A Brief Introduction to Buckminster Fuller and His Techno-Optimistic Ideas

Buck­min­ster Fuller was, in many ways, a twen­ty-first cen­tu­ry man: an achieve­ment in itself, con­sid­er­ing he was born in the nine­teenth cen­tu­ry and died in the twen­ti­eth. In fact, it may actu­al­ly count as his defin­ing achieve­ment. For all the inven­tions pre­sent­ed as rev­o­lu­tion­ary that nev­er real­ly caught on — the Dymax­ion house and car, the geo­des­ic dome — as well as the count­less pages of eccen­tri­cal­ly the­o­ret­i­cal writ­ing and even more count­less hours of talk, it can be dif­fi­cult for us now, here in the actu­al twen­ty-first cen­tu­ry, to pin down the civ­i­liza­tion­al impact he so earnest­ly longed to make. But to the extent that he embod­ied the faith, born of the com­bi­na­tion of indus­tri­al might and exis­ten­tial dread that col­ored the post­war Amer­i­can zeit­geist, that tech­nol­o­gy can ratio­nal­ly re-shape the world, we’re all his intel­lec­tu­al chil­dren.

In the video above, Joe Scott pro­vides an intro­duc­tion to Fuller and his world in about ten min­utes. After a much-ref­er­enced Dam­a­scene con­ver­sion, the once-dis­solute Fuller spent most of his life “try­ing to solve the world’s prob­lems,” Scott says, “specif­i­cal­ly in find­ing ways to save resources and pro­vide for every­body on the plan­et: to do more with less, as we would say.”

The title he gave him­self of “com­pre­hen­sive antic­i­pa­to­ry design sci­en­tist” neat­ly rep­re­sents both his glob­al­ly, even uni­ver­sal­ly scaled ambi­tions, as well as his com­pul­sive knack for self-pro­mo­tion. If the designs he came up with to achieve his utopi­an ends nev­er took root in soci­ety (even geo­des­ic domes end­ed up as some­thing like “the hula hoop of twen­ti­eth-cen­tu­ry archi­tec­ture,” James Gle­ick writes, in that they were “every­where, and then they were a bit sil­ly”), the prob­lem had in part to do with the ten­den­cy of his grand visions to out­pace the func­tion­al tech­nol­o­gy of his day.

In his sen­si­bil­i­ty, too, “Bucky” Fuller can come off as a famil­iar type in our own time, even to those who’ve nev­er heard of him. “There is no doubt what­ev­er in Fuller’s mind that the whole devel­op­ment of mod­ern sci­ence and tech­nol­o­gy has result­ed from a will­ing­ness on the part of a very few men to sail into the wind of tra­di­tion, to trust in their own intel­lect, and to take advan­tage of their nat­ur­al mobil­i­ty,” wrote the New York­er’s Calvin Tomp­kins in a 1966 pro­file. No won­der he appealed to the Whole Earth Cat­a­log coun­ter­cul­ture of that decade, which even­tu­al­ly evolved into the cul­ture of what we now call Sil­i­con Val­ley, where no declared inten­tion to rein­vent the way humans live and work is too ridicu­lous­ly ambi­tious. Though few fig­ures could have seemed more like­ly to turn per­ma­nent­ly passé, Buck­min­ster Fuller con­tin­ues to inspire fas­ci­na­tion — and in a way, as a patron saint of tech­no-opti­mism, he lives on today.

