Explore Ancient Athens 3D, a Digital Reconstruction of the Greek City-State at the Height of Its Influence

Today any of us can go Athens, a city with fla­vor­ful food, pleas­ant weath­er, a pic­turesque set­ting, rea­son­able prices, and a decent sub­way sys­tem. That is to say, we can enjoy Athens as it is, but what about Athens as it was? As one of the old­est cities in the world, not to men­tion a devel­op­men­tal cen­ter of West­ern civ­i­liza­tion itself, its his­to­ry holds as much inter­est as its present real­i­ty. Despite all the his­tor­i­cal research into ancient Greece, we lack a ful­ly accu­rate image of what Athens looked and felt like at the height of its pow­er as a city-state. But thanks to the last dozen years of work by pho­tog­ra­ph­er and visu­al effects artist Dim­itris Tsalka­nis, we can expe­ri­ence Athens as it might have been in the form of Ancient Athens 3D.

“Vis­i­tors to the site can browse recon­struc­tions that date back as ear­ly as 1200 BCE, the Myce­naean peri­od — or Bronze Age — through Clas­si­cal Athens, fea­tur­ing the rebuilds made nec­es­sary by the Gre­co-Per­sian War, and ages of occu­pa­tion by Romans and Ottomans,” writes Hyper­al­ler­gic’s Sarah Rose Sharp.

“Tsalka­nis traces the evo­lu­tion of sites like the Acrop­o­lis through­out the ages, the rise and fall of the city walls, the Ago­ra, which served as cen­ter of city life, and var­i­ous tem­ples, libraries, and oth­er for­ti­fi­ca­tions.” All we might see only as mono­chro­mat­ic ruins on our mod­ern Athen­ian trav­els stands tall and col­or­ful in Tsalka­nis’ three-dimen­sion­al dig­i­tal recre­ation — as does all that has­n’t sur­vived even as ruins.

Tsalka­nis writes of using “artis­tic license” to recon­struct “mon­u­ments that have left few or no traces at all (like the Myce­naean palace of the Acrop­o­lis) and oth­er com­ple­men­tary con­struc­tions — such as hous­es — that were incor­po­rat­ed into the ren­der in order to cre­ate a more com­plete image of the mon­u­ment and its space.” Though he draws on all the his­tor­i­cal and archae­o­log­i­cal infor­ma­tion he can find, much of that infor­ma­tion remains sketchy, or at least incom­plete. For­tu­nate­ly, the dig­i­tal nature of the project, as well as its acces­si­bil­i­ty to view­ers with knowl­edge of their own to offer, keeps it more or less cur­rent with the state of the research. “Tsalka­nis stays up to date with his fan­ta­sy city,” writes Sharp, “updat­ing recon­struc­tions con­stant­ly for bet­ter qual­i­ty of mod­els and bet­ter archae­o­log­i­cal and his­tor­i­cal accu­ra­cy.

“You can immerse into this envi­ron­ment,” Tsalka­nis tells Sharp, “or you can even 3D print it if you like.” You can also view the indi­vid­ual dig­i­tal recon­struc­tion videos post­ed to Ancient Athens 3D’s Youtube chan­nel, which show­case such mon­u­ments as the Tem­ple of Ilis­sos, the Tem­ple of Hep­haes­tus, and the city of Del­phi. Just as Tsalka­nis’ his­tor­i­cal mod­els of Athens will con­tin­ue to be filled in, expand­ed, and improved, the tech­no­log­i­cal range of their pos­si­ble uses will only expand. Tsalka­nis him­self men­tions the smart­phone apps that could one day enrich our vis­its to Athens with aug­ment­ed real­i­ty — allow­ing us, in oth­er words, to expe­ri­ence Athens as it is and Athens as it might have been, both at the same time.

via Hyper­al­ler­gic

Relat­ed Con­tent:

The Ancient Greeks: A Free Online Course from Wes­leyan Uni­ver­si­ty

The His­to­ry of Ancient Greece in 18 Min­utes: A Brisk Primer Nar­rat­ed by Bri­an Cox

Intro­duc­tion to Ancient Greek His­to­ry: A Free Course from Yale

How Ancient Greek Stat­ues Real­ly Looked: Research Reveals their Bold, Bright Col­ors and Pat­terns

Watch Art on Ancient Greek Vas­es Come to Life with 21st Cen­tu­ry Ani­ma­tion

An Ani­mat­ed Recon­struc­tion of Ancient Rome: Take A 30-Minute Stroll Through the City’s Vir­tu­al­ly-Recre­at­ed Streets

French Illus­tra­tor Revives the Byzan­tine Empire with Mag­nif­i­cent­ly Detailed Draw­ings of Its Mon­u­ments & Build­ings: Hagia Sophia, Great Palace & More

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.

