to the cur­rent state of the aca­d­e­m­ic human­i­ties, and to a con­tem­po­rary, Sokal-like attack on them by a trio of writ­ers who rest their case on a slight­ly broad­er base of evidence—20 fraud­u­lent arti­cles sent out to var­i­ous niche cul­tur­al stud­ies jour­nals over a year: four pub­lished (since retract­ed), three accept­ed but not pub­lished, sev­en under review, and six reject­ed.

The authors—academic philoso­pher Peter Boghoss­ian and writ­ers Helen Pluck­rose and James A. Lindsay—revealed the hoax this week in an arti­cle pub­lished at the Pluck­rose-edit­ed Areo mag­a­zine. One needn’t read past the title to under­stand the authors’ take on cul­tur­al stud­ies in gen­er­al: “Aca­d­e­m­ic Griev­ance Stud­ies and the Cor­rup­tion of Schol­ar­ship.” While all three hoax­ers iden­ti­fy as left-lean­ing lib­er­als, the broad-brush char­ac­ter­i­za­tion of whole fields as “griev­ance stud­ies” reveals a prej­u­di­cial degree of con­tempt that seems unwar­rant­ed. In the arti­cle, they reveal their moti­va­tions and meth­ods, out­line the suc­cess­es of the project, and post the com­ments of the arti­cles’ ref­er­ees, along with a video of them­selves hav­ing a good laugh at the whole thing.

This last bit is unnec­es­sary and obnox­ious, but does the new hoax—“Sokal Squared” as it’s been called—genuinely under­mine the cred­i­bil­i­ty of cul­tur­al stud­ies as a whole? Is it “’hilar­i­ous and delight­ful,’” asks Alexan­der C. Kaf­ka at The Chron­i­cle of High­er Edu­ca­tion, or “an ugly exam­ple of dis­hon­esty and bad faith?” Har­vard polit­i­cal sci­en­tist Yascha Mounk tact­ful­ly finds in it a seri­ous case for con­cern: “Some aca­d­e­m­ic emperors—the ones who sup­pos­ed­ly have the most to say about these cru­cial top­ics [dis­crim­i­na­tion, racism, sexism]—have no clothes.”

This is a point worth pur­su­ing, and cer­tain recent scan­dals should give every­one pause to con­sid­er how bul­ly­ing and group­think man­i­fest on the aca­d­e­m­ic left at the high­est lev­el of pres­tige. But the great major­i­ty of aca­d­e­mics are not “emper­ors” and have very lit­tle social or eco­nom­ic pow­er. And Mounk is care­ful not to over­state the case. He points out how the hoax has unfor­tu­nate­ly giv­en wel­come “ammu­ni­tion” to right-wing con­ser­v­a­tive axe-grinders:

Many con­ser­v­a­tives who are deeply hos­tile to the sci­ence of cli­mate change, and who dis­miss out of hand the stud­ies that attest to deep injus­tices in our soci­ety, are using Sokal Squared to smear all aca­d­e­mics as biased cul­ture war­riors. The Fed­er­al­ist, a right-wing news and com­men­tary site, went so far as to spread the appar­ent ide­o­log­i­cal bias of a few jour­nals in one par­tic­u­lar cor­ner of acad­e­mia to most pro­fes­sors, the main­stream media, and Democ­rats on the Sen­ate Judi­cia­ry Com­mit­tee.

The Fed­er­al­ist spe­cial­izes in irre­spon­si­ble con­spir­a­cy-mon­ger­ing, the kind of thing that sells ads and wins elec­tions but doesn’t belong in aca­d­e­m­ic debate. The ques­tion Mounk doesn’t ask is whether the hoax­ers’ own atti­tudes encour­age and share in such hos­til­i­ty, an issue raised by sev­er­al of their crit­ics. As physi­cist Sean Car­roll wrote on Twit­ter, “What strikes me about stunts like this is their fun­da­men­tal mean­ness. No attempt to intel­lec­tu­al­ly engage with ideas you dis­agree with; just trolling for the lulz.” McGill Uni­ver­si­ty polit­i­cal the­o­rist Jacob T. Levy expressed sim­i­lar reser­va­tions in an inter­view, notes The New York Times, say­ing

even some col­leagues who are not fans of iden­ti­ty-ori­ent­ed schol­ar­ship are look­ing at the hoax and say­ing ‘this is poten­tial­ly uneth­i­cal and doesn’t show what they think it is show­ing.’ Besides, he added, “We all rec­og­nized that this kind of thing could also be done in our dis­ci­plines if peo­ple were will­ing to ded­i­cate a year to do it.”

There­in lies anoth­er prob­lem with Sokal Squared. Hoax­es have been per­pet­u­at­ed by smart, ded­i­cat­ed forg­ers, con-artists, and pranksters in near­ly every field, show­ing up all sorts of experts as poten­tial dupes. The sin­gling out of cul­tur­al stud­ies for par­tic­u­lar ridicule—the char­ac­ter­i­za­tion of stud­ies of race, gen­der, dis­abil­i­ty, etc. as “griev­ance studies”—reveals an aggriev­ed agen­da all its own, one that ignores the seri­ous prob­lems cor­rupt­ing oth­er dis­ci­plines (e.g. indus­try fund­ing in aca­d­e­m­ic sci­ences, or the gross overuse of under­grad­u­ate stu­dents as the main sub­jects of studies—groups that hard­ly rep­re­sent the gen­er­al pop­u­la­tion.)

