The Cameraman’s Revenge (1912): The Truly Weird Origin of Modern Stop-Motion Animation

These days, ever more ambi­tions com­put­er-ani­mat­ed spec­ta­cles seem to arrive in the­aters every few weeks. But how many of them cap­ture our imag­i­na­tions as ful­ly as works of the thor­ough­ly ana­log art of stop-motion ani­ma­tion? The uncan­ny effect (and imme­di­ate­ly vis­i­ble labor-inten­sive­ness) of real, phys­i­cal pup­pets and objects made to move as if by them­selves still cap­ti­vates view­ers young and old: just watch how the Wal­lace and Gromit series, Ter­ry Gilliam’s Mon­ty Python shorts, The Night­mare Before Christ­mas, and even the orig­i­nal King Kong as well as Ray Har­ry­hausen’s mon­sters in Jason and the Arg­onauts and The 7th Voy­age of Sin­bad have held up over the decades.

The film­mak­ers who best under­stand the mag­ic of cin­e­ma still use stop-motion today, as Wes Ander­son has in The Fan­tas­tic Mr. Fox and Isle of Dogs. They all owe some­thing to a Pol­ish-Russ­ian ani­ma­tor of the ear­ly-to-mid-20th cen­tu­ry by the name of Ladis­las Stare­vich. Long­time Open Cul­ture read­ers may remem­ber the works of Stare­vich pre­vi­ous­ly fea­tured here, includ­ing the Goethe adap­ta­tion The Tale of the Fox and the much ear­li­er The Cam­era­man’s Revenge, a tale of infi­deli­ty and its con­se­quences told entire­ly with dead bugs for actors. Stare­vich, then the Direc­tor of the Muse­um of Nat­ur­al His­to­ry in Kau­nas, Lithua­nia, pulled off this cin­e­mat­ic feat “by installing wheels and strings in each insect, and occa­sion­al­ly replac­ing their legs with plas­tic or met­al ones,” says Phil Edwards in the Vox Almanac video above.

“How Stop Motion Ani­ma­tion Began” comes as a chap­ter of a minis­eries called Almanac Hol­ly­would­n’t, which tells the sto­ries of “big changes to movies that came from out­side Hol­ly­wood.” It would be hard indeed to find any­thing less Hol­ly­wood than a man installing wheels and strings into insect corpses at a Lithuan­ian muse­um in 1912, but in time The Cam­era­man’s Revenge proved as deeply influ­en­tial as it remains deeply weird. Stare­vich kept on mak­ing films, and sin­gle­hand­ed­ly fur­ther­ing the art of stop-motion ani­ma­tion, until his death in France (where he’d relo­cat­ed after the Russ­ian Rev­o­lu­tion) in 1965.

And though Stare­vich may not be a house­hold name today, Edwards reveals while trac­ing the sub­se­quent his­to­ry of stop-motion ani­ma­tion that cin­e­ma has­n’t entire­ly failed to pay him trib­ute: Ander­son­’s The Fan­tas­tic Mr. Fox is in a sense a direct homage to The Tale of the Fox, and Gilliam has called Stare­vich’s work “absolute­ly breath­tak­ing, sur­re­al, inven­tive and extra­or­di­nary, encom­pass­ing every­thing that Jan Svankma­jer, Waler­ian Borow­czyk and the Quay Broth­ers would do sub­se­quent­ly.” He sug­gests that, before we enter the “mind-bend­ing worlds” of more recent ani­ma­tors, we “remem­ber that it was all done years ago, by some­one most of us have for­got­ten about now” — and with lit­tle more than a few dead bugs at that.

Relat­ed Con­tent:

Watch The Amaz­ing 1912 Ani­ma­tion of Stop-Motion Pio­neer Ladis­las Stare­vich, Star­ring Dead Bugs

The Tale of the Fox: Watch Ladis­las Starevich’s Ani­ma­tion of Goethe’s Great Ger­man Folk­tale (1937)

The Mas­cot, a Pio­neer­ing Stop Ani­ma­tion Film by Wla­dys­law Starewicz

The His­to­ry of Stop-Motion Films: 39 Films, Span­ning 116 Years, Revis­it­ed in a 3‑Minute Video

Ray Harryhausen’s Creepy War of the Worlds Sketch­es and Stop-Motion Test Footage

Spike Jonze’s Stop Motion Film Haunt­ing­ly Ani­mates Paris’ Famed Shake­speare and Com­pa­ny Book­store

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.