America’s First Drag Queen Was Also America’s First LGBTQ Activist and a Former Slave

Negro Dive Raid­ed. Thir­teen Black Men Dressed as Women Sur­prised at Sup­per and Arrest­ed. —The Wash­ing­ton Post, April 13, 1888

Some­times, when we are engaged as either par­tic­i­pant in, or eye­wit­ness to, the mak­ing of his­to­ry, its easy to for­get the his­to­ry-mak­ers who came ear­li­er, who dug the trench­es that allow our mod­ern bat­tles to be waged out in the open.

Take America’s first self-appoint­ed “queen of drag” and pio­neer­ing LGBTQ activist, William Dorsey Swann, born into slav­ery around 1858.

30 years lat­er, Swann faced down white offi­cers bust­ing a drag ball in a “qui­et-look­ing house” on Wash­ing­ton, DC’s F street, near 12th.

“You is no gen­tle­man,” Swann alleged­ly told the arrest­ing offi­cer, while half the guests broke for free­dom, cor­rect­ly sur­mis­ing that any­one who remained would see their names pub­lished in the next day’s news­pa­per as par­tic­i­pants in a bizarre and unseem­ly rit­u­al.

A lurid Wash­ing­ton Post clip­ping about the raid caught the eye of writer, his­to­ri­an, and for­mer  Ober­lin Col­lege Drag Ball queen, Chan­ning Ger­ard Joseph, who was research­ing an assign­ment for a Colum­bia Uni­ver­si­ty grad­u­ate lev­el inves­tiga­tive report­ing class:

An ani­mat­ed con­ver­sa­tion, car­ried on in effem­i­nate tones, was in progress as the offi­cers approached the door, but when they opened it and the form of Lieut. Amiss was vis­i­ble to the peo­ple in the room a pan­ic ensued. A scram­ble was made for the win­dows and doors and some of the peo­ple jumped to the roofs of adjoin­ing build­ings. Oth­ers stripped off their dress­es and danced about the room almost in a nude con­di­tion, while sev­er­al, head­ed by a big negro named Dorsey, who was arrayed in a gor­geous dress of cream-col­ored satin, rushed towards the offi­cers and tried to pre­vent their enter­ing.

Joseph’s inter­est did not flag when his report­ing class project was turned in. House of Swann: Where Slaves Became Queens will be pub­lished in 2021.

Mean­while you can bone up on Swann, Swann’s jail time for run­ning a broth­el, and the Wash­ing­ton DC drag scene of the Swann era in Joseph’s essay for The Nation, “The First Drag Queen Was a For­mer Slave.”

Please note that William Dorsey Swann does not appear in the pho­to at the top of the page. As per Joseph:

The dancers — one in striped pants, the oth­er in a dress — were record­ed in France by Louis Lumière. Though their names are lost, they are believed to be Amer­i­can. In the show, they per­formed a ver­sion of the cake­walk, a dance invent­ed by enslaved peo­ple, and the pre­cur­sor to vogue­ing.

via The Nation

Relat­ed Con­tent:

100 Years of Drag Queen Fash­ion in 4 Min­utes: An Aes­thet­ic Jour­ney Mov­ing from the 1920s Through Today

Before Broke­back: The First Same-Sex Kiss in Cin­e­ma (1927)

When John Waters Appeared on The Simp­sons and Changed America’s LGBTQ Views (1997)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join Ayun’s com­pa­ny The­ater of the Apes in New York City this March for her book-based vari­ety series, Necro­mancers of the Pub­lic Domain, and the world pre­miere of Greg Kotis’ new musi­cal, I AM NOBODY. Fol­low her @AyunHalliday.

