The Isolator: A 1925 Helmet Designed to Eliminate Distractions & Increase Productivity (Created by SciFi Pioneer Hugo Gernsback)

The anti-dis­trac­tion device is the mod­ern mouse­trap: build a bet­ter one, and the world will beat a path to your door. Or so, at least, will the part of the world engaged in the pur­suits we’ve broad­ly labeled “knowl­edge work.” Even among the knowl­edge work­ers who’ve spent most of the past year in pan­dem­ic-prompt­ed iso­la­tion, many still feel besieged by unend­ing claims on their atten­tion. Laments at hav­ing been ren­dered unpro­duc­tive by con­stant dis­trac­tion go back at least to medieval times, but the pro­posed solu­tions to this long-stand­ing prob­lem change with — and reflect — the times. Take the “Iso­la­tor,” the for­mi­da­ble-look­ing wear­able machine above that debuted on the cov­er of July 1925’s Sci­ence and Inven­tion mag­a­zine.

“Per­haps the most dif­fi­cult thing that a human being is called upon to face is long, con­cen­trat­ed think­ing,” writes inven­tor Hugo Gerns­back in the accom­pa­ny­ing arti­cle. “Most peo­ple who desire thus to con­cen­trate find it nec­es­sary to shut them­selves up in an almost sound­proof room in order to go ahead with their work, but even here there are many things that dis­tract their atten­tion.”

Even absent such nui­sances as “street nois­es” and the “tele­phone bell,” the mind seeks out its own dis­trac­tions as if nat­u­ral­ly com­pelled: “You will lean back in your chair and begin to study the pat­tern of the wall­pa­per, or you will see a fly crawl along the wall, or a win­dow cur­tain will be mov­ing back and forth, all of which is often suf­fi­cient to turn your mind away from the imme­di­ate task to be per­formed.”

Gerns­back­’s solu­tion involves a large hel­met, lined with cork and cov­ered in felt, with a baf­fle for breath­ing and glass eye­holes to see through. Paint­ed black but for two thin bands, the eye­holes make it “almost impos­si­ble to see any­thing except a sheet of paper in front of the wear­er. There is, there­fore, no opti­cal dis­trac­tion here.” To pre­vent drowsi­ness, “the writer intro­duced a small oxy­gen tank, attached to the hel­met. This increas­es the res­pi­ra­tion and livens the sub­ject con­sid­er­ably.” And so we arrive at the set­up pic­tured below, orig­i­nal­ly cap­tioned, “The author at work in his pri­vate study aid­ed by the Iso­la­tor. Out­side nois­es being elim­i­nat­ed, the work­er can con­cen­trate with ease upon the sub­ject at hand.” The Iso­la­tor’s patent appears just above, one of 80 for var­i­ous inven­tions that Gerns­back held in his life­time.

What­ev­er the device con­tributed to Gerns­back­’s pro­duc­tiv­i­ty, there can be no ques­tion that the man got a lot done. Not just a con­trib­u­tor to Sci­ence and Inven­tion but also its pub­lish­er, he over­saw a small media empire whose oth­er peri­od­i­cals includ­ed Every­day Sci­ence and Mechan­ics, Sci­en­tif­ic Detec­tive Month­ly, the sin­is­ter-sound­ing Tech­noc­ra­cy Review, and Amaz­ing Sto­ries, which launched in 1926 as the first mag­a­zine devot­ed entire­ly to sci­ence fic­tion (or “sci­en­tific­tion,” as Gerns­back called it). For his advance­ment of the genre he was hon­ored by the World Sci­ence Fic­tion Society’s Annu­al Achieve­ment Awards, bet­ter known as the “Hugos.” Pulp-fic­tion­al though the Iso­la­tor may have looked in 1925 (as indeed it looks now), it rep­re­sents a gen­uine effort to alle­vi­ate with tech­nol­o­gy a both­er­some aspect of the human con­di­tion — and a prece­dent for the new-and-improved iso­la­tion hel­mets engi­neered for the even more dis­tract­ing world in which we live a cen­tu­ry on.

Relat­ed Con­tent:

How to Focus: Five Talks Reveal the Secrets of Con­cen­tra­tion

The Ben­e­fits of Bore­dom: How to Stop Dis­tract­ing Your­self and Get Cre­ative Ideas Again

The Case for Delet­ing Your Social Media Accounts & Doing Valu­able “Deep Work” Instead, Accord­ing to Com­put­er Sci­en­tist Cal New­port

Pico Iyer on “the Art of Still­ness”: How to Enrich Your Busy, Dis­tract­ed Life by Unplug­ging and Stay­ing Put

Medieval Monks Com­plained About Con­stant Dis­trac­tions: Learn How They Worked to Over­come Them

What Hap­pens When You Spend Weeks, Months, or Years in Soli­tary Con­fine­ment

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.

