How Ladies & Gentlemen Got Dressed in the 18th Century: It Was a Pretty Involved Process

We can iden­ti­fy most of the last few cen­turies by their styles of clothes. But it’s one thing to know what peo­ple wore in his­to­ry and quite anoth­er to know how, exact­ly, they wore it. We’ve pre­vi­ous­ly fea­tured videos that accu­rate­ly re-enact the whole process of of how sol­diers and nurs­es dressed in World War I, and how women got dressed in the four­teenth and eigh­teenth cen­turies. Today we go back again to the eigh­teenth cen­tu­ry with two videos from Nation­al Muse­ums Liv­er­pool, one that shows us how Euro­pean gen­tle­men got dressed in those days, and anoth­er that shows us how ladies did.

One obvi­ous way in which dress­ing points to changes over the past few hun­dred years: both the gen­tle­man and the lady require the assis­tance of a ser­vant. The gen­tle­man begins his day wear­ing his long linen night­shirt and a wrap­per over it, Japan- and India-inspired gar­ments, the nar­ra­tor tells us, that “reflect British inter­ests abroad.”

To replace them comes first a volu­mi­nous, usu­al­ly ruf­fled shirt; over-the-knee stock­ings held in place with breech knee­bands; occa­sion-appro­pri­ate shoe buck­les and cuf­flinks; option­al linen under­draw­ers; many-but­toned and buck­led knee breech­es; a waist­coat (whose top few but­tons remain open to reveal the shirt’s ruf­fles); a linen cra­vat; a buck­led stock; a coat on top of the waist­coat; and of course, a fresh­ly-dust­ed wig.

Get­ting clothes on for a day in the eigh­teenth cen­tu­ry was even more com­pli­cat­ed for ladies than for gen­tle­men, as evi­denced by the fact that its video requires two addi­tion­al min­utes to show every step involved. We begin with the shift, an under­gar­ment worn with­out knick­ers. Like the gen­tle­man, the lady wears over-the-knee stock­ings, but she ties them with rib­bon garters (at least for days not involv­ing much danc­ing). Over that, “a knee-length white linen pet­ti­coat worn for warmth and mod­esty,” and over that, a stay made using whale baleen. Pock­ets were added in the form of bags worn at the hips, but bags known to get lost if their ties came undone — hence the nurs­ery rhyme “Lucy Lock­et lost her pock­et.”

Prop­er eigh­teenth-cen­tu­ry female dress also required pet­ti­coats of var­i­ous kinds, a ker­chief, a stom­ach­er (often high­ly dec­o­rat­ed), more pet­ti­coats, a gown, a linen apron (with a bib pinned into posi­tion, hence “pinafore”), a day cap, and then anoth­er apron that “serves no pur­pose oth­er than to indi­cate the fine sta­tus of the indi­vid­ual wear­ing it.” Con­spic­u­ous con­sump­tion mat­tered even back then, but so did the painstak­ing cre­ation of the ide­al female fig­ure, or at least the impres­sion there­of. Not only do these videos show us just the kind of cloth­ing that would have been worn for that pur­pose and how it would have been put on, they also show us high­ly plau­si­ble atti­tudes pro­ject­ed by dressed and dress­er alike: the for­mer one of faint­ly bored expec­ta­tion, and the lat­ter one of resigned indus­tri­ous­ness tinged with the sus­pi­cion that all this can’t last for­ev­er.

Relat­ed Con­tent:

Get­ting Dressed Dur­ing World War I: A Fas­ci­nat­ing Look at How Sol­diers, Nurs­ers & Oth­ers Dressed Dur­ing the Great War

How Women Got Dressed in the 14th & 18th Cen­turies: Watch the Very Painstak­ing Process Get Cin­e­mat­i­cal­ly Recre­at­ed

The Sights & Sounds of 18th Cen­tu­ry Paris Get Recre­at­ed with 3D Audio and Ani­ma­tion

The Dress­er: The Con­trap­tion That Makes Get­ting Dressed an Adven­ture

How to Make and Wear Medieval Armor: An In-Depth Primer

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, on Face­book, or on Insta­gram.