How the Brooklyn Bridge Was Built: The Story of One of the Greatest Engineering Feats in History

When Emi­ly Roe­bling walked across the Brook­lyn Bridge on May 24th, 1883, the first per­son to cross its entire span, she capped a fam­i­ly saga equal parts tri­umph and tragedy, a sto­ry that began six­teen years ear­li­er when her father-in-law, Ger­man-Amer­i­can engi­neer John Augus­tus Roe­bling, began design work on the bridge. Roe­bling had already built sus­pen­sion bridges over the Monon­ga­hela Riv­er in Pitts­burgh, the Nia­gara Riv­er between New York and Cana­da, and over the Ohio Riv­er between Cincin­nati and Cov­ing­ton, Ken­tucky. But the bridge over the East Riv­er was to be some­thing else entire­ly. As Roe­bling him­self said, it “will not only be the great­est bridge in exis­tence, but it will be the great­est engi­neer­ing work of the con­ti­nent, and of the age.”

New York City offi­cials may have had lit­tle rea­son to think so in the mid-1860s. “Sus­pen­sion bridges were col­laps­ing all across Europe,” notes the TED-Ed video above by Alex Gendler. “Their indus­tri­al cables frayed dur­ing tur­bu­lent weath­er and snapped under the weight of their decks.” But the over­crowd­ing city need­ed relief. An “East Riv­er Bridge Project” had been in the works since 1829 and was seen as more nec­es­sary with each pass­ing decade. Despite their mis­giv­ings, the author­i­ties were will­ing to trust Roe­bling with a hybrid design that com­bined meth­ods used by both sus­pen­sion and cable-stayed bridges. Two years lat­er, he was dead, the result of a tetanus infec­tion con­tract­ed after he lost sev­er­al toes in a dock acci­dent.

Roebling’s son Wash­ing­ton, a civ­il engi­neer who had fought for the Union Army at the Bat­tle of Get­tys­burg, took over the project, only to suf­fer from paral­y­sis after he got the bends while trapped inside a cais­son in 1870. For the remain­der of the bridge’s con­struc­tion, he would advise from his bed­room, relay­ing instruc­tions through his wife Emily—who became after a time the bridge’s de fac­to chief engi­neer. She “stud­ied math­e­mat­ics, the cal­cu­la­tions of cate­nary curves, strengths of mate­ri­als and the intri­ca­cies of cable con­struc­tion,” writes Emi­ly Nonko at 6sqft.  She knew the bridge so well that “many were under the impres­sion she was the real design­er.”

“1.5 times longer than any pre­vi­ous­ly built sus­pen­sion bridge,” the video les­son notes, Roebling’s design worked because it used steel cables instead of hemp, with tow­ers ris­ing over 90 meters (295 feet) above sea lev­el. This is almost three times high­er than edi­tors at the New York Mir­ror pro­ject­ed in 1829, when they called the brand new “East Riv­er Bridge Project” an “absurd and ruinous” propo­si­tion. “Who would mount over such a struc­ture, when a pas­sage could be effect­ed in a much short­er time, and that, too, with­out exer­tion or trou­ble, in a safe and well-shel­tered steam­boat?”

Just six days after Emi­ly Roe­bling crossed the new­ly opened Brook­lyn Bridge, a stam­pede killed twelve peo­ple, and months lat­er, P.T. Bar­num led 21 ele­phants over the bridge to prove its safe­ty. Who would cross such a struc­ture? It turned out, for bet­ter or worse, any­one and every­one would dri­ve, walk, run, sub­way, bike, scoot, climb up, leap from, and oth­er­wise “mount over” the East Riv­er by way of the neo-goth­ic won­der (and lat­er its much ugli­er sib­ling, the Man­hat­tan Bridge). Learn much more in the short les­son above how John A. Roebling’s bom­bas­tic claims about his design were not far off the mark, and why the Brook­lyn Bridge is one of the great­est engi­neer­ing feats in mod­ern his­to­ry.

Relat­ed Con­tent:

A Mes­mer­iz­ing Trip Across the Brook­lyn Bridge: Watch Footage from 1899

An Online Gallery of Over 900,000 Breath­tak­ing Pho­tos of His­toric New York City

Immac­u­late­ly Restored Film Lets You Revis­it Life in New York City in 1911

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

David Bowie Became Ziggy Stardust 48 Years Ago This Week: Watch Original Footage

For all the not-quite-believ­able mate­r­i­al in the annals of 1970s rock his­to­ry, is any more dif­fi­cult to accept than the fact that Zig­gy Star­dust first mate­ri­al­ized in the sub­urbs? Specif­i­cal­ly, he mate­ri­al­ized in Tol­worth, greater Lon­don, at the Toby Jug pub, whose sto­ried his­to­ry as a live-music venue also includes per­for­mances by Led Zep­pelin, Fleet­wood Mac, Gen­e­sis, and King Crim­son. There, on the night of Feb­ru­ary 10, 1972, David Bowie — until that point known, to the extent he was known, as the intrigu­ing but not whol­ly uncon­ven­tion­al young rock­er of “Space Odd­i­ty” — took the stage as his androg­y­nous Mar­t­ian alter ego, bedecked in oth­er­world­ly col­ors and act­ing as no rock­er ever had before.