The Story of the Rolling Stones: A Selection of Documentaries on the Quintessential Rock-and-Roll Band

The Rolling Stones define the rock-and-roll band, as they have for near­ly six decades now. Exact­ly how they’ve done so is thor­ough­ly doc­u­ment­ed, not least by the band’s own expan­sive and still-grow­ing cat­a­log of songs and albums (all of which I hap­pen to have spent the last few months lis­ten­ing through). But the sto­ry of the Stones con­tin­ues to com­pel, told and re-told as it is in every form of media pro­duced by each era through which the band has passed: books, arti­cles, pod­casts, and also the sort of doc­u­men­taries we’ve col­lect­ed here today. Some were orig­i­nal­ly pro­duced for tele­vi­sion; oth­ers, like Watch­Mo­jo’s “The Rolling Stones: The Sto­ry & the Songs” above, for the inter­net. Each of them address­es the same ques­tion: how did a cou­ple of blues-obsessed lads from Kent come to run the biggest rock group in the world?

Even when straight­for­ward­ly pre­sent­ed, as in the Biog­ra­phy broad­cast above, the his­to­ry of the Rolling Stones con­sti­tutes a pop-cul­tur­al thrill ride. It begins, by most accounts, with for­mer class­mates Mick Jag­ger and Kei­th Richards bump­ing into each oth­er at a train sta­tion in 1961. Their shared inter­est in music, and espe­cial­ly Amer­i­can blues, inspired them to put a band togeth­er.

Before long, Jag­ger and Richards’ Blues Boys made the acquain­tance of anoth­er band, Blues Incor­po­rat­ed, whose mem­bers includ­ed Bri­an Jones, Ian Stew­art and Char­lie Watts. Though Watts would­n’t join up until lat­er, the oth­er four con­sti­tut­ed most of the first line­up of the Rolling Stones, who made their debut at Lon­don’s Mar­quee Club in July 1962.

You can see a great deal of archive footage depict­ing the Stones in their ear­ly years in the doc­u­men­tary above, Rolling Stones: Rock of Ages. The title implies an obvi­ous and much-repeat­ed joke about the once-rebel­lious young­sters’ insis­tence on rock­ing into rel­a­tive­ly advanced age. But onstage — and the live per­for­mance has always been essen­tial to their appeal, more so even than their albums — they remain very much the same band once pro­mot­ed with the ques­tion “Would you let your sis­ter go with a Rolling Stone?” That line was only one of the strate­gies used by its author, the Stones’ first man­ag­er Andrew Loog Old­ham, to launch his boys into world­wide pop­u­lar­i­ty by fram­ing them as the brash oppo­site of the Bea­t­les — to whom, despite their con­sid­er­able musi­cal dif­fer­ences, one can hard­ly avoid mak­ing ref­er­ence in the sto­ry of the Stones.

Though the bands became fast friends in real life, the press of the 1960s could­n’t resist craft­ing a rival­ry, as recount­ed in The Bea­t­les vs. The Rolling Stones, the Canal+ doc­u­men­tary above. What­ev­er com­pe­ti­tion exist­ed between them (or with Amer­i­can bands like the Beach Boys) only encour­aged them to make their music more pow­er­ful and dis­tinc­tive. This they did in the face of count­less per­son­al and pro­fes­sion­al set­backs, which for the Stones includ­ed the loss of found­ing mem­ber Bri­an Jones and the vio­lent Alta­mont Free Con­cert, wide­ly inter­pret­ed as the end of the utopi­an 1960s. As prod­ucts and sur­vivors of that era, the Stones also remain embod­i­ments of its insou­ciant ambi­tion. “For my gen­er­a­tion, what was hap­pen­ing and the feel­ing in the air was: it’s time to push lim­its, says no less a sur­vivor than the sub­ject of Kei­th Richards: The Ori­gin Of The Species. “The world is ours now, and you can rise or fall on it.”