Relat­ed con­tent:

A Three-Minute Intro­duc­tion to Buck­min­ster Fuller, One of the 20th Century’s Most Pro­duc­tive Design Vision­ar­ies

Buck­min­ster Fuller Tells the World “Every­thing He Knows” in a 42-Hour Lec­ture Series (1975)

Buck­min­ster Fuller, Isaac Asi­mov & Oth­er Futur­ists Make Pre­dic­tions About the 21st Cen­tu­ry in 1967: What They Got Right & Wrong

Buck­min­ster Fuller’s Dymax­ion Sleep Plan: He Slept Two Hours a Day for Two Years & Felt “Vig­or­ous” and “Alert”

The Life & Times of Buck­min­ster Fuller’s Geo­des­ic Dome: A Doc­u­men­tary

A New Online Archive Lets You Read the Whole Earth Cat­a­log and Oth­er Whole Earth Pub­li­ca­tions, Tak­ing You from 1970 to 2002

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Watch the Evolution of Paris Unfold in a Timelapse Video, from 300 BCE to 2025

Though it’s eas­i­ly for­got­ten in our age of air trav­el and instan­ta­neous glob­al com­mu­ni­ca­tion, many a great city is locat­ed where it is because of a riv­er. That holds true every­where from Lon­don to Buenos Aires to Tokyo to New York — and even to Los Ange­les, despite its own once-uncon­trol­lable riv­er hav­ing long since been turned into a much-ridiculed con­crete drainage chan­nel. But no urban water­way has been quite so roman­ti­cized for quite so long as the Seine, which runs through the mid­dle of Paris. And it was in the mid­dle of the Seine, on the now-apt­ly named Île de la Cité, that Paris began. In the 3D time-lapse video above, you can wit­ness the near­ly two-and-a-half-mil­len­ni­um evo­lu­tion of that tiny set­tle­ment into the cap­i­tal we know today in just three min­utes.

Paris did­n’t take its shape in a sim­ple process of out­ward growth. As is vis­i­ble from high above through the video’s ani­ma­tion, the city has grown dif­fer­ent­ly in each era of its exis­tence, whether it be that of the Parisii, the tribe from whom it takes its name; of the Roman Empire, which con­struct­ed the stan­dard Car­do Max­imus (now known as the Rue Saint-Jacques) and Decumanus Max­imus, among much oth­er infra­struc­ture; the Mid­dle Ages, amid whose great (and hap­haz­ard) den­si­fi­ca­tion rose Notre-Dame de Paris; or the time of Baron Hauss­mann, whose rad­i­cal urban ren­o­va­tions laid waste to great swathes of medieval Paris and replaced them with the broad avenues, state­ly res­i­den­tial build­ings, and grand mon­u­ments rec­og­nized around the world today.

At first glance, the built envi­ron­ment of mod­ern Paris can seem to have been frozen in Hauss­man­n’s mid-nine­teenth cen­tu­ry — and no doubt, that’s just the way its count­less many tourists might want it. But as shown in the video, the Ville Lumière has kept chang­ing through­out the indus­tri­al era, and has­n’t stopped in the suc­ceed­ing “glob­al­iza­tion era.” More growth and trans­for­ma­tion has late­ly tak­en place out­side cen­tral Paris, beyond the encir­cling Boule­vard Périphérique, but it would hard­ly do jus­tice to his­to­ry to ignore such more rel­a­tive­ly recent, more divi­sive addi­tions as the Tour Mont­par­nasse, the Cen­tre Pom­pi­dou, or the Lou­vre Pyra­mid. (When it was built in the eigh­teen-eight­ies, even the beloved Eif­fel Tow­er drew a great deal of ire and dis­dain.) And though the ven­er­a­ble Notre-Dame may have stood on Île de la Cité since the four­teenth cen­tu­ry, the thor­ough­go­ing recon­struc­tion that fol­lowed its 2019 fire has made it belong just as much to the twen­ty-first. 

via Kot­tke

Relat­ed con­tent:

A 3D Ani­mat­ed His­to­ry of Paris: Take a Visu­al Jour­ney from Ancient Times to 1900

How Paris Became Paris: The Sto­ry Behind Its Icon­ic Squares, Bridges, Mon­u­ments & Boule­vards

A 3D Ani­ma­tion Reveals What Paris Looked Like When It Was a Roman Town

Take an Aer­i­al Tour of Medieval Paris

The Archi­tec­tur­al His­to­ry of the Lou­vre: 800 Years in Three Min­utes

An Ani­mat­ed His­to­ry of Ver­sailles: Six Min­utes of Ani­ma­tion Show the Con­struc­tion of the Grand Palace Over 400 Years

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

What Happens When Mortals Try to Drink Winston Churchill’s Daily Intake of Alcohol

I have tak­en more out of alco­hol than alco­hol has tak­en out of me. — Win­ston Churchill

Win­ston Churchill had a rep­u­ta­tion as a bril­liant states­man and a prodi­gious drinker.