Some, but not all, of the suc­cess­ful­ly-pub­lished hoax papers sound ludi­crous and ter­ri­ble. Some, in fact, do not, as Justin Wein­berg shows at Dai­ly Nous, and should not shame the edi­tors who pub­lished them. Some of the jour­nals have much high­er edi­to­r­i­al stan­dards than oth­ers. (An ear­ly hoax attempt by Boghoss­ian tar­get­ed an ill-reput­ed, pay-to-play pub­li­ca­tion.) The whole affair may speak to broad­er fail­ures in aca­d­e­m­ic pub­lish­ing that go beyond a tiny cor­ner of the human­i­ties. In part, those fail­ures may stem from a gen­er­al trend toward over­worked, under­paid, increas­ing­ly pre­car­i­ous schol­ars whose dis­ci­plines, and fund­ing, have been under relent­less polit­i­cal attack since at least the 1990s and who must keep grind­ing out pub­li­ca­tions, some­times of dubi­ous mer­it, as part of the over­all dri­ve toward sheer pro­duc­tiv­i­ty as the sole mea­sure of suc­cess.

Relat­ed Con­tent:

Noam Chom­sky Explains What’s Wrong with Post­mod­ern Phi­los­o­phy & French Intel­lec­tu­als, and How They End Up Sup­port­ing Oppres­sive Pow­er Struc­tures

John Sear­le on Fou­cault and the Obscu­ran­tism in French Phi­los­o­phy

Noam Chom­sky Slams Žižek and Lacan: Emp­ty ‘Pos­tur­ing’

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

The Cornell Note-Taking System: Learn the Method Students Have Used to Enhance Their Learning Since the 1940s

How should you take notes in class? Like so many stu­dents who came before me and would come after, I had lit­tle idea in col­lege and even less in high school. The inher­ent­ly ambigu­ous nature of the note-tak­ing task has inspired a vari­ety of meth­ods and sys­tems, few of them as respect­ed as Cor­nell Notes. Invent­ed in the 1940s by Cor­nell Uni­ver­si­ty edu­ca­tion pro­fes­sor Wal­ter Pauk, author of How to Study in Col­lege, Cor­nell Notes involves divid­ing each page up into three sec­tions: one to para­phrase the lec­ture’s main ideas, one to sum­ma­rize those ideas, and one to write ques­tions. After writ­ing down those main ideas dur­ing class, imme­di­ate­ly sum­ma­rize and add ques­tions about the con­tent. Then, while study­ing lat­er, try to answer those ques­tions with­out look­ing at the main body of notes.

You’ll find a com­plete and con­cise expla­na­tion of how to take Cor­nell Notes at Cor­nel­l’s web site, which includes infor­ma­tion on the “Reflect” stage (in which you ask your­self broad­er ques­tions like “What’s the sig­nif­i­cance of these facts?” and “What prin­ci­ple are they based on?”) and the “Review” stage (in which you “spend at least ten min­utes every week review­ing all your pre­vi­ous notes” to aid reten­tion).

For a more detailed visu­al expla­na­tion, have a look at teacher Jen­nifer DesRochers’ instruc­tions for how to take Cor­nell Notes in the video above, which now approach­es one mil­lion views on Youtube. Her own ver­sion encour­ages tak­ing down main-idea sum­maries in draw­ings as well as text, and includ­ing things like “key points” and “impor­tant peo­ple or ideas” in the ques­tion col­umn.

That DesRochers’ video now approach­es one mil­lion views sug­gests stu­dents still find the Cor­nell Notes sys­tem effec­tive, as much as or even more so than they did when Pauk first pub­lished it. Over time, of course, its users have also aug­ment­ed it: take Doug Neil­l’s video “Improv­ing Cor­nell Notes With Sketch­not­ing Tech­niques” above, which com­bines stan­dard Cor­nell Notes with his sys­tem of “sketch­not­ing,” also known as “visu­al note-tak­ing and graph­ic record­ing.”

He pro­vides exam­ples of what such Cor­nell-for­mat­ted sketch­not­ing might look like, explain­ing that “hav­ing the option of doing some­thing more visu­al in your mind trig­gers a dif­fer­ent type of pro­cess­ing pow­er, so that you’re more active in the way that you’re respond­ing to the ideas. You’re not just pas­sive­ly tak­ing in infor­ma­tion.” The nature of school, as stu­dents in every era have known, can often induce a state of pas­siv­i­ty; sys­tems like Cor­nell Notes and its many vari­a­tions remind us of how much more we can learn if we have a way to break out of it.

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:

1,300 Free Online Cours­es from Top Uni­ver­si­ties

Richard Feynman’s “Note­book Tech­nique” Will Help You Learn Any Subject–at School, at Work, or in Life

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

Carl Sagan’s Syl­labus & Final Exam for His Course on Crit­i­cal Think­ing (Cor­nell, 1986)

What’s a Sci­en­tif­i­cal­ly-Proven Way to Improve Your Abil­i­ty to Learn? Get Out and Exer­cise

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.

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