Relat­ed Con­tent:

A Visu­al His­to­ry of The Rolling Stones Doc­u­ment­ed in a Beau­ti­ful, 450-Page Pho­to Book by Taschen

Watch the Rolling Stones Write “Sym­pa­thy for the Dev­il”: Scenes from Jean-Luc Godard’s ’68 Film One Plus One

Revis­it the Infa­mous Rolling Stones Free Fes­ti­val at Alta­mont: The Ill-Fat­ed Con­cert Took Place 50 Years Ago

The Rolling Stones at 50: Mick, Kei­th, Char­lie & Ron­nie Revis­it Their Favorite Songs

Watch the Rolling Stones Play “You Can’t Always Get What You Want” While Social Dis­tanc­ing in Quar­an­tine

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 Makes Citizen Kane a Great Film: 4 Video Essays Revisit Orson Welles’ Masterpiece on the 80th Anniversary of Its Premiere

To under­stand why Cit­i­zen Kane has for so long been referred to as the “great­est film of all time,” sim­ply watch any film made before it. Glib though that often-made pre­scrip­tion may sound, it gets at a truth about Orson Welles’ tale of the rise and fall of an Amer­i­can media mag­nate, his first and by far his most high­ly regard­ed pic­ture, now just days from the eight­i­eth anniver­sary of its pre­miere. “Its impact on cin­e­ma was so pro­found, and its tech­niques became so ubiq­ui­tous, that its once-rad­i­cal ideas now seem com­mon­place,” says the nar­ra­tor of the Youtube series One Hun­dred Years of Cin­e­ma, whose episode on the year 1941 could hard­ly have focused on any oth­er movie.

Among Cit­i­zen Kane’s most vis­i­ble inno­va­tions is cin­e­matog­ra­ph­er Gregg Toland’s use of deep focus, which allows Welles and his col­lab­o­ra­tors to make con­stant nar­ra­tive use of every visu­al detail. This encour­ages the audi­ence to “read the whole frame at once, much in the same way that one would read a paint­ing, each lay­er adding an ele­ment to the sto­ry.”

More sub­tly, “what sep­a­rat­ed Citi­zen Kane from the kind of films that pre­ced­ed it was the over­all ambiva­lence of its tone. It’s a film about one of the wealth­i­est, most suc­cess­ful men in the world, and yet per­me­at­ing the entire film is the gloom of fail­ure.” The lega­cy of these and oth­er dar­ing artis­tic choic­es man­i­fest in the work of sub­se­quent gen­er­a­tions of direc­tors, includ­ing such names cit­ed in the brief Fan­dor video essay above as Quentin Taran­ti­no, Mar­tin Scors­ese, Wes Ander­son, and Steven Spiel­berg.

“The cre­ators of Cit­i­zen Kane had the free­dom to play and inno­vate,” says Michael Aran­da in the episode of Crash Course Film Crit­i­cism above. “Many of their tech­ni­cal exper­i­ments changed the way film was being used as a sto­ry­telling medi­um — which, arguably, could be anoth­er way to define ‘great­ness.’ ” Welles him­self put it dif­fer­ent­ly: “There is a great gift that igno­rance has to bring to any­thing. That was the gift I brought to Kane, igno­rance.” Of course, he had the good excuse of being 25 years old, although already more than estab­lished on the stage and the radio. When Hol­ly­wood came call­ing, he brought his cre­ative­ly spir­it­ed Mer­cury The­atre Play­ers with­in to make use of the rel­a­tive­ly vast pro­duc­tion resources avail­able at RKO Pic­tures. One of Welles’ col­lab­o­ra­tors in par­tic­u­lar has recent­ly been back in the pub­lic eye: Her­man J. Mankiewicz, who’d pre­vi­ous­ly writ­ten scripts for Welles’ Camp­bell Play­house series on CBS Radio.

David Fincher’s bio­graph­i­cal dra­ma Mank, which won a cou­ple of Acad­e­my Awards last week­end, tells the sto­ry of the trou­bled screen­writer’s involve­ment with Cit­i­zen Kane. Orig­i­nal­ly writ­ten by Fincher’s father, Mank drew its first inspi­ra­tion from “Rais­ing Kane,” a 1971 essay by New York­er film crit­ic Pauline Kael that famous­ly depict­ed Mankiewicz, not Welles, as Cit­i­zen Kane’s pri­ma­ry author. Sub­se­quent schol­ar­ship, as explained in the Roy­al Ocean Film Soci­ety video above, has revealed that Kael was labor­ing under a mis­ap­pre­hen­sion (if not a grudge). But the fact remains that all the par­tic­i­pants in Cit­i­zen Kane did their bit to great­ly advance the medi­um of cin­e­ma, and for the young Welles the pic­ture became proof of his artis­tic matu­ri­ty: a mas­ter­piece, in the orig­i­nal sense.