Doris Kearns Goodwin Teaches U.S. Presidential History & Leadership

FYI: Pres­i­den­tial his­to­ri­an Doris Kearns Goodwin–author of Lead­er­ship: In Tur­bu­lent Times, Team of Rivals: The Polit­i­cal Genius of Abra­ham Lin­coln, and No Ordi­nary Time: Franklin & Eleanor Roo­sevelthas just released a new online course on Mas­ter­Class. Here’s the ground that the course cov­ers:

Alto­geth­er, she’s spent more than 50 years study­ing great Amer­i­can pres­i­dents and lead­ers of the past, writ­ing sev­er­al award-win­ning, best­selling biogra­phies, includ­ing No Ordi­nary Time: Franklin and Eleanor Roo­sevelt: The Home Front in World War II, which won the Pulitzer Prize for His­to­ry. Now she’s shar­ing her knowl­edge and teach­ing you to lead like a pres­i­dent.

In Doris’s Mas­ter­Class, you can learn to devel­op the char­ac­ter­is­tics and human skills of excep­tion­al Amer­i­can lead­er­ship, from Lin­coln to Oba­ma. Doris brings to life the sto­ries and expe­ri­ences of four pres­i­dents she knows by heart—Lincoln, Ted­dy Roo­sevelt, FDR, and LBJ—and shares a tem­plate of human skills that make great lead­ers: humil­i­ty, empa­thy, resilience, self-aware­ness, self-reflec­tion, the abil­i­ty to cre­ate a team and com­mu­ni­cate through sto­ries, and shar­ing your ambi­tion for the greater good. She also uses exam­ples from oth­er his­tor­i­cal fig­ures, includ­ing Eleanor Roo­sevelt, Win­ston Churchill, and Mar­tin Luther King Jr., to teach effec­tive lead­er­ship qual­i­ties and prac­ti­cal wis­dom for every day. Learn how to make bet­ter deci­sions, man­age a cri­sis, and get a mes­sage across, whether you’re inter­act­ing with the media, com­mu­ni­cat­ing to a team at work, or deliv­er­ing a speech meant to inspire and empow­er thou­sands of peo­ple.

In this class, you’ll learn about:
• Devel­op­ing emo­tion­al intel­li­gence
• Expe­ri­ences and sto­ries of U.S. pres­i­dents
• Build­ing resilience
• Build­ing and lead­ing a team
• Mak­ing bet­ter deci­sions, big or small
• Nav­i­gat­ing a cri­sis
• Deliv­er­ing a mes­sage and con­sid­er­ing an audi­ence
• The pow­er of speech­es
• Replen­ish­ing your ener­gy
• Civic engage­ment

You can sign up for Kearns Good­win’s course here.

As a free unre­lat­ed bonus, you can stream Kearns Good­win’s long inter­view with Tim Fer­ris. There, she takes an engag­ing look at the lead­er­ship skills of four Amer­i­can presidents–Lincoln, FDR, Ted­dy Roo­sevelt and LBJ. It’s well worth a lis­ten…

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Relat­ed Con­tent:

Free Online His­to­ry Cours­es

How to Take Every Mas­ter­Class Course For Less Than a Cup of Good Cof­fee

The 2,000+ Films Watched by Pres­i­dents Nixon, Carter & Rea­gan in the White House

 

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

Fore­warned is fore­armed, so in 1943, the Unit­ed States Office of War Infor­ma­tion cre­at­ed a train­ing film to pre­vent sol­diers bound for Great Britain from earn­ing their Ugly Amer­i­can stripes.

The excerpt above con­cen­trates on pub eti­quette, cast­ing actor and Army Air Corps cap­tain Burgess Mered­ith in the role of a dis­creet mil­i­tary Vir­gil, explain­ing in hushed tones the British pen­chant for non-chilled beer and smok­ing or read­ing the paper unmo­lest­ed.

He also cau­tions incom­ing GIs against throw­ing their mon­ey around or mak­ing fun of kilt-wear­ing Scotsmen—commonsense advice that still applies.