History.com quotes Bowie in an inter­view pub­lished in Melody Mak­er less than three weeks before the Toby Jug show: “I’m going to be huge, and it’s quite fright­en­ing in a way, because I know that when I reach my peak and it’s time for me to be brought down it will be with a bump.”

He was cer­tain­ly right about the first part: while Bowie’s per­for­mance as Zig­gy Star­dust brought him seri­ous atten­tion, the release that sum­mer of his con­cept album The Rise and Fall of Zig­gy Star­dust and the Spi­ders from Mars would launch him per­ma­nent­ly into the pop­u­lar-cul­ture canon. Lat­er described as “a boot in the col­lec­tive sag­ging den­im behind of hip­pie singer-song­whin­ers,” the album expand­ed the lis­ten­ing pub­lic’s sense of what rock and rock stars could be.

In a sense, Bowie was also cor­rect about the time com­ing for him to be brought down — if “him” means Zig­gy Star­dust, that delib­er­ate­ly doomed cre­ation, his fall fore­told in the title of the very album on which he stars. As we’ve pre­vi­ous­ly post­ed about here on Open Cul­ture, Bowie-as-Zig­gy famous­ly bid the Earth farewell onstage in 1973, not much over a year after his arrival. Of course, what to some looked like the end of Bowie’s career proved to be only the end of one chap­ter: the saga would con­tin­ue in such incar­na­tions as Aladdin Sane, the Thin White Duke, and a vari­ety of oth­ers known only as “David Bowie.” But this much-mythol­o­gized and huge­ly influ­en­tial shapeshift­ing all goes back to that Feb­ru­ary night in Tol­worth, real footage of which you can see above. The sound comes spliced in from a dif­fer­ent show, played that same year in San­ta Mon­i­ca — but then, Bowie was about noth­ing if not arti­fice.

via Boing Boing

Relat­ed Con­tent:

The Sto­ry of Zig­gy Star­dust: How David Bowie Cre­at­ed the Char­ac­ter that Made Him Famous

David Bowie Recalls the Strange Expe­ri­ence of Invent­ing the Char­ac­ter Zig­gy Star­dust (1977)

How David Bowie Deliv­ered His Two Most Famous Farewells: As Zig­gy Star­dust in 1973, and at the End of His Life in 2016

Hear Demo Record­ings of David Bowie’s “Zig­gy Star­dust,” “Space Odd­i­ty” & “Changes”

David Bowie Remem­bers His Zig­gy Star­dust Days in Ani­mat­ed Video

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.

An Archive of Handwritten Traditional Mexican Cookbooks Is Now Online

“The search for authen­tic Mex­i­can food—or rather, the strug­gle to define what that meant—has been going on for two hun­dred years,” writes Jef­frey Pilch­er at Guer­ni­ca. Argu­ments over nation­al cui­sine first divid­ed into fac­tions along his­tor­i­cal lines of con­quest. Indige­nous, corn-based cuisines were pit­ted against wheat-based Euro­pean foods, while Tex-Mex cook­ing has been “indus­tri­al­ized and car­ried around the world,” its processed com­mod­i­fi­ca­tion pos­ing an offense to both indige­nous peo­ples and Span­ish elites, who them­selves lat­er “sought to ground their nation­al cui­sine in the pre-His­pan­ic past” in order to fend off asso­ci­a­tions with glob­al­ized Mex­i­can food of the chain restau­rant vari­ety.