Relat­ed Con­tent:

Orson Welles Explains Why Igno­rance Was His Major “Gift” to Cit­i­zen Kane

Jorge Luis Borges Reviews Cit­i­zen Kane — and Gets a Response from Orson Welles

Jean-Paul Sartre Reviews Orson Welles’ Mas­ter­work (1945): “Cit­i­zen Kane Is Not Cin­e­ma”

When Ted Turn­er Tried to Col­orize Cit­i­zen Kane: See the Only Sur­viv­ing Scene from the Great Act of Cin­e­mat­ic Sac­ri­lege

How Orson Welles’ F for Fake Teach­es Us How to Make the Per­fect Video Essay

What Makes Ver­ti­go the Best Film of All Time? Four Video Essays (and Mar­tin Scors­ese) Explain

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 Colorized 1940s Footage of London after the Blitz: Scenes from Trafalgar Square, Piccadilly Circus, Buckingham Palace & More

“Reg­u­lar fea­tures of the time: neat­ly swept-up piles of glass, lit­ter of stone and splin­ters of flint, smell of escap­ing gas, knots of sight­seers wait­ing at the cor­dons.”

– George Orwell

What was it like to live in Lon­don dur­ing and after the Blitz? George Orwell’s note­books from the time con­tain a “fas­ci­nat­ing account of every­day life in Lon­don dur­ing the Sec­ond World War,” full of jour­nal­is­tic detail, the British Library writes. In Orwell’s esti­ma­tion, the city was riv­en with class divides. “Despite his crit­i­cism of Stal­in­ism, Orwell remained a con­vinced social­ist all his life.” He believed the war could only be won if it turned into a rev­o­lu­tion. “When you see how the wealthy are still behav­ing, in what is man­i­fest­ly devel­op­ing into  a rev­o­lu­tion­ary war,” he wrote in a diary entry that would become the 1941 essay The Lion and the Uni­corn, “you think of St. Peters­burg in 1916.”

Orwell may have been wrong about the rev­o­lu­tion, but he report­ed hon­est­ly on much of what was hap­pen­ing in Lon­don. Mean­while, the Min­istry of Infor­ma­tion pro­duced a short pro­pa­gan­da film in 1940 for the Amer­i­can pub­lic called “Lon­don Can Take It.” The tone was in keep­ing with the “Keep Calm and Car­ry On” ethos we asso­ciate with Britain in the peri­od. A com­pan­ion film, “Britain Can Take It,” sim­i­lar­ly sold the “illu­sion of social uni­ty,” Craig Stew­art Hunter writes, “cre­at­ed by the use of films and oth­er media to por­tray pos­i­tive morale.” (View many more British WWII pro­pa­gan­da films here.) These did not account for “grow­ing dis­en­chant­ment in urban areas, which found them­selves ‘unable to take it,’ so to speak.”

Peter Watts writes in The Guardian about once-vibrant city blocks that were demol­ished by the fire­bomb­ing, then lat­er turned into park­ing garages. Many of these neigh­bor­hoods were then, in the 1960s, fold­ed into mas­sive estate hous­ing projects with “high-rise tow­ers nobody want­ed to live in,” says Peter Larkham, pro­fes­sor of plan­ning at Birm­ing­ham School of the Built Envi­ron­ment. Could Lon­don take it? It depend­ed on which Lon­don one meant, in the long run. But dur­ing the war itself, there was per­haps more social cohe­sion than Orwell was will­ing to grant, giv­en that some­thing like one in every six Lon­don­ers suf­fered home­less­ness dur­ing the bomb­ing cam­paign and over 40,000 civil­ians lost their lives.

The degree of Britain’s nation­al uni­ty dur­ing the war remains “a con­tin­u­ing his­to­ri­o­graph­i­cal debate,” writes Hunter, ever since” the gen­er­a­tion of his­to­ri­ans born after the war… have been able to write with more crit­i­cal detach­ment.” And since most every­one alive then is no longer, ideas about what it felt like to be in Lon­don dur­ing WWII will change as his­to­ri­ans view the source mate­r­i­al dif­fer­ent­ly over time.

But thanks to pho­tog­ra­phy and film from the peri­od, we’ll always have a fair­ly good idea of what Lon­don looked like dur­ing the war, though we’ll have to make do, until the AI “becomes more mature,” as the poster of the video com­pi­la­tion above notes, with infe­ri­or col­oriza­tion tech­niques. (Yes, they know, the bus­es should be red.)

The var­i­ous scenes have been motion-sta­bi­lized, slight­ly speed-cor­rect­ed, enhanced and col­orized by means of sophis­ti­cat­ed Arti­fi­cial Intel­li­gence soft­ware. 