The for­mer prime min­is­ter imbibed through­out the day, every day.  He also burned through 10 dai­ly cig­ars, and lived to the ripe old age of 90.

His come­back to Field Mar­shal Bernard Mont­gomery’s boast that he nei­ther smoked nor drank, and was 100 per­cent fit was “I drink and smoke, and I am 200 per­cent fit.”

First Lady Eleanor Roo­sevelt mar­veled “that any­one could smoke so much and drink so much and keep per­fect­ly well.”

In No More Cham­pagne: Churchill and His Mon­ey, author David Lough doc­u­ments Churchill’s dis­as­trous alco­hol expens­es, as well as the bot­tle count at Chartwell, his Ken­tish res­i­dence. Here’s the tal­ly for March 24,1937:

180 bot­tles and 30 half bot­tles of Pol Roger cham­pagne

20 bot­tles and 9 half bot­tles of oth­er cham­pagne

100+ bot­tles of claret

117 bot­tles and 389 half bot­tles of Barsac

13 bot­tles of brandy

5 bot­tles of cham­pagne brandy

7 bot­tles of liqueur whisky


All that liquor was not going to drink itself.

Did Churchill have a hol­low leg?  An extra­or­di­nar­i­ly high tol­er­ance? An uncan­ny abil­i­ty to mask his intox­i­ca­tion?

Whiskey som­me­li­er Rex Williams, a founder of the Whiskey Tribe YouTube chan­nel, and pod­cast host Andrew Heaton endeav­or to find out, above, by ded­i­cat­ing a day to the British Bulldog’s drink­ing reg­i­men.

They’re not the first to under­take such a fol­ly.

The Dai­ly Telegraph’s Har­ry Wal­lop doc­u­ment­ed a sim­i­lar adven­ture in 2015, wind­ing up queasy, and to judge by his 200 spelling mis­takes, cog­ni­tive­ly impaired.

Williams and Heaton’s on-cam­era exper­i­ment achieves a Drunk His­to­ry vibe and tell­tale flushed cheeks.

Here’s the drill, not that we advise try­ing it at home:

BREAKFAST

An eye open­er of John­nie Walk­er Red — just a splash — mixed with soda water to the rim.

Fol­low with more of the same through­out the morn­ing.

This is how Churchill, who often con­duct­ed his morn­ing busi­ness abed in a dress­ing gown, man­aged to aver­age between 1 — 3 ounces of alco­hol before lunch.

Appar­ent­ly he devel­oped a taste for it as a young sol­dier post­ed in what is now Pak­istan, when Scotch not only improved the fla­vor of plain water, ‘once one got the knack of it, the very repul­sion from the fla­vor devel­oped an attrac­tion of its own.”

After a morn­ing spent sip­ping the stuff, Heaton reports feel­ing “play­ful and jokey, but not yet vio­lent.”

LUNCH

Time for “an ambi­tious quo­ta of cham­pagne!”

Churchill’s pre­ferred brand was Pol Roger, though he wasn’t averse to Giesler, Moet et Chan­don, or Pom­mery,  pur­chased from the upscale wine and spir­its mer­chant Ran­dolph Payne & Sons,  whose let­ter­head iden­ti­fied them as sup­pli­ers to “Her Majesty The Late Queen Vic­to­ria and to The Late King William The Fourth.”