To ensure the mes­sage sticks, he con­jures a cringe­wor­thy, semi-sloshed bad apple, who struts around in uni­form, bray­ing insults at the locals, until he dis­ap­pears in a puff of smoke.

No won­der the reception’s a bit frosty, when Mered­ith, ven­tures forth, also in uni­form. But unlike the brash bad­die who went before, Mered­ith has vet­ted his hosts, approach­ing as one might a skit­tish ani­mal. He offers cig­a­rettes, enjoys a game of darts as a spec­ta­tor, and buys his new friends drinks, being care­ful to choose some­thing in their price range, know­ing that they will insist on rec­i­p­ro­cat­ing in kind.

The film is pri­mar­i­ly con­cerned with teach­ing restraint.

In anoth­er sec­tion of the not-quite-38-minute film offi­cial­ly called A Wel­come to Britain (see below), Mered­ith cau­tions young recruits to take small por­tions of food, know­ing how restrict­ed their hosts’ rations are.

The most uncom­fort­able teach­able moment comes when an elder­ly Eng­lish­woman spon­ta­neous­ly invites a black GI to tea, after thank­ing him for his ser­vice:

Now look men, you heard that con­ver­sa­tion, that’s not unusu­al here. It’s the sort of thing that hap­pens quite a lot. Now let’s be frank about it, there are col­ored sol­diers as well as white here, and there are less social restric­tions in this coun­try. An Eng­lish woman ask­ing a col­ored boy to tea, he was polite about it, and she was polite about it. Now, that might not hap­pen at home, but the point is, we’re not at home, and the point is too, if we bring a lot of prej­u­dices here, what are we going to do about them?

(No advice to young black sol­diers on whether they’re hon­or bound to accept, should an elder­ly Eng­lish­woman invite them to tea, when they were per­haps en route to the pub.)

Watch the entire­ty of A Wel­come to Britain, includ­ing a cameo by Bob Hope at the 30 minute mark, here.

For an updat­ed guide to British pub eti­quette, check out the Amer­i­can expats of Post­mod­ern Fam­i­ly reac­tion video here.

via Daniel Hol­land

Relat­ed Con­tent:

Free: British Pathé Puts Over 85,000 His­tor­i­cal Films on YouTube

1,000,000 Min­utes of News­reel Footage by AP & British Movi­etone Released on YouTube

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

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Decem­ber 9 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Dennison’s Christ­mas Book (1921). Fol­low her @AyunHalliday.

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

From Kro­nos Media comes a pret­ty astound­ing mon­tage of video show­ing Berlin in July 1945 — just two months after the Nazis lost The Bat­tle of Berlin and Hitler com­mit­ted sui­cide, and a month after the allies signed the Dec­la­ra­tion Regard­ing the Defeat of Ger­many and the Assump­tion of Supreme Author­i­ty by Allied Pow­ers

The near­ly 75-year-old footage shows a city in sham­bles. You see the wound­ed, and build­ings reduced to piles of rub­ble. The Reich­stag makes an appear­ance, as does the worn-out Bran­den­burg Gate, through which res­i­dents passed from British-con­trolled Berlin to Sovi­et-con­trolled Berlin. And most­ly you see every­day peo­ple try­ing to get on with their lives. Most chill­ing is the final scene, where an aer­i­al shot car­ries you over miles and miles of des­o­la­tion. To see Berlin dur­ing an ear­li­er, cer­tain­ly bet­ter time, vis­it our 2013 post: Berlin Street Scenes Beau­ti­ful­ly Caught on Film Between 1900 and 1914.

Note: An ear­li­er ver­sion of this post appeared on our site in May 2015.

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.

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

Relat­ed Con­tent

Watch World War II Rage Across Europe in a 7 Minute Time-Lapse Film: Every Day From 1939 to 1945

The Fin­land Wartime Pho­to Archive: 160,000 Images From World War II Now Online

22-Year-Old P.O.W. Kurt Von­negut Writes Home from World War II: “I’ll Be Damned If It Was Worth It”

Down­load 78 Free Online His­to­ry Cours­es: From Ancient Greece to The Mod­ern World

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Every Nuclear Bomb Explosion in History, Animated

I sus­pect many few­er peo­ple are assigned John Hersey’s Hiroshi­ma, a book most every­one in my cohort read at some stage in their edu­ca­tion. And cer­tain­ly, far few­er peo­ple are sub­ject­ed to the kind of alarmist (and rea­son­ably so) pro­pa­gan­da films that dra­ma­tized the gris­ly details of fall­out and nuclear win­ter. Even the recent HBO minis­eries Cher­nobyl, with its grotesque depic­tion of radi­a­tion poi­son­ing, prompt­ed a wave of tourism to the site, draw­ing Insta­gram gen­er­a­tion gawk­ers born too late to have heard the ter­ri­fy­ing news first­hand.