The film shows remark­able scenes of bomb dam­age, close up film­ing of the release of bar­rage bal­loons, anti-air­craft gun posi­tions, traf­fic at Trafal­gar Square, Pic­cadil­ly Cir­cus, mil­i­tary parades in front of Buck­ing­ham Palace, beau­ti­ful scenes of the Thames dur­ing day­time and at dusk, Water­loo Sta­tion, and much more.

Most of the film dates from late 1943, but some of the footage of Water­loo sta­tion and Pic­cadil­ly Cir­cus comes from the late 1930s and it ends with a minute of VE day on 8 May 1945. All of the footage comes from the Prelinger Archives. Can we see nation­al uni­ty in the crowds of peo­ple going about their busi­ness amidst a city full of arma­ments and rub­ble? Is it vis­i­ble to the naked eye? See time­stamped descrip­tions of the loca­tion and action in each clip at the video’s YouTube page here.

Relat­ed Con­tent: 

WWII Britain Revis­it­ed in 120 Short Films, Now Free on the Web

Dra­mat­ic Col­or Footage Shows a Bombed-Out Berlin a Month After Germany’s WWII Defeat (1945)

How to Behave in a British Pub: A World War II Train­ing Film from 1943, Fea­tur­ing Burgess Mered­ith

The Old­est Known Footage of Lon­don (1890–1920) Fea­tures the City’s Great Land­marks

How the Fences & Rail­ings Adorn­ing London’s Build­ings Dou­bled (by Design) as Civil­ian Stretch­ers in World War II

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

Behold the 1940s Typewriter That Could Type in English, Chinese & Japanese: Watch More Than a Thousand Different Characters in Action

There was a time, not long after the wide­spread adop­tion of teleg­ra­phy in the 19th cen­tu­ry, when the writ­ten Chi­nese lan­guage looked doomed. Or at least it did to cer­tain thinkers con­sid­er­ing the impli­ca­tions of that instant glob­al com­mu­ni­ca­tion-enabling tech­nol­o­gy hav­ing been devel­oped for the rel­a­tive­ly sim­ple Latin alpha­bet. And as unsuit­ed as the Chi­nese writ­ing sys­tem must have seemed to the world of the tele­graph, it would have pre­sent­ed a seem­ing­ly even heav­ier bur­den in the world of the type­writer.

Only in 1916, thanks to the efforts of a U.S.-educated Shang­hai engi­neer named Hou-Kun Chow, did the Chi­nese type­writer debut, built around a large, revolv­ing cylin­der that could print 4,000 ideo­graph­ic (that is to say, each one rep­re­sent­ing a dif­fer­ent word or sound) char­ac­ters. From that point the evo­lu­tion of the Chi­nese type­writer was rather quick, by the stan­dards of the day. And it did­n’t only hap­pen in Chi­na: Japan, whose own writ­ten lan­guage incor­po­rates many ideo­graph­ic Chi­nese char­ac­ters, had been sub­ject to more intense tech­no­log­i­cal influ­ence from the West since open­ing to for­eign trade in the 1860s.

The very year after its found­ing in 1939, elec­tron­ics-giant-to-be Toshi­ba (the prod­uct of a merg­er involv­ing Japan’s first mak­er of tele­graph equip­ment) pro­duced the first Japan­ese cylin­dri­cal type­writer. “Most­ly used by the Japan­ese mil­i­tary dur­ing World War II,” says the Vin­tage Type­writer Muse­um, it incor­po­rat­ed 630 char­ac­ters. After the war “Toshi­ba intro­duced a new mod­el, the 1200 A, fea­tur­ing 1172 Japan­ese and Chi­nese char­ac­ters.” In the video above, from Youtu­ber by the name of Type­writer Col­lec­tor, you can see a slight­ly lat­er mod­el in action.

Pro­duced before the intro­duc­tion of “West­ern-style” key­boards, the Toshi­ba BW-2112 has the same inter­face as its pre­de­ces­sors: “The char­ac­ter is select­ed by rotat­ing the cylin­der and shift­ing it hor­i­zon­tal­ly, so that the nec­es­sary char­ac­ter is select­ed with the index point­er,” accord­ing to the Vin­tage Type­writer Muse­um. “When the print key is depressed, the type strip is pushed upwards from the cylin­der, and the type ham­mer swings to the cen­ter to print the char­ac­ter onto the paper.”