Behold Color Photographs Taken During the Aftermath of San Francisco’s Devastating 1906 Earthquake

If a city has been around long enough, it will more than like­ly have suf­fered some sort of cat­a­stroph­i­cal­ly destruc­tive event: the Great Fire of Lon­don in 1666, the Great Chica­go Fire of 1871, the Great Kan­tō earth­quake that dev­as­tat­ed Tokyo in 1923. Most of their names, come to think of it, include the word “great,” though not every source refers to San Fran­cis­co’s 1906 earth­quake that way. Not, of course, to min­i­mize its destruc­tive­ness: with a force that would mea­sure 7.8 on the Richter scale, the earth­quake ulti­mate­ly destroyed 80 per­cent of the city — about 25,000 build­ings, with lost prop­er­ty equiv­a­lent to $11.2 bil­lion in today’s dol­lars — and killed 3,000 peo­ple.

Six months after the dis­as­ter, an inven­tor named Fred­er­ick Eugene Ives arrived to doc­u­ment the still-fresh after­math of the dis­as­ter. He had in hand some­thing called a brr, a 3D col­or cam­era he designed him­self. Its “sys­tem of mir­rors and fil­ters behind each lens split and fil­tered the light to cre­ate one pair of slides for each pri­ma­ry col­or of light (red, green, blue).

The slides were bound togeth­er in a spe­cial order with cloth tapes into a pack­age known as a KrĹ‘m­gram,” view­able only with a KrĹ‘m­scĹ‘p, “the appa­ra­tus used to rebuild the image allow­ing the view­er to see in three-dimen­sion­al col­or.”

Antho­ny Brooks dis­cov­ered Ives’ KrĹ‘m­grams of San Fran­cis­co in ruins only in 2009, reports the Tele­graph. Most of its pic­tures were tak­en from a hotel rooftop, and “although hand-col­ored pho­tographs of the quake’s destruc­tion have sur­faced before, Ives’ work is prob­a­bly the only true col­or doc­u­men­tary evi­dence.” Such images would have aston­ished any con­tem­po­rary view­er, not just for the dev­as­ta­tion they showed but the life­like col­or and depth with which they ren­dered it. And yet the Pho­tochro­mo­scope sys­tem nev­er caught on, Brooks writes: “The KrĹ‘m­scĹ‘p view­ers were expen­sive ($50 in 1907 or about $1000 today adjust­ing for infla­tion), required strong sun­light or arc light for view­ing, and were tech­ni­cal­ly com­plex to use, despite Ives’ asser­tions to the con­trary.”

But even though few prob­a­bly saw these pic­tures in the ear­ly 20th cen­tu­ry, Ives was hard­ly for­got­ten in the realm of pho­tog­ra­phy. The recip­i­ent of sev­er­al major sci­en­tif­ic and engi­neer­ing awards in his life­time, he left behind such more wide­ly adopt­ed inven­tions as one of the sev­er­al vari­eties of “halftone process” that allowed pho­tographs to be repro­duced in news­pa­pers — just as news­pa­pers around the coun­try did after the earth­quake struck, com­bin­ing them with head­lines like “WATER FRONT BURNS ALMOST TO THE FERRY,” “3,000 PEOPLE ARE HOMELESS,” and “SAN FRANCISCO ANNIHILATED.” But H.G. Wells, who was on a vis­it to the Unit­ed States at the time, sensed more of a san­guin­i­ty in the Amer­i­cans around him: “There is no doubt any­where that San Fran­cis­co can be rebuilt, larg­er, bet­ter, and soon.”

via Mash­able

Relat­ed Con­tent:

Dra­mat­ic Footage of San Fran­cis­co Right Before & After the Mas­sive­ly Dev­as­tat­ing Earth­quake of 1906

Rome Comes to Life in Pho­tochrom Col­or Pho­tos Tak­en in 1890: The Colos­se­um, Tre­vi Foun­tain & More

Take a Visu­al Jour­ney Through 181 Years of Street Pho­tog­ra­phy (1838–2019)

Beau­ti­ful, Col­or Pho­tographs of Paris Tak­en 100 Years Ago—at the Begin­ning of World War I & the End of La Belle Époque

Behold the Very First Col­or Pho­to­graph (1861): Tak­en by Scot­tish Physi­cist (and Poet!) James Clerk Maxwell

Voltaire & the Lis­bon Earth­quake of 1755

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, on Face­book, or on Insta­gram.

Watch an Animated Documentary About the Pioneering Journalist & Feminist Icon Nellie Bly

While no longer a house­hold name, the trail­blaz­ing jour­nal­ist Nel­lie Bly (1864–1922) is def­i­nite­ly an endur­ing Amer­i­can icon.

Her like­ness has graced a postage stamp and a fin­ger pup­pet.