Yet, the threat of a nuclear dis­as­ter and its atten­dant hor­rors has hard­ly gone away. The UN Gen­er­al Assem­bly issued a state­ment this year warn­ing of the high­est poten­tial for a dev­as­tat­ing inci­dent since the Cuban Mis­sile Cri­sis. We are enter­ing a new era of nuclear pro­lif­er­a­tion, with many coun­tries who have no love for each oth­er join­ing the race. “As the risk of nuclear con­fronta­tion grows,” writes Simon Tis­dall at The Guardian, “the cold war sys­tem of treaties that helped pre­vent Armaged­don is being dis­man­tled, large­ly at Trump’s behest.” Calls for a No-First-Use pol­i­cy in the U.S. have grown more urgent.

Liv­ing mem­o­ry of the peri­od in which two glob­al super­pow­ers almost destroyed each oth­er, and took every­one else with them, has not deterred the archi­tects of today’s geopol­i­tics. But remem­ber­ing that his­to­ry should nonethe­less be required of us all. In the Busi­ness Insid­er video above, you can get a sense of the scope of nuclear test­ing that esca­lat­ed through­out the Cold War, in an ani­mat­ed time­line show­ing every sin­gle explo­sion in Japan and the var­i­ous test­ing sites in Rus­sia, New Mex­i­co, Aus­tralia, and the Pacif­ic Islands from 1945 into the 1990s, when they final­ly drop off. As the decades progress, more coun­tries amass arse­nals and con­duct their own test­ing.

Despite the expert warn­ings, some­thing cer­tain­ly has changed since the fall of the Sovi­et Union. Over a forty year peri­od, the U.S. and the U.S.S.R. trained to anni­hi­late the oth­er, and the prospect of nuclear war became an extinc­tion-lev­el event. That may not be the case in a frag­ment­ed, mul­ti­po­lar world with many small­er coun­tries vying for region­al suprema­cy. But a nuclear event, inten­tion or acci­den­tal, could still be cat­a­stroph­ic on the order of thou­sands or mil­lions of deaths. The ani­ma­tion shows us how we got here, through decades of nor­mal­iz­ing the stock­pil­ing and test­ing of the ulti­mate weapons of mass destruc­tion.

Relat­ed Con­tent:

53 Years of Nuclear Test­ing in 14 Min­utes: A Time Lapse Film by Japan­ese Artist Isao Hashimo­to

Pro­tect and Sur­vive: 1970s British Instruc­tion­al Films on How to Live Through a Nuclear Attack

U.S. Det­o­nates Nuclear Weapons in Space; Peo­ple Watch Spec­ta­cle Sip­ping Drinks on Rooftops (1962)

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

Quentin Tarantino’s World War II Reading List

Image by Georges Biard, via Wiki­me­dia Com­mons

With his first three fea­tures Reser­voir Dogs, Pulp Fic­tion, and Jack­ie Brown, Quentin Taran­ti­no claimed 1990s Los Ange­les as his own. Then he struck bold­ly out into not just new geo­graph­i­cal and cul­tur­al ter­ri­to­ries, but oth­er time peri­ods. With his first full-on peri­od piece, 2009’s Inglou­ri­ous Bas­ter­ds, he showed audi­ences just how he intend­ed to use his­to­ry: twist­ing it for his own cin­e­mat­ic pur­pos­es, of course, but only mak­ing his depar­tures after steep­ing him­self in accounts of the time in which he envi­sioned his sto­ry tak­ing place. This nat­u­ral­ly involves plen­ty of read­ing, and Taran­ti­no recent­ly pro­vid­ed His­to­ryNet with a few titles that helped him prop­er­ly sit­u­ate Inglou­ri­ous Bas­ter­ds in the Europe of the Sec­ond World War.