These vin­tage Japan­ese type­writ­ers still today strike their view­ers as mar­vels of engi­neer­ing, though their then-vast store of char­ac­ters (which includ­ed not just Chi­nese-derived kan­ji but pho­net­ic kana and even the Latin alpha­bet) have long since been sur­passed by dig­i­tal tech­nol­o­gy. Now that every stu­den­t’s smart­phone puts all 50,000 or extant Chi­nese char­ac­ters in their com­mand — to say noth­ing of the world’s oth­er writ­ten lan­guages — it’s safe to say they’re not about to fall into dis­use any time soon.

via Messy Nessy

Relat­ed con­tent:

The Endur­ing Ana­log Under­world of Gramer­cy Type­writer

Dis­cov­er Friedrich Nietzsche’s Curi­ous Type­writer, the “Malling-Hansen Writ­ing Ball” (Cir­ca 1881)

When IBM Cre­at­ed a Type­writer to Record Dance Move­ments (1973)

Dis­cov­er the Inge­nious Type­writer That Prints Musi­cal Nota­tion: The Keaton Music Type­writer Patent­ed in 1936

Free Chi­nese Lessons

Learn Japan­ese Free

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.

The Meaning of Hieronymus Bosch’s The Garden of Earthly Delights Explained

Over the half-mil­len­ni­um since Hierony­mus Bosch paint­ed it, The Gar­den of Earth­ly Delights has pro­duced an ever-widen­ing array of inter­pre­ta­tions. Is it “a paint­ing about sex­u­al free­dom”? A “medieval acid trip”? An “erot­ic fan­ta­sy”? A “hereti­cal attack on the church”? The work of “a mem­ber of an obscure free-love cult”? James Payne, the Lon­don cura­tor behind the Youtube chan­nel Great Art Explained, rejects all these views. In the open­ing of the in-depth video analy­sis above, he describes Bosch’s well-known and much-scru­ti­nized late-15th or ear­ly-16th cen­tu­ry trip­tych as, “pure and sim­ply, hard­core Chris­tian­i­ty.”

Dat­ing from “a time when Euro­pean artists, writ­ers, and the­olo­gians were shap­ing a new, ter­ri­fy­ing vision of Hell and the pun­ish­ment await­ing sin­ners,” Payne argues, The Gar­den of Earth­ly Delights is “an intense­ly moral­is­tic work that should be approached as what it is: reli­gious pro­pa­gan­da.”

Depict­ing the Bib­li­cal cre­ation of the world on its out­er pan­els, the work opens up to reveal elab­o­rate­ly detailed visions of Adam and Eve in the Gar­den of Eden, then human­i­ty indulging in all known earth­ly delights, then the con­se­quent tor­ments of Hell. It is that last pan­el, with its abun­dance of per­verse activ­i­ties and grotesque human, ani­mal, and human-ani­mal fig­ures (recent­ly made into fig­urines and even piñatas) that keeps the strongest hold on our imag­i­na­tion today.

Payne’s expla­na­tion goes into detail on all aspects of the work, high­light­ing and con­tex­tu­al­iz­ing details that even avowed appre­ci­a­tors may not have con­sid­ered before. While iden­ti­fy­ing both the pos­si­ble inspi­ra­tions and the pos­si­ble sym­bol­ic inten­tions of the fig­ures and sym­bols with which Bosch filled the trip­tych, Payne empha­sizes that, as far as the artist was con­cerned, “his images were a real­is­tic por­tray­al of sin and its con­se­quences, so in that sense, it was­n’t sur­re­al­ism, it was real­ism.” This bears repeat­ing, giv­en how dif­fi­cult we mod­erns find it “to look at this paint­ing and not see it as sur­re­al­ism or a prod­uct of the sub­con­scious, not see it as a sex­u­al utopia, a cri­tique of reli­gion, or even a psy­che­del­ic romp.” Just as The Gar­den of Earth­ly Delights tells us a great deal about the world Bosch lived in, so our views of it tell us a great deal about the world we live in.

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

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Relat­ed Con­tent:

Take a Vir­tu­al Tour of Hierony­mus Bosch’s Bewil­der­ing Mas­ter­piece The Gar­den of Earth­ly Delights

Hierony­mus Bosch’s Medieval Paint­ing The Gar­den of Earth­ly Delights Comes to Life in a Gigan­tic, Mod­ern Ani­ma­tion

Take a Mul­ti­me­dia Tour of the But­tock Song in Hierony­mus Bosch’s Paint­ing The Gar­den of Earth­ly Delights

The Musi­cal Instru­ments in Hierony­mus Bosch’s The Gar­den of Earth­ly Delights Get Brought to Life, and It Turns Out That They Sound “Painful” and “Hor­ri­ble”

New App Lets You Explore Hierony­mus Bosch’s “The Gar­den of Earth­ly Delights” in Vir­tu­al Real­i­ty

Fig­ures from Hierony­mus Bosch’s The Gar­den of Earth­ly Delights Come to Life as Fine Art Piñatas

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.