Her life has been the sub­ject of numer­ous books and a made-for-TV movie.

Some hun­dred years after its com­ple­tion, her record-break­ing, 72-day round-the-world trip inspired an episode of The Amer­i­can Expe­ri­ence, a puz­zle-cum-boardgame, and a rol­lick­ing song by his­to­ry fans the Dee­dle Dee­dle Dees.

And now? Meet Nel­lie Bly, car­toon action hero. (Hero­ine? Hard to say which hon­orif­ic the opin­ion­at­ed and for­ward-think­ing Bly, born in 1864, would pre­fer…)

Film­mak­er Pen­ny Lane’s “Nel­lie Bly Makes the News,” above, is not the first to rec­og­nize this sort of poten­tial in the pio­neer­ing jour­nal­ist, whose 151st birth­day was cel­e­brat­ed with an ani­mat­ed Google Doo­dle and accom­pa­ny­ing song by Karen O, but Lane (no rela­tion to Lois, the fic­tion­al reporter mod­eled on you-know-who) wise­ly lets Bly speak for her­self.

Not only that, she brings her into the stu­dio for a 21st-cen­tu­ry inter­view, in which an eye-rolling Bly describes the resis­tance she encoun­tered from the male elite, who felt it was not just unseem­ly but impos­si­ble that a young woman should pur­sue the sort of jour­nal­is­tic career she envi­sioned for her­self.

She also touch­es on some of her most famous jour­nal­is­tic stunts, such as the under­cov­er stints in a New York City “insane asy­lum”and box-mak­ing fac­to­ry that led to exposĂ©s and even­tu­al­ly, social reform.

Biog­ra­ph­er Brooke Kroeger and brief glimpses of archival mate­ri­als touch on some of the oth­er high­lights in Bly’s auda­cious, self-direct­ed career.

The car­toon Bly’s hair­do and attire are peri­od appro­pri­ate, but her vocal inflec­tions, cour­tesy of broad­cast reporter and voiceover artist Sam­mi Jo Fran­cis, are clos­er in spir­it to that of Broad City’s Ilana Glaz­er.

(Inter­est­ing to note, giv­en Bly’s com­plaints about how promi­nent­ly the one dress she took on her round the world trip fea­tured in out­side sto­ries about that adven­ture, that dress is a pre­oc­cu­pa­tion of The Appre­ci­a­tion of Boot­ed News­women blog. Respect­ful as that site is, the focus there is def­i­nite­ly not on jour­nal­is­tic achieve­ment.)

via Aeon

Relat­ed Con­tent:

New Aug­ment­ed Real­i­ty App Cel­e­brates Sto­ries of Women Typ­i­cal­ly Omit­ted from U.S. His­to­ry Text­books

74 Essen­tial Books for Your Per­son­al Library: A List Curat­ed by Female Cre­atives

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 Inkyzine.  Join her in NYC on Mon­day, Sep­tem­ber 9 for anoth­er sea­son of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Why 1999 Was the Year of Dystopian Office Movies: What The Matrix, Fight Club, American Beauty, Office Space & Being John Malkovich Shared in Common

On August 11, 1992, the writer Dou­glas Cou­p­land made an appear­ance at the grand open­ing of Min­neapo­lis’ Mall of Amer­i­ca, the largest shop­ping mall on Earth. Against his inter­view­er’s expec­ta­tions, Cou­p­land deliv­ered a paean to the osten­si­bly hyper­con­sumeris­tic scene around him, claim­ing that “future gen­er­a­tions are going to look at images of today here in Min­neso­ta and see them as a sort of gold­en age of Amer­i­can cul­ture. The peace. The calm. The abun­dance. The bot­tom­less good­will of every­one here. I’m unsure if it’s going to last much longer and I think we should appre­ci­ate it while it’s here.”

What made the 90s the 90s? “Mon­ey still gen­er­at­ed mon­ey. Com­put­ers were becom­ing fast easy and cheap, and with them came a sense of equal­i­ty for every­one. Things were pal­pa­bly get­ting bet­ter every­where. His­to­ry was over and it felt great.” From the end of the Cold War until the fall of the Twin Tow­ers, North Amer­i­ca and Europe enjoyed a sta­bil­i­ty and pros­per­i­ty that, to many of us in the 2010s, now seems some­how implau­si­ble. But cin­e­ma remem­bers the 90s, espe­cial­ly the cin­e­ma of the decade’s final year, dif­fer­ent­ly. Unlike “mon­ster movies show­ing cold war anx­i­eties and 21st-cen­tu­ry hor­ror movies con­vey­ing fears of acts of ter­ror,” the films of 1999 “were not about sur­viv­ing the present, because the present was actu­al­ly going well. They were about being tired of that sta­ble present and look­ing for a rad­i­cal­ly dif­fer­ent future.”