Taran­ti­no calls Ian Ous­by’s Occu­pa­tion: The Ordeal of France 1940–1944 “a very good overview that answered all of my ques­tions about life in Nazi-occu­pied France.” Ulysses Lee’s The Employ­ment of Negro Troops is “the most pro­found thing I’ve ever read on both the war and racist Amer­i­ca of the 1940s, com­mis­sioned by the U.S. Army to exam­ine the effec­tive­ness of their employ­ment of black sol­diers.” And for Taran­ti­no, who does­n’t just make films but lives and breathes them, under­stand­ing Nazi Ger­many means under­stand­ing its cin­e­ma, begin­ning with Eric Rentschler’s Min­istry of Illu­sion: Nazi Cin­e­ma and Its After­life, “a won­der­ful crit­i­cal reex­am­i­na­tion of Ger­man cin­e­ma under Joseph Goebbels” that “goes far beyond the demo­niz­ing approach employed by most writ­ers on this sub­ject,” includ­ing even excerpts from Goebbels’ diaries.

Rentschler also “dares to make a fair appraisal of Nazi film­mak­er Veit Har­lan,” who made anti­se­mit­ic block­busters as one of Goebbels’ lead­ing pro­pa­gan­da direc­tors. But the work of no Nazi film­mak­er had as much of an impact as that of Leni Riefen­stahl, two books about whom Taran­ti­no puts on his World War II read­ing list: Glenn B. Infield­’s Leni Riefen­stahl: The Fall­en Film God­dess, the first he ever read about her, as well as Riefen­stahl’s epony­mous mem­oir, which he calls “mes­mer­iz­ing. Though you can’t believe half of it. That still leaves half to pon­der. Her descrip­tions of nor­mal friend­ly con­ver­sa­tions with Hitler are amaz­ing and ring of truth” — and that praise comes from a film­mak­er who made his own name with good dia­logue.

In a recent DGA Quar­ter­ly con­ver­sa­tion with Mar­tin Scors­ese, Taran­ti­no revealed that he’s also at work on a book of his own about that era: “I’ve got this char­ac­ter who had been in World War II and he saw a lot of blood­shed there. Now he’s back home, and it’s like the ’50s, and he does­n’t respond to movies any­more. He finds them juve­nile after every­thing that he’s been through. As far as he’s con­cerned, Hol­ly­wood movies are movies. And so then, all of a sud­den, he starts hear­ing about these for­eign movies by Kuro­sawa and Felli­ni,” think­ing “maybe they might have some­thing more than this pho­ny Hol­ly­wood stuff.” He soon finds him­self drawn inex­orably in: “Some of them he likes and some of them he does­n’t like and some of them he does­n’t under­stand, but he knows he’s see­ing some­thing.” This is hard­ly the kind of premise that leads straight to the kind of vio­lent cathar­sis in which Taran­ti­no spe­cial­izes, but then, he’s pulled off more unlike­ly artis­tic feats in his time.

via His­to­ryNet

Relat­ed Con­tent:

Quentin Taran­ti­no Explains How to Write & Direct Movies

How Quentin Taran­ti­no Steals from Oth­er Movies: A Video Essay

How Quentin Taran­ti­no Cre­ates Sus­pense in His Favorite Scene, the Ten­sion-Filled Open­ing Moments of Inglou­ri­ous Bas­ter­ds

The Films of Quentin Taran­ti­no: Watch Video Essays on Pulp Fic­tionReser­voir DogsKill Bill & More

Leni Riefenstahl’s Tri­umph of the Will Wasn’t a Cin­e­mat­ic Mas­ter­piece; It Was a Stag­ger­ing­ly Effec­tive Piece of Pro­pa­gan­da

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.

What Ancient Chinese Sounded Like — and How We Know It: An Animated Introduction

No stu­dent of Chi­nese has an easy time with pro­nun­ci­a­tion. Even lin­guist Joshua Rud­der, who tells ani­mat­ed sto­ries on his Youtube chan­nel Native­Lang about lan­guages around the world and how they came to be, admits his own strug­gles to get it right. “But late­ly I’ve been bury­ing myself in hun­dreds of pages of Chi­nese lin­guis­tic his­to­ry, and you know what? I’m in good com­pa­ny,” says Rud­der in the intro­duc­tion to the video above, “What ‘Ancient’ Chi­nese Sound­ed Like — and How We Know.” “Chi­nese pro­nun­ci­a­tion puz­zled experts in Chi­na for a long, long time.”