3D Print 18,000 Famous Sculptures, Statues & Artworks: Rodin’s Thinker, Michelangelo’s David & More

To recent news sto­ries about 3D print­ed gunspros­thet­ics, and homes, you can add Scan the World’s push to cre­ate “an ecosys­tem of 3D print­able objects of cul­tur­al sig­nif­i­cance.”

Items that took the ancients untold hours to sculpt from mar­ble and stone can be repro­duced in con­sid­er­ably less time, pro­vid­ed you’ve got the tech­nol­o­gy and the know-how to use it.

Since we last wrote about this free, open source ini­tia­tive in 2017, Scan the World has added Google Arts and Cul­ture to the many cul­tur­al insti­tu­tions with whom it part­ners, expand­ing both its audi­ence and the audi­ence of the muse­ums who allow items in their col­lec­tions to be scanned pri­or to 3D print­ing.


Com­mu­ni­ty con­trib­u­tors have uploaded scan data for over 18,000 sculp­tures and arti­facts onto the plat­form.

Chi­na and India are active­ly court­ing par­tic­i­pants to make some of their trea­sures avail­able.

Although Scan the World is search­able by col­lec­tion, artist, and loca­tion, with so many options, the com­mu­ni­ty blog is a great place to start.

Here you will find help­ful tips for begin­ners hop­ing to pro­duce real­is­tic look­ing skulls and sculp­tures — con­trol your tem­per­a­ture, shake your resin, and learn from your mis­takes.

Got an unreach­able object you’re itch­ing to print? Take a look at the drone pho­togram­me­try tuto­r­i­al to prep your­self for tak­ing a good scan — rotate slow­ly, remem­ber the impor­tance of light, and get up to speed on your drone by test-dri­ving it in an open loca­tion.

Keep an eye peeled for com­pe­ti­tions, like this one, which was won by a pho­to edi­tor and retouch­er with no for­mal 3‑D train­ing.

Art lovers with lit­tle incli­na­tion to crack out the 3D print­er will find inter­est­ing essays on such top­ics as the Gates of Hellscan­ning in the pan­dem­ic, and the his­to­ry of hair­styles in sculp­ture

You can also embark on a vir­tu­al tour of some of the glob­al loca­tions whose splen­dors are being scanned, pro­grammed, and ren­dered in resin.

vir­tu­al trip to Paris takes in some of the Louvre’s great­est 3‑dimensional hits: the Venus de Milo, Winged Vic­to­ry, and Psy­che Revived by Cupid’s Kiss.

(Any one of those ough­ta class up the ol’ bed­sit…)

The vir­tu­al trip to Aus­tria includes Kierling’s mon­u­ment to Franz Kaf­ka, the Beethoven memo­r­i­al in Vienna’s Heili­gen­städter Park, and Klaus Weber’s trib­ute to Hugo Rheinhold’s Dar­win­ian sculp­ture, Mon­key with Skull. (1,868 down­loads and count­ing!)

Google map awaits those who would tour the orig­i­nal fla­vor inspi­ra­tions in per­son.

Begin your explo­rations of Scan the World here, and do let us know in the com­ments if you have plans for print­ing.

Relat­ed Con­tent:

3D Scans of 7,500 Famous Sculp­tures, Stat­ues & Art­works: Down­load & 3D Print Rodin’s Thinker, Michelangelo’s David & More

The Earth Archive Will 3D-Scan the Entire World & Cre­ate an “Open-Source” Record of Our Plan­et

The British Muse­um Cre­ates 3D Mod­els of the Roset­ta Stone & 200+ Oth­er His­toric Arti­facts: Down­load or View in Vir­tu­al Real­i­ty

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er, Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine, and some­times, a French Cana­di­an bear known as L’Ourse.  Fol­low her @AyunHalliday.