Those words come from “Why All Movies From 1999 Are the Same,” the video essay from Now You See It above. Those of us who were moviego­ing that year remem­ber The MatrixOffice SpaceFight ClubAmer­i­can Beau­tyBeing John Malkovich, and all of the oth­er major Hol­ly­wood releas­es fea­tur­ing “a main char­ac­ter tired of the sta­bil­i­ty, monot­o­ny, and unevent­ful­ness of their life,” almost always involv­ing a steady, dull cor­po­rate job. That era, recall, was also when Scott Adams’ com­ic Dil­bert reached the top of the zeit­geist by sat­i­riz­ing the ele­ments of office exis­tence: incom­pe­tent boss­es, slack­ing co-work­ers, and above all, cubi­cles.

Call­ing 1999 “the year of the cubi­cle movie,” this video essay describes its cin­e­mat­ic por­tray­al of office-work­er frus­tra­tions as “a per­fect mir­ror of what Amer­i­ca was like in the late 90s.” Not that those por­tray­als were lit­er­al­ly “the same”: the ter­mi­nal­ly bored men of Fight Club â€śgo to great lengths to man­u­fac­ture con­flict and chaos”; Office Space makes com­e­dy out of sus­penders and paper jams; Being John Malkovich “exag­ger­ates the oppres­sive cor­po­rate imagery in films like Office Space by cre­at­ing an absurd office with low ceil­ings” that “lit­er­al­ly bears down on its employ­ees”; Amer­i­can Beau­ty “crit­i­cizes the per­ceived sta­bil­i­ty of the era, sug­gest­ing that it’s sim­ply a mask that hides the true self.”

And in The Matrix, of course, that veneer of sta­bil­i­ty and pros­per­i­ty exist only to con­ceal the total enslave­ment of human­i­ty. Mod­ern human­i­ty may nev­er cast off its dystopias, but it’s fair to say the dystopi­an visions we enter­tain today look quite a bit dif­fer­ent than the ones we enter­tained twen­ty years ago, and it’s also fair to say that many of us enter­tain them while dream­ing of the rel­a­tive safe­ty, sta­bil­i­ty, and pros­per­i­ty — real or imag­ined — that we enjoyed back then, not to men­tion the secure desk jobs. But as the films of 1999 remind us, those very qual­i­ties could also dri­ve us into a kind of mad­ness. Cou­p­land may right­ly call the 90s “the good decade,” but even if we could return to that time, we’ve got good rea­sons not to want to.

Relat­ed Con­tent:

The Cringe-Induc­ing Humor of The Office Explained with Philo­soph­i­cal The­o­ries of Mind

The Phi­los­o­phy of The Matrix: From Pla­to and Descartes, to East­ern Phi­los­o­phy

How to Rec­og­nize a Dystopia: Watch an Ani­mat­ed Intro­duc­tion to Dystopi­an Fic­tion

Char­lie Chap­lin Gets Strapped into a Dystopi­an “Rube Gold­berg Machine,” a Fright­ful Com­men­tary on Mod­ern Cap­i­tal­ism

David Fos­ter Wal­lace on What’s Wrong with Post­mod­ernism: A Video Essay

How Char­lie Kauf­man Goes Deep into the Human Con­di­tion in Being John Malkovich, Eter­nal Sun­shine of the Spot­less Mind, and Oth­er Movies

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, on Face­book, or on Insta­gram.

Can Artificial Intelligence Decipher Lost Languages? Researchers Attempt to Decode 3500-Year-Old Ancient Languages

Image by Olaf Tausch via Wiki­me­dia Com­mons

We may not see warp dri­ves any time soon, but anoth­er piece of Star Trek tech, the uni­ver­sal trans­la­tor, may become a real­i­ty in our life­time, if it hasn’t already. Machine learn­ing “has proven to be very com­pe­tent” when it comes to trans­la­tion, “so much so that the CEO of one of the world’s largest employ­ers of human trans­la­tors has warned that many of them should be fac­ing up the stark real­i­ty of los­ing their job to a machine,” writes Bernard Marr at Forbes.