Churchill enjoyed his impe­r­i­al pint of cham­pagne from a sil­ver tankard, like a “prop­er Edwar­dian gent” accord­ing to his life­long friend, Odette Pol-Roger.

Williams and Heaton take theirs in flutes accom­pa­nied by fish sticks from the freez­er case. This is the point beyond which a hang­over is all but assured.

Lunch con­cludes with a post-pran­di­al cognac, to set­tle the stom­ach and begin the diges­tion process.

Churchill, who declared him­self a man of sim­ple tastes — I am eas­i­ly sat­is­fied with the best — would have insist­ed on some­thing from the house of Hine.

RESTORATIVE  AFTERNOON NAP

This seems to be a crit­i­cal ele­ment of Churchill’s alco­hol man­age­ment suc­cess. He fre­quent­ly allowed him­self as much as 90 min­utes to clear the cob­webs.

A nap def­i­nite­ly pulls our re-enac­tors out of their tail spins. Heaton emerges ready to “bluff (his) way through a meet­ing.”

TEATIME

I guess we can call it that, giv­en the tim­ing.

No tea though.

Just a steady stream of extreme­ly weak scotch and sodas to take the edge off of admin­is­tra­tive tasks.

DINNER

More cham­pagne!!! More cognac!!!

“This should be the apex of our wit,” a bleary Heaton tells his belch­ing com­pan­ion, who fess­es up to vom­it­ing upon wak­ing the next day.

Their con­clu­sion? Churchill’s reg­i­men is unmanageable…at least for them.

And pos­si­bly also for Churchill.

As fel­low Scotch enthu­si­ast Christo­pher Hitchens revealed in a 2002 arti­cle in The Atlantic, some of Churchill’s most famous radio broad­casts, includ­ing his famous pledge to “fight on the beach­es” after the Mir­a­cle of Dunkirk, were voiced by a pinch hit­ter:

Nor­man Shel­ley, who played Win­nie-the-Pooh for the BBC’s Children’s Hour, ven­tril­o­quized Churchill for his­to­ry and fooled mil­lions of lis­ten­ers. Per­haps Churchill was too much inca­pac­i­tat­ed by drink to deliv­er the speech­es him­self.

Or per­haps the great man mere­ly felt he’d earned the right to unwind with a glass of Graham’s Vin­tage Char­ac­ter Port, a Fine Old Amon­til­la­do Sher­ry or a Fine Old Liquor brandy, as was his wont.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent 

Win­ston Churchill Gets a Doctor’s Note to Drink Unlim­it­ed Alco­hol While Vis­it­ing the U.S. Dur­ing Pro­hi­bi­tion (1932)

Win­ston Churchill’s Paint­ings: Great States­man, Sur­pris­ing­ly Good Artist

Oh My God! Win­ston Churchill Received the First Ever Let­ter Con­tain­ing “O.M.G.” (1917)

Win­ston Churchill Goes Back­ward Down a Water Slide & Los­es His Trunks (1934)

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

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Discover Michelangelo’s First Painting, Created When He Was Only 12 or 13 Years Old

Think back, if you will, to the works of art you cre­at­ed at age twelve or thir­teen. For many, per­haps most of us, our out­put at that stage of ado­les­cence amount­ed to direc­tion­less doo­dles, chaot­ic comics, and a few unsteady-at-best school projects. But then, most of us did­n’t grow up to be Michelan­ge­lo. In the late four­teen-eight­ies, when that tow­er­ing Renais­sance artist was still what we would now call a “tween,” he paint­ed The Tor­ment of Saint Antho­ny, a depic­tion of the tit­u­lar reli­gious fig­ure beset by demons in the desert. Though based on a wide­ly known engrav­ing, it nev­er­the­less shows evi­dence of rapid­ly advanc­ing tech­nique, inspi­ra­tion, and even cre­ativ­i­ty — espe­cial­ly when placed under the infrared scan­ner.