Stephanie Noell, Spe­cial Col­lec­tions Librar­i­an at the Uni­ver­si­ty of Texas San Anto­nio (UTSA), explains how these lines were drawn cen­turies ear­li­er dur­ing the “culi­nary cul­tur­al exchange” of the colo­nial peri­od: “[C]onquistador Bernal Diaz del Castil­lo referred to corn dish­es as the ‘mis­ery of maize cakes.’ On the oth­er side, the Nahuas were not impressed by the Spaniards’ wheat bread, describ­ing it as ‘famine food.’” What­ev­er we point to—corn, wheat, etc.—and call “Mex­i­can food,” we are sure to be cor­rect­ed by some­one in the know.

Cook­ing, as every­one knows, is not only region­al and polit­i­cal, but also deeply per­son­al– tied to fam­i­ly gath­er­ings and passed through gen­er­a­tions in hand­writ­ten recipes, some­times jeal­ous­ly guard­ed lest they be stolen and turned into fast food. But thanks to UTSA Libraries, we have access to hun­dreds of such recipes. An ini­tial dona­tion of 550 cook­books has grown to include “over 2,000 titles in Eng­lish and Span­ish,” notes UTSA, “doc­u­ment­ing the his­to­ry of Mex­i­can cui­sine from 1789 to the present, with most books dat­ing from 1940–2000.” Many of the books, like that below from 1960, con­sist of hand­writ­ten con­tent next to cut-and-paste recipes and ideas from mag­a­zines.

The col­lec­tion spans “region­al cook­ing, healthy and veg­e­tar­i­an recipes, cor­po­rate adver­tis­ing cook­books, and man­u­script recipe books.” The old­est cook­book, belong­ing to some­one named “Doña Ignaci­ta,” whom Noell believes to have been the kitchen man­ag­er of a wealthy fam­i­ly, “is a hand­writ­ten recipe col­lec­tion in a note­book,” writes Nils Bern­stein at Atlas Obscu­ra, “com­plete with liq­uid stains, doo­dles, and pages that nat­u­ral­ly fall open to the most-loved recipes.” Like the oth­er man­u­script cook­books in the col­lec­tion, “nev­er intend­ed for pub­lic scruti­ny,” this one “pro­vides essen­tial insight on how real house­holds cooked on a reg­u­lar basis.”

“I’ve had stu­dents in tears going through these,” says Noell, “because it’s so pow­er­ful to see that con­nec­tion with how their fam­i­ly makes cer­tain dish­es and where they orig­i­nat­ed.” On the oth­er hand, we also have gener­ic “Cor­po­rate Cook­books” like Rec­etario Bim­bo, a book of sand­wich recipes from the well-known bread com­pa­ny Bim­bo. Recent pub­li­ca­tions like the ultra-hip, 2017 Fies­ta: Veg­an Mex­i­can Cook­book, which promis­es “over 75 authen­tic veg­an-Mex­i­can food recipes includ­ed,” strain the word “authen­tic” to its break­ing point. (“Want to feel all the great ben­e­fits from the keto­genic diet?” the book’s blurb asks, a ques­tion that prob­a­bly nev­er occurred to either Aztecs or Con­quis­ta­dors.)

The UTSA Mex­i­can Cook­books col­lec­tion is open to the pub­lic and any­one can vis­it it in per­son, but Noell wants “any­body with an inter­net con­nec­tion to be able to see these works.” UTSA has been busy dig­i­tiz­ing the 100 man­u­script cook­books in the col­lec­tion, and has scanned about half so far, with Doña Ignacita’s 1789 note­book com­ing soon. While these aren’t like­ly to resolve debates about what con­sti­tutes authen­tic Mex­i­can cooking—as if such a thing exist­ed in a mono­lith­ic, time­less form—they are sure to be of very keen inter­est to chefs, home cooks, his­to­ri­ans, and enthu­si­asts of the his­to­ry of Mex­i­can food. Enter the dig­i­tal col­lec­tion of man­u­script cook­books here.

via Atlas Obscu­ra

Relat­ed Con­tent:

An Archive of 3,000 Vin­tage Cook­books Lets You Trav­el Back Through Culi­nary Time

82 Vin­tage Cook­books, Free to Down­load, Offer a Fas­ci­nat­ing Illus­trat­ed Look at Culi­nary and Cul­tur­al His­to­ry

The Futur­ist Cook­book (1930) Tried to Turn Ital­ian Cui­sine into Mod­ern Art

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

The Woman Who Invented Rock n’ Roll: An Introduction to Sister Rosetta Tharpe

When peo­ple would ask her about her music, she would say, “Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that for­ev­er.”