This leads into the sto­ry of one par­tic­u­lar expert, a 19th schol­ar named Chen Li who sought to recov­er Chi­nese pro­nun­ci­a­tions that even then seemed to have been lost to his­to­ry. “How do you recov­er the sounds immor­tal­ized in clas­si­cal texts? How do you make the old poems rhyme again?” And how do you do it when “you have no record­ings, no pho­net­ic tran­scrip­tions, not even an alpha­bet — you’re work­ing with char­ac­ters.” Ah yes, char­ac­ters, those thou­sands of logograms, evolved over mil­len­nia, that still today bedev­il any­one try­ing to get a han­dle on the Chi­nese lan­guage, not exclud­ing the Chi­nese them­selves. That goes espe­cial­ly for some­one as lin­guis­ti­cal­ly ambi­tious as Chen Li.

Chen Li’s research on the cor­rect pro­nun­ci­a­tion of ancient Chi­nese brought him to the Qieyun, an even then-1200-year-old dic­tio­nary of fan­qie (反切), or the pro­nun­ci­a­tion of sin­gle char­ac­ters described by using com­bi­na­tions of oth­er char­ac­ters. (On Wikipedia, you can find assem­bled links to scanned frag­ments of the text cur­rent­ly held in places like the British Library and the Bib­lio­thèque nationale de France.) Draw­ing on not just the Qieyun but oth­er sources as well, Chen Li’s painstak­ing work of recon­struct­ing old pro­nun­ci­a­tions over­turned the long-stand­ing teach­ing that the Chi­nese lan­guage had 36 ini­tial con­so­nant sounds. He found that it had 41. But even after that dis­cov­ery, the nature of these “pre­cise sounds” remained unknown, an incom­plete­ness of knowl­edge chipped away at by the Swedish schol­ar Bernard Karl­gren in the 1900s, who took into account “the many liv­ing vari­eties” of the Chi­nese lan­guage.

Oth­er Asian lan­guages with vocab­u­lary descend­ed from Chi­nese also come in to play. Rud­der takes the exam­ple of the word for “coun­try,” pro­nounced guó (國) in mod­ern Man­darin but kuk in Kore­an (국), koku in Japan­ese (国), and kuək in Viet­namese (quốc), all sug­gest­ing a com­mon ancient Chi­nese ances­tor word end­ing in a K‑like con­so­nant sound. But how­ev­er much progress has been made, this research into “ancient” Chi­nese has turned out to be research into a lin­guis­tic peri­od of “mid­dle Chi­nese,” which reveals evi­dence of “an even old­er lan­guage to uncov­er, a thou­sand years old­er still.” The work of a lin­guis­tic his­to­ry, just like the hum­bler work of a Chi­nese lan­guage-learn­er, is nev­er done.

Relat­ed Con­tent:

Free Chi­nese Lessons

What Ancient Latin Sound­ed Like, And How We Know It

What Did Etr­uscan Sound Like? An Ani­mat­ed Video Pro­nounces the Ancient Lan­guage That We Still Don’t Ful­ly Under­stand

What Did Old Eng­lish Sound Like? Hear Recon­struc­tions of Beowulf, The Bible, and Casu­al Con­ver­sa­tions

Hear What the Lan­guage Spo­ken by Our Ances­tors 6,000 Years Ago Might Have Sound­ed Like: A Recon­struc­tion of the Pro­to-Indo-Euro­pean Lan­guage

A Map of How the Word “Tea” Spread Across the World

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.

How Humans Migrated Across The Globe Over 200,000 Years: An Animated Look

Cov­er­age of the refugee cri­sis peaked in 2015. By the end of the year, note researchers at the Uni­ver­si­ty of Bergen, “this was one of the hottest top­ics, not only for politi­cians, but for par­tic­i­pants in the pub­lic debate,” includ­ing far-right xeno­phobes giv­en mega­phones. What­ev­er their intent, Daniel Trilling argues at The Guardian, the explo­sion of refugee sto­ries had the effect of fram­ing “these new­ly arrived peo­ple as oth­ers, peo­ple from ‘over there,’ who had lit­tle to do with Europe itself and were strangers.”