For about half a mil­len­ni­um, The Tor­ment of Saint Antho­ny was­n’t thought to have been paint­ed by Michelan­ge­lo. As explained in the video from Inspi­rag­gio just below, when the paint­ing sold at Sothe­by’s in 2008, the buy­er took it to the Met­ro­pol­i­tan Muse­um of Art for exam­i­na­tion and clean­ing.

“Beneath the lay­ers of dirt accu­mu­lat­ed over the cen­turies,” says the nar­ra­tor, “a very par­tic­u­lar col­or palette appeared. “The tones, the blends, the way the human fig­ure was treat­ed: all of it began to resem­ble the style Michelan­ge­lo would use years lat­er in none oth­er than the Sis­tine Chapel.” Infrared reflec­tog­ra­phy sub­se­quent­ly turned up pen­ti­men­ti, or cor­rec­tion marks, a com­mon indi­ca­tion that “a paint­ing is not a copy, but an orig­i­nal work cre­at­ed with artis­tic free­dom.”

It was the Kim­bell Art Muse­um in Fort Worth, Texas that first bet big on the prove­nance of The Tor­ment of Saint Antho­ny. Its new­ly hired direc­tor pur­chased the paint­ing after turn­ing up “not a sin­gle con­vinc­ing argu­ment against the attri­bu­tion.” Thus acquired, it became “the only paint­ing by Michelan­ge­lo locat­ed any­where in the Amer­i­c­as, and also just one of four easel paint­ings attrib­uted to him through­out his entire career,” dur­ing most of which he dis­par­aged oil paint­ing itself. About a decade lat­er, and after fur­ther analy­sis, the art his­to­ri­an Gior­gio Bon­san­ti put his con­sid­er­able author­i­ty behind a defin­i­tive con­fir­ma­tion that it is indeed the work of the young Michelan­ge­lo. There remain doubters, of course, and even the noto­ri­ous­ly uncom­pro­mis­ing artist him­self may have con­sid­ered it an imma­ture work unwor­thy of his name. But who else could have cre­at­ed an imma­ture work like it?

Relat­ed Con­tent:

Orig­i­nal Por­trait of the Mona Lisa Found Beneath the Paint Lay­ers of Leonar­do da Vinci’s Mas­ter­piece

When Michelan­ge­lo Cre­at­ed Artis­tic Designs for Mil­i­tary For­ti­fi­ca­tions to Pro­tect Flo­rence (1529–1530)

How Four Mas­ters — Michelan­ge­lo, Donatel­lo, Ver­roc­chio & Berni­ni — Sculpt­ed David

A Secret Room with Draw­ings Attrib­uted to Michelan­ge­lo Opens to Vis­i­tors in Flo­rence

Michelan­ge­lo Entered a Com­pe­ti­tion to Put a Miss­ing Arm Back on Lao­coön and His Sons — and Lost

Michelangelo’s Illus­trat­ed Gro­cery List

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

A Brief History of Surrealist Art: From the Bible and Ancient Egypt to Salvador Dalí’s Dream Worlds

The term sur­re­al­ism — or rather, sur­réal­isme — orig­i­nates from the French words for “beyond real­i­ty.” That’s a zone, we may assume, reach­able by only dar­ing, and pos­si­bly unhinged, artis­tic minds. But in fact, even the most down-to-earth among us go beyond real­i­ty on a night­ly basis. We do so in our dreams, where the accept­ed mechan­ics of space and time, life and death, and cause and effect do not apply. Or rather, they’re replaced by anoth­er set of rules entire­ly, which feels per­fect­ly con­sis­tent and con­vinc­ing to us in the moment. Such “dream log­ic” may frus­trate the friends and fam­i­ly we attempt to regale with tales of our night visions, but as the sur­re­al­ists found, it could also be put to the ser­vice of endur­ing art.