- Gayle Wald, author of Shout, Sis­ter, Shout!: The Untold Sto­ry of Rock-and-Roll Trail­blaz­er Sis­ter Roset­ta Tharpe

What do rock and roll pio­neers Elvis Pres­leyChuck Berry, and Lit­tle Richard have in com­mon, besides belong­ing to the inau­gur­al (and all male) class of Rock and Roll Hall of Fame inductees?

They were all deeply influ­enced by Sis­ter Roset­ta Tharpe, the God­moth­er of Rock and Roll, and the sub­ject of the col­lage-hap­py Poly­phon­ic video essay, above.

(I’d rethink the essay­ist’s choice to obscure Tharpe’s right hand with an unnec­es­sary cut out of a float­ing gui­tar super­im­posed over archival con­cert footage. Here’s an unob­struct­ed view.)

Berry described his career as “one long Roset­ta Tharpe imper­son­ation.”

Pres­ley was cap­ti­vat­ed by her unique gui­tar-pick­ing style, record­ing sev­er­al songs that had been hits for the church-reared Tharpe, includ­ing “Up Above My Head,” “Just A Clos­er Walk With Thee,” “This Train and Down By The River­side.”

And Lit­tle Richard’s first big break at 14 came com­pli­ments of Tharpe, who over­heard him singing some of her gospel tunes, and spon­ta­neous­ly invit­ed him to open for her at the Macon City Audi­to­ri­um.

She was the trail­blaz­ers’ trail blaz­er in ways that go beyond rock and roll:

She was one of the few African-Amer­i­can female per­form­ers to appear on a V‑Disc, a joint effort on the part of the gov­ern­ment and the record indus­try to ship morale-boost­ing 78RPM records to over­seas troops dur­ing World War II.

Her personalized—and self-designed—tour bus was a music indus­try first, ensur­ing that she and her tour­mate (and alleged lover), Marie Knight, would be able to dine and sleep in com­fort as African-Amer­i­cans trav­el­ing dur­ing seg­re­ga­tion.

She hired the all-white, all-male Grand Old Opry stars the Jor­danaires to back her up, a bold move for an artist of col­or in 1938.

Her style, and like­ly per­son­al met­tle, owed a lot to her moth­er, the singing, man­dolin-play­ing evan­ge­list Katie Bell Nubin, who relo­cat­ed from Arkansas to Chica­go, to join a Pen­te­costal con­gre­ga­tion where women were allowed to preach and six-year-old “Rosie” was placed atop the piano, so peo­ple in the back could see her as she per­formed.

After a brief mar­riage to a preach­er, Tharpe hit New York City, where she embarked on a sec­u­lar career, per­form­ing in night­clubs with the likes of Duke Elling­ton and Cab Cal­loway.

The flip side of adu­la­tion by soon-to-be rock and roll greats was rejec­tion by many of the devout Chris­tians who had cel­e­brat­ed her gifts when they were offered up in a pure­ly gospel con­text.

Her fame was eclipsed by the rise of those she’d influ­enced.

The pub­lic may have for­got­ten her for a time, but the star­ry names in her debt did not.

John­ny Cash sin­gled her out as one of his heroes in his 1992 Rock and Roll Hall of Fame induc­tion speech.

And three years ago, the God­moth­er of Rock and Roll was final­ly induct­ed into the Rock and Roll Hall of Fame her­self.

Relat­ed Con­tent: 

Watch the Hot Gui­tar Solos of Sis­ter Roset­ta Tharpe, “America’s First Gospel Rock Star”

Revis­it The Life & Music of Sis­ter Roset­ta Tharpe: ‘The God­moth­er of Rock and Roll’

New Web Project Immor­tal­izes the Over­looked Women Who Helped Cre­ate Rock and Roll in the 1950s

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join Ayun’s com­pa­ny The­ater of the Apes in New York City this March for her book-based vari­ety series, Necro­mancers of the Pub­lic Domain, and the world pre­miere of Greg Kotis’ new musi­cal, I AM NOBODY. Fol­low her @AyunHalliday.