30,000 People Line Up for the First McDonald’s in Moscow, While Grocery Store Shelves Run Empty (1990)

Every­one has wait­ed in a long line — for burg­ers, Broad­way tick­ets, Black Fri­day sales… But few us have the noto­ri­ous queu­ing resilience of the Sovi­ets. “When the first McDonald’s arrived in Moscow in 1990, the city went mad,” Boris Egorov writes at Rus­sia Beyond. “Thou­sands of Mus­covites flocked to the new burg­er joint, form­ing lines sev­er­al kilo­me­ters long in the cen­ter of Moscow on Pushkin­skaya Square.” On its first day, the restau­rant oblit­er­at­ed the pre­vi­ous record for most McDonald’s cus­tomers (9,100 in Budapest), serv­ing over 30,000 peo­ple, a tes­ta­ment to the for­ti­tude of the employ­ees. The CBC news seg­ment on the open­ing above quotes a line from Pushkin to set the scene: “a feast in a time of plague.”

Stereo­types of fast food work­ers as lack­ing in skill and ambi­tion did not find pur­chase here. “The first work­ers,” Egorov notes, “were the crème de la crème of Sovi­et youth: stu­dents from pres­ti­gious uni­ver­si­ties who could speak for­eign lan­guages with bril­liant cus­tomer ser­vice skills.” Their cheer­ful­ness so unnerved some cus­tomers that they were asked to tone it down for Rus­sians “accus­tomed to rude, boor­ish ser­vice.”

Cus­tomers seemed less awed by the iconog­ra­phy than the “sim­ple sight of polite shop work­ers,” wrote an Amer­i­can jour­nal­ist. The restau­rant, once a tourist attrac­tion, notes trav­el site Bridge to Moscow, had “more than 700 seats inside and 200 out­side,” and was once the largest McDonald’s in the world.

The Moscow McDonald’s rep­re­sent­ed more for Rus­sians than an Amer­i­can nov­el­ty. Orig­i­nal cus­tomer Kse­nia Oski­na had nev­er heard of McDonald’s before she vis­it­ed. She lat­er saved her Big Mac box. “I used that Big Mac box for a long time and put my sand­wich in there instead of a lunch­box,” she tells The Wash­ing­ton Post. “I’d clean it, dry it on the heater and then use it again.” It was­n’t about brand recog­ni­tion for many who duti­ful­ly lined up to pay half a day’s wages for a cou­ple “thin slabs of meat and sliced veg­eta­bles between buns of bread.” (Sor­ry… “two all-beef pat­ties, spe­cial sauce, let­tuce, cheese, and a sesame seed bun…..”)

What did Sovi­et Rus­sians, who had not been raised to sing fast food adver­tis­ing jin­gles, see in the new restau­rant? Capitalism’s promis­es of abun­dance. One Sovi­et jour­nal­ist wrote of McDonald’s as “the expres­sion of America’s ratio­nal­ism and prag­ma­tism toward food.” Just months after­ward, the first Piz­za Hut arrived. As the Sovi­et Union dis­solved less than two years lat­er, the coun­try saw the cre­ation of more desire for high-calo­rie, ultra-processed foods with West­ern-style TV ads: most famous­ly a Piz­za Hut spot from 1997 fea­tur­ing the U.S.S.R.’s last pre­mier, Mikhail Gor­bachev. (“Because of him, we have Piz­za Hut!”)

The pol­i­tics may have mat­tered lit­tle to the aver­age Mus­covite McDonald’s cus­tomer in 1990. “Vis­it­ing the restau­rant was less a polit­i­cal state­ment than an oppor­tu­ni­ty to enjoy a small plea­sure in a coun­try still reel­ing from dis­as­trous eco­nom­ic prob­lems and inter­nal polit­i­cal tur­moil,” notes History.com. Large, seem­ing­ly abstract prob­lems had tan­gi­ble effects: the emp­ty gro­cery stores for which the fail­ing empire became famous.

The Moscow McDonald’s was a col­or­ful oasis for its first cus­tomers, who had no sen­ti­men­tal asso­ci­a­tions with burg­ers and fries. Now, those tastes are nos­tal­gic. “I love it,” said Oski­na thir­ty years lat­er. “For some rea­son in Amer­i­ca, it’s not as tasty as it is here.” Insert your own dat­ed Yakov Smirnoff ref­er­ence.

Relat­ed Con­tent: 

Watch Metal­li­ca Play “Enter Sand­man” Before a Crowd of 1.6 Mil­lion in Moscow, Dur­ing the Final Days of the Sovi­et Union (1991)

Watch Andy Warhol Eat an Entire Burg­er King Whopper–While Wish­ing the Burg­er Came from McDonald’s (1981)

The Beau­ti­ful, Inno­v­a­tive & Some­times Dark World of Ani­mat­ed Sovi­et Pro­pa­gan­da (1925–1984)

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

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