In the Hochela­ga video above, that chan­nel’s cre­ator Tom­mie Trelawny pro­vides a long his­to­ry of sur­re­al­ism in a short run­ning time. Trac­ing that move­men­t’s roots, he goes all the way back to the ancient cul­ture of the Aus­tralian Abo­rig­i­nals, for whom the con­cept of the “dream­time” still plays an impor­tant role — and has inspired “pos­si­bly the old­est unbro­ken artis­tic tra­di­tion in the world.”

In oth­er places and oth­er eras of antiq­ui­ty, dreams were also con­sid­ered “a bridge for the spir­it world and the phys­i­cal one.” For the Egyp­tians, “these night­time voy­ages were a chance to see real­i­ty more clear­ly,” as evi­denced by resut, their word for “dream,” which also means “awak­en­ing.” Unsur­pris­ing­ly for reg­u­lar Hochela­ga view­ers, Trelawny also finds dreams in the Bible, “a book full of visions of the divine and glimpses into the cos­mic unknown.”

In every peri­od between antiq­ui­ty and now, art — includ­ing the work of Hierony­mus Bosch, Albrecht Dur­er, and Edvard Munch, as well as Japan­ese wood­block prints — has attempt­ed to cap­ture the sort of expe­ri­ences and imagery encoun­tered only in dreams, and indeed night­mares. But it was only in the wake of Sig­mund Freud’s The Inter­pre­ta­tion of Dreams, first pub­lished in 1899, that sur­re­al­ism could take shape, inspired by the ques­tion, “If the mind can reveal itself through dreams, what if it could reveal itself through art?” Après Freud came the uncon­scious­ness-inspired paint­ings of Gior­gio de Chiri­co, René Magritte, and of course Sal­vador Dalí. Yet none of them could have fore­seen the tru­ly sur­re­al­is­tic déluge that arti­fi­cial intel­li­gence has brought us. If AI reveals to us some­thing of how we think, its hal­lu­ci­na­tions reveal to us even more about how we dream.

Relat­ed Con­tent:

An Intro­duc­tion to Sur­re­al­ism: The Big Aes­thet­ic Ideas Pre­sent­ed in Three Videos

What Makes Sal­vador Dalí’s Icon­ic Sur­re­al­ist Paint­ing The Per­sis­tence of Mem­o­ry a Great Work of Art

Watch Dreams That Mon­ey Can Buy, a Sur­re­al­ist Film by Man Ray, Mar­cel Duchamp, Alexan­der Calder, Fer­nand Léger & Hans Richter

Europe After the Rain: Watch the Vin­tage Doc­u­men­tary on the Two Great Art Move­ments, Dada & Sur­re­al­ism (1978)

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

The Fan­tas­tic Women Of Sur­re­al­ism: An Intro­duc­tion

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Dictionary of the Oldest Written Language–It Took 90 Years to Complete, and It’s Now Free Online

It took 90 years to com­plete. But, in 2011, schol­ars at the Uni­ver­si­ty of Chica­go final­ly pub­lished a 21-vol­ume dic­tio­nary of Akka­di­an, the lan­guage used in ancient Mesopotamia. Unspo­ken for 2,000 years, Akka­di­an was pre­served on clay tablets and in stone inscrip­tions until schol­ars deci­phered it dur­ing the last two cen­turies.

In the past, we’ve pub­lished audio that lets you hear the recon­struct­ed sounds of Akka­di­an (Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia). Now, should you wish, you can down­load PDFs of U. Chicago’s Akka­di­an dic­tio­nary for free. All 21 vol­umes would cost well over $1,945 if pur­chased in hard copy. But the PDFs, they won’t run you a dime.

Relat­ed Con­tent:

The Largest His­tor­i­cal Dic­tio­nary of Eng­lish Slang Now Free Online: Cov­ers 500 Years of the “Vul­gar Tongue”

Learn Ancient Greek in 64 Free Lessons: A Free Online Course from Bran­deis & Har­vard

Who Decides What Words Get Into the Dic­tio­nary?