Daphne Oram Created the BBC’s First-Ever Piece of Electronic Music (1957)

To the ques­tion of who cre­at­ed elec­tron­ic music, there can be no one answer. The for­m’s emer­gence took decades, begin­ning with the ear­li­est elec­tron­ic instru­ments in the late 19th cen­tu­ry, devel­op­ing toward the first music pro­duced sole­ly from elec­tron­ic sources in the ear­ly 1950s, and arriv­ing at such artis­tic des­ti­na­tions as Wendy Car­los’ 1968 album Switched-On Bach. Dri­ving this evo­lu­tion­ary process were artists of a vari­ety of nation­al­i­ties and musi­cal sen­si­bil­i­ties, a group includ­ing sev­er­al espe­cial­ly unig­nor­able fig­ures. Take, for instance, Daphne Oram, the com­pos­er and co-founder of BBC’s sto­ried Radio­phon­ic Work­shop who cre­at­ed the very first piece of elec­tron­ic music ever com­mis­sioned by the net­work.

Oram com­posed that music in 1957, the year before the estab­lish­ment of the Radio­phon­ic Work­shop. She did it to score a BBC pro­duc­tion of Jean Girau­doux’s play Amphit­ry­on 38, using an elec­tron­ic sine wave oscil­la­tor, a tape recorder, and a few fil­ters — a syn­the­siz­er, in oth­er words, of her own cre­ation.

Expe­ri­ence had posi­tioned her well to design and com­pose with such a device and the process­es it demand­ed: she grew up study­ing the piano, organ, and com­po­si­tion, and as a teenag­er she’d tak­en a job as a stu­dio engi­neer at the BBC, an envi­ron­ment that gave her access to all the lat­est tech­nolo­gies for cre­at­ing and record­ing sound. Despite hav­ing reject­ed Still Point, an acoustic-elec­tron­ic piece she com­posed for turnta­bles, five micro­phones, and a “dou­ble orches­tra,” the BBC aired Amphit­ry­on 38 with her score full of “sounds unlike any ever heard before.”

That’s how Oram’s music is described in the 1950s tele­vi­sion clip above, a vis­it to the “coun­try stu­dio in Kent” where, “unlike the tra­di­tion­al com­pos­er, she uses no musi­cal instru­ments and no musi­cians.” And indeed, “she needs no con­cert hall or opera house to put on a per­for­mance: she can do it on a tape recorder.” As out­landish as Oram’s set­up might have looked to BBC view­ers at home back then, the nar­ra­tor informs them that “already, elec­tron­ic music is being used in films, tele­vi­sion, and the the­ater,” and that some peo­ple even think her col­lages of unnat­ur­al sounds will be “the music of the future.” Vin­di­cat­ing that notion is the odd famil­iar­i­ty every elec­tron­ic musi­cian today will feel when they watch Oram at work among the devices of her stu­dio, sur­round­ed as they them­selves hap­pi­ly are by those devices’ tech­no­log­i­cal descen­dants.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via reak­tor­play­er

Relat­ed Con­tent:

Meet Four Women Who Pio­neered Elec­tron­ic Music: Daphne Oram, Lau­rie Spiegel, Éliane Radigue & Pauline Oliv­eros

Hear a 20 Hour Playlist Fea­tur­ing Record­ings by Elec­tron­ic Music Pio­neer Pauline Oliv­eros (RIP)

Two Doc­u­men­taries Intro­duce Delia Der­byshire, the Pio­neer in Elec­tron­ic Music

Hear Sev­en Hours of Women Mak­ing Elec­tron­ic Music (1938- 2014)

Hear Elec­tron­ic Lady­land, a Mix­tape Fea­tur­ing 55 Tracks from 35 Pio­neer­ing Women in Elec­tron­ic Music

Hear Glenn Gould Sing the Praise of the Moog Syn­the­siz­er and Wendy Car­los’ Switched-On Bach, the “Record of the Decade” (1968)

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 Word “Robot” Originated in a Czech Play in 1921: Discover Karel Čapek’s Sci-Fi Play R.U.R. (a.k.a. Rossum’s Universal Robots)

When I hear the word robot, I like to imag­ine Isaac Asimov’s delight­ful­ly Yid­dish-inflect­ed Brook­ly­nese pro­nun­ci­a­tion of the word: “ro-butt,” with heavy stress on the first syl­la­ble. (A quirk shared by Futu­ra­ma’s crus­tacean Doc­tor Zoid­berg.) Asi­mov warned us that robots could be dan­ger­ous and impos­si­ble to con­trol. But he also showed young readers—in his Nor­by series of kids’ books writ­ten with his wife Janet—that robots could be hero­ic com­pan­ions, sav­ing the solar sys­tem from cos­mic supervil­lains.