Such a char­ac­ter­i­za­tion ignores the cru­cial con­text of Europe’s pres­ence in near­ly every part of the world over the past sev­er­al cen­turies. And it frames mass migra­tion as extra­or­di­nary, not the norm. The cri­sis aspect is real, the result of dan­ger­ous­ly accel­er­at­ed move­ment of cap­i­tal and cli­mate change. But mass move­ments of peo­ple seek­ing bet­ter con­di­tions, safe­ty, oppor­tu­ni­ty, etc. may be the old­est and most com­mon fea­ture of human his­to­ry, as the Sci­ence Insid­er video shows above.

The yel­low arrows that fly across the globe in the dra­mat­ic ani­ma­tion make it seem like ear­ly humans moved by bul­let train. But when con­se­quen­tial shifts in cli­mate occurred at a glacial pace—and economies were built on what peo­ple car­ried on their backs—mass migra­tions hap­pened over the span of thou­sands of years. Yet they hap­pened con­tin­u­ous­ly through­out last 200,000 to 70,000 years of human his­to­ry, give or take. We may nev­er know what drove so many of our dis­tant ances­tors to spread around the world.

But how can we know what routes they took to get there? “Thanks to the amaz­ing work of anthro­pol­o­gists and pale­on­tol­o­gists like those work­ing on Nation­al Geographic’s Geno­graph­ic Project,” Sci­ence Insid­er explains, “we can begin to piece togeth­er the sto­ry of our ances­tors.” The Geno­graph­ic Project was launched by Nation­al Geo­graph­ic in 2005, “in col­lab­o­ra­tion with sci­en­tists and uni­ver­si­ties around the world.” Since then, it has col­lect­ed the genet­ic data of over 1 mil­lion peo­ple, “with a goal of reveal­ing pat­terns of human migra­tion.”

The project assures us it is “anony­mous, non­med­ical, and non­prof­it.” Par­tic­i­pants sub­mit­ted their own DNA with Nation­al Geographic’s “Geno” ances­try kits (and may still do so until next month). They can receive a “deep ances­try” report and cus­tomized migra­tion map; and they can learn how close­ly they are relat­ed to “his­tor­i­cal genius­es,” a cat­e­go­ry that, for some rea­son, includes Jesse James.

Do projects like these veer close to recre­at­ing the “race sci­ence” of pre­vi­ous cen­turies? Are they valid ways of recon­struct­ing the “human sto­ry” of ances­try, as Nation­al Geo­graph­ic puts it? Crit­ics like sci­ence jour­nal­ist Angela Sai­ni are skep­ti­cal. “DNA test­ing can­not tell you that,” she says in an inter­view on NPR, but it can “make us believe that iden­ti­ty is bio­log­i­cal, when iden­ti­ty is cul­tur­al.” Nation­al Geo­graph­ic seems to dis­avow asso­ci­a­tions between genet­ics and race, writ­ing, “sci­ence defines you by your DNA, soci­ety defines you by the col­or of your skin.” But it does so at the end of a video about a group of peo­ple bond­ing over their sim­i­lar fea­tures.

Despite the sig­nif­i­cance mod­ern humans have ascribed to vari­a­tions in phe­no­type, race is a cul­tur­al­ly defined cat­e­go­ry and not a sci­en­tif­ic one. argues Joseph L. Graves, pro­fes­sor of bio­log­i­cal sci­ences at the Joint School of Nanoscience and Nano­engi­neer­ing.. “Every­thing we know about our genet­ics has proven that we are far more alike than we are dif­fer­ent. If more peo­ple under­stood that, it would be eas­i­er to debunk the myth that peo­ple of a cer­tain race are ‘nat­u­ral­ly’ one way or anoth­er,” or that refugees and asy­lum seek­ers are dan­ger­ous oth­ers instead of just like every oth­er human who has moved around the world over the last 200,000 years.

Relat­ed Con­tent:

Col­or­ful Ani­ma­tion Visu­al­izes 200 Years of Immi­gra­tion to the U.S. (1820-Present)

Where Did Human Beings Come From? 7 Mil­lion Years of Human Evo­lu­tion Visu­al­ized in Six Min­utes

Ian McK­ellen Reads a Pas­sion­ate Speech by William Shake­speare, Writ­ten in Defense of Immi­grants

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

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