Lis­ten to The Epic of Gil­gamesh Being Read in its Orig­i­nal Ancient Lan­guage, Akka­di­an

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The Greek Mythology Family Tree: A Visual Guide Shows How Zeus, Athena, and the Ancient Gods Are Related

It was long ago that poly­the­ism, as the sto­ry comes down to us, gave way to monothe­ism. Human­i­ty used to have many gods, and now almost every reli­gious believ­er acknowl­edges just one — though which god, exact­ly, does vary. Some pop­u­lar the­o­ries of “big his­to­ry” hold that, as the scale of a soci­ety grows larg­er, the num­ber of deities pro­posed by its faiths gets small­er. In that scheme, it makes sense that the grow­ing Roman Empire would even­tu­al­ly adopt Chris­tian­i­ty, and also that the gods it first inher­it­ed from the city-states of ancient Greece would be so numer­ous. Through our mod­ern eyes, the var­i­ous immor­tals invoked so read­i­ly by the Greeks look less like holy fig­ures than a cast of char­ac­ters in a long-run­ning tele­vi­sion dra­ma.

Or maybe it would have to be a soap opera, giv­en that most of them belong to one big, often trou­bled clan. Hence the struc­ture of Use­fulCharts’ Greek Mythol­o­gy Fam­i­ly Tree, explained in the video above. Also avail­able for pur­chase in poster form, it clear­ly dia­grams the rela­tion­ships between every­one in the Greek pan­theon, from the high­est “pri­mor­dial gods” like Eros Elder and Gaia down to the chil­dren of Zeus and Posei­don.

How­ev­er pow­er­ful they could be — and some were pow­er­ful indeed — none of these gods act­ed like the infal­li­ble, omni­scient enti­ties of the major reli­gions we know today. They could act capri­cious­ly, venge­ful­ly and even non­sen­si­cal­ly, a reflec­tion of the often capricious‑, vengeful‑, and non­sen­si­cal-seem­ing nature of life in the ancient world.

For the Greeks them­selves, these myth­i­cal gods and mon­sters offered not just an explana­to­ry mech­a­nism, but also a form of enter­tain­ment, giv­en that noth­ing could go on in their ele­vat­ed world with­out high dra­ma. For us, they remain present in leg­ends from which we still draw inspi­ra­tion for our own larg­er-than-life sto­ries of hero­ism and vil­lainy, but also in our very lan­guage. Con­sid­er the ways in which we con­tin­ue to evoke the likes of the time-rul­ing Chronos, the love-bring­ing Cupid, the androg­y­nous Her­maph­ro­di­tus, or the mul­ti-head­ed Hydra in every­day speech. Though we may no longer need them to orga­nize our soci­eties, some of them have kept play­ing roles in the age of monothe­ism — which, what­ev­er its oth­er advan­tages, does­n’t require us to con­sult dia­grams to know who’s who.

Relat­ed Con­tent:

Mythos: An Ani­ma­tion Retells Time­less Greek Myths with Abstract Mod­ern Designs

Mythol­o­gy Expert Reviews Depic­tions of Greek & Roman Myths in Pop­u­lar Movies and TV Shows

How the Ancient Greeks Built Their Mag­nif­i­cent Tem­ples: The Art of Ancient Engi­neer­ing

18 Clas­sic Myths Explained with Ani­ma­tion: Pandora’s Box, Sisy­phus & More

Con­cepts of the Hero in Greek Civ­i­liza­tion (A Free Har­vard Course)

A Visu­al Time­line of World His­to­ry: Watch the Rise & Fall of Civ­i­liza­tions Over 5,000 Years

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Birth of Espresso: The Story Behind the Coffee Shots That Fuel Modern Life

Espres­so is nei­ther bean nor roast.

It is a method of pres­sur­ized cof­fee brew­ing that ensures speedy deliv­ery, and it has birthed a whole cul­ture.