The word robot con­jures all of these asso­ci­a­tions in sci­ence fic­tion: from Blade Run­ner’s repli­cants to Star Trek’s Data. We might refer to these par­tic­u­lar exam­ples as androids rather than robots, but this con­fu­sion is pre­cise­ly to the point. Our lan­guage has for­got­ten that robots start­ed in sci-fi as more human than human, before they became Asi­mov-like machines. Like the sci-fi writer’s pro­nun­ci­a­tion of robot, the word orig­i­nat­ed in East­ern Europe in 1921, the year after Asimov’s birth, in a play by Czech intel­lec­tu­al Karel Čapek called R.U.R., or “Rossum’s Uni­ver­sal Robots.”

The title refers to the cre­ations of Mr. Rossum, a Franken­stein-like inven­tor and pos­si­ble inspi­ra­tion for Metrop­o­lis’s Rot­wang (who was him­self an inspi­ra­tion for Dr. Strangelove). Čapek told the Lon­don Sat­ur­day Review after the play pre­miered that Rossum was a “typ­i­cal rep­re­sen­ta­tive of the sci­en­tif­ic mate­ri­al­ism of the last [nine­teenth] cen­tu­ry,” with a “desire to cre­ate an arti­fi­cial man—in the chem­i­cal and bio­log­i­cal, not mechan­i­cal sense.”

Rossum did not wish to play God so much as “to prove God to be unnec­es­sary and absurd.” This was but one stop on “the road to indus­tri­al pro­duc­tion.” As tech­nol­o­gy ana­lyst and Penn State pro­fes­sor John M. Jor­dan writes at the MIT Press Read­er, Čapek’s robots were not appli­ances become sen­tient, nor trusty, super­pow­ered side­kicks. They were, in fact, invent­ed to be slaves.

The robot… was a cri­tique of mech­a­niza­tion and the ways it can dehu­man­ize peo­ple. The word itself derives from the Czech word “rob­o­ta,” or forced labor, as done by serfs. Its Slav­ic lin­guis­tic root, “rab,” means “slave.” The orig­i­nal word for robots more accu­rate­ly defines androids, then, in that they were nei­ther metal­lic nor mechan­i­cal.

Jor­dan describes this his­to­ry in an excerpt from his book Robots, part of the MIT Press Essen­tial Knowl­edge Series, and a time­li­er than ever inter­ven­tion in the cul­tur­al and tech­no­log­i­cal his­to­ry of robots, who walk (and moon­walk) among us in all sorts of machine forms, if not quite yet in the sense Čapek imag­ined. But a Blade Run­ner-like sce­nario seemed inevitable to him in a soci­ety ruled by “utopi­an notions of sci­ence and tech­nol­o­gy.”

In the time he imag­ines, he says, “the prod­uct of the human brain has escaped the con­trol of human hands.” Čapek has one char­ac­ter, the robot Radius, make the point plain­ly:

The pow­er of man has fall­en. By gain­ing pos­ses­sion of the fac­to­ry we have become mas­ters of every­thing. The peri­od of mankind has passed away. A new world has arisen. … Mankind is no more. Mankind gave us too lit­tle life. We want­ed more life.

Sound famil­iar? While R.U.R. owes a “sub­stan­tial” debt to Mary Shelley’s Franken­stein, it’s also clear that Čapek con­tributed some­thing orig­i­nal to the cri­tique, a vision of a world in which “humans become more like their machines,” writes Jor­dan. “Humans and robots… are essen­tial­ly one and the same.” Beyond the sur­face fears of sci­ence and tech­nol­o­gy, the play that intro­duced the word robot to the cul­tur­al lex­i­con also intro­duced the dark­er social cri­tique in most sto­ries about them: We have rea­son to fear robots because in cre­at­ing them, we’ve recre­at­ed our­selves; then we’ve treat­ed them the way we treat each oth­er.

You can find the text of Čapek’s play in book for­mat on Ama­zon.

via Boing Boing

Relat­ed Con­tent:

Isaac Asi­mov Explains His Three Laws of Robots

Twerk­ing, Moon­walk­ing AI Robots–They’re Now Here

The Robots of Your Dystopi­an Future Are Already Here: Two Chill­ing Videos Dri­ve It All Home

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

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