Amer­i­cans may be accus­tomed to camp­ing out in cafes with their lap­tops for hours, but Ital­ian cof­fee bars are fast-paced envi­ron­ments where cus­tomers buzz in for a quick pick-me-up, then head right back out, no seat required.

It’s the sort of effi­cien­cy the Father of the Mod­ern Adver­tis­ing Poster, Leonet­to Cap­piel­lo, allud­ed to in his famous 1922 image for the Vic­to­ria Arduino machine (below).

Let 21st-cen­tu­ry cof­fee afi­ciona­dos cul­ti­vate their Zen-like patience with slow pourovers. A hun­dred years ago, the goal was a qual­i­ty prod­uct that the suc­cess­ful busi­nessper­son could enjoy with­out break­ing stride.

As cof­fee expert James Hoff­mann, author of The World Atlas of Cof­fee points out in the above video, the Steam Age was on the way out, but Cappiello’s image is “absolute­ly lever­ag­ing the idea that steam equals speed.”

That had been the goal since 1884, when inven­tor Ange­lo Morion­do patent­ed the first espres­so machine (see below).

The bulk brew­er caused a stir at the Turin Gen­er­al Expo­si­tion. Speed wise, it was a great improve­ment over the old method, in which indi­vid­ual cups were brewed in the Turk­ish style, requir­ing five min­utes per order.

This “new steam machin­ery for the eco­nom­ic and instan­ta­neous con­fec­tion of cof­fee bev­er­age” fea­tured a gas or wood burn­er at the bot­tom of an upright boil­er, and two sight glass­es that the oper­a­tor could mon­i­tor to get a feel for when to open the var­i­ous taps, to yield a large quan­ti­ty of fil­tered cof­fee. It was fast, but demand­ed some skill on the part of its human oper­a­tor.

As Jim­my Stamp explains in a Smith­son­ian arti­cle on the his­to­ry of the espres­so machine, there were  also a few bugs to work out.

Ear­ly machines’ hand-oper­at­ed pres­sure valves posed a risk to work­ers, and the cof­fee itself had a burnt taste.

Milanese café own­er Achille Gag­gia cracked the code after WWII, with a small, steam­less lever-dri­ven machine that upped the pres­sure to pro­duce the con­cen­trat­ed brew that is what we now think of as espres­so.

Stamp describes how Gaggia’s machine also stan­dard­ized the size of the espres­so, giv­ing rise to some now-famil­iar cof­fee­house vocab­u­lary:

The cylin­der on lever groups could only hold an ounce of water, lim­it­ing the vol­ume that could be used to pre­pare an espres­so. With the lever machines also came some new jar­gon: baris­tas oper­at­ing Gaggia’s spring-loaded levers coined the term “pulling a shot” of espres­so. But per­haps most impor­tant­ly, with the inven­tion of the high-pres­sure lever machine came the dis­cov­ery of cre­ma – the foam float­ing over the cof­fee liq­uid that is the defin­ing char­ac­ter­is­tic of a qual­i­ty espres­so. A his­tor­i­cal anec­dote claims that ear­ly con­sumers were dubi­ous of this “scum” float­ing over their cof­fee until Gag­gia began refer­ring to it as “caffe creme,“ sug­gest­ing that the cof­fee was of such qual­i­ty that it pro­duced its own creme.

Note: An ear­li­er ver­sion of this post appeared on our site in 2021.

Relat­ed Con­tent:

Cof­fee Entre­pre­neur Rena­to Bialet­ti Gets Buried in the Espres­so Mak­er He Made Famous

The Life & Death of an Espres­so Shot in Super Slow Motion

The Bialet­ti Moka Express: The His­to­ry of Italy’s Icon­ic Cof­fee Mak­er, and How to Use It the Right Way

Every­thing You Ever Want­ed to Know about the Bialet­ti Moka Express: A Deep Dive Into Italy’s Most Pop­u­lar Cof­fee Mak­er

Ayun Hal­l­i­day is an author, illus­tra­tor, and the­ater mak­er in NYC.

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