But the fact that AI can do things humans can does­n’t mean that it does those things well. One Google researcher put the case plain­ly in an inter­view with Wired: “Peo­ple naive­ly believe that if you take deep learn­ing and… 1,000 times more data, a neur­al net will be able to do any­thing a human being can do, but that’s just not true.” AI trans­la­tors have advanced sig­nif­i­cant­ly in the past few years, with Google’s Trans­la­totron pro­to­type (yes, that’s its real name), promis­ing to inter­pret “tone and cadence.” Still, AI trans­la­tions are often stilt­ed, awk­ward, and occa­sion­al­ly incom­pre­hen­si­ble approx­i­ma­tions that no human would come up with.

Does AI’s lim­i­ta­tions with liv­ing lan­guage hin­der its abil­i­ty to deci­pher very long dead ones, whose orthog­ra­phy, gram­mar, and syn­tax have been com­plete­ly lost? Yuan Cao from Google’s AI lab and Jiaming Luo and Regi­na Barzi­lay from MIT put machine learn­ing to the test when they devel­oped a “sys­tem capa­ble of deci­pher­ing lost lan­guages.” They took a very dif­fer­ent approach “from the stan­dard machine trans­la­tion tech­niques,” reports the MIT Tech­nol­o­gy Review, using less data instead of more, a tech­nique they call “min­i­mum-cost flow.”

The researchers test­ed their trans­la­tion machine on both the 3500-year-old Lin­ear B and Ugarit­ic, an ancient form of Hebrew, both of which have already been deci­phered by peo­ple. Still, the AI was “able to trans­late both lan­guages with remark­able accu­ra­cy,” with a rate of 67.3% in the trans­la­tion of cog­nates in Lin­ear B. The far old­er Bronze Age Minoan script Lin­ear A, how­ev­er (see it at the top), “one of the ear­li­est forms of writ­ing ever dis­cov­ered… is con­spic­u­ous for its absence.” No human has yet been able to deci­pher it.

A lost lan­guage trans­la­tor machine that only works on lan­guages that have already been trans­lat­ed (it needs pre­ex­ist­ing data on the prog­en­i­tor lan­guage to func­tion) may not seem par­tic­u­lar­ly use­ful. Then again, it could be one step in the direc­tion of what the authors call the “auto­mat­ic deci­pher­ment of lost lan­guages,” those that humans can’t already work out on their own. Read the paper “Neur­al Deci­pher­ment via Min­i­mum-Cost Flow: From Ugarit­ic to Lin­ear B” at arX­iv.

via MIT Tech­nol­o­gy Review

Relat­ed Con­tent:  

Arti­fi­cial Intel­li­gence May Have Cracked the Code of the Voyn­ich Man­u­script: Has Mod­ern Tech­nol­o­gy Final­ly Solved a Medieval Mys­tery?

Arti­fi­cial Intel­li­gence for Every­one: An Intro­duc­to­ry Course from Andrew Ng, the Co-Founder of Cours­era

Arti­fi­cial Intel­li­gence Iden­ti­fies the Six Main Arcs in Sto­ry­telling: Wel­come to the Brave New World of Lit­er­ary Crit­i­cism

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

Mister Rogers Creates a Prime Time TV Special to Help Parents Talk to Their Children About the Assassination of Robert F. Kennedy (1968)

Near­ly three min­utes into a patient blow-by-blow demon­stra­tion of how breath­ing works, Fred Rogers’ tim­o­rous hand pup­pet Daniel Striped Tiger sur­pris­es his human pal, Lady Aber­lin, with a wham­my: What does assas­si­na­tion mean?

Her answer, while not exact­ly Web­ster-Mer­ri­am accu­rate, is both con­sid­ered and age-appro­pri­ate. (Daniel’s for­ev­er-age is some­where in the neigh­bor­hood of four.)

The exchange is part of a spe­cial prime­time episode of Mis­ter Rogers’ Neigh­bor­hood, that aired just two days after Sen­a­tor Robert F. Kennedy’s assas­si­na­tion.

Rogers, alarmed that America’s chil­dren were being exposed to unfil­tered descrip­tions and images of the shock­ing event, had stayed up late to write it, with the goal of help­ing par­ents under­stand some of the emo­tions their chil­dren might be expe­ri­enc­ing in the after­math:

I’ve been ter­ri­bly con­cerned about the graph­ic dis­play of vio­lence which the mass media has been show­ing recent­ly. And I plead for your pro­tec­tion and sup­port of your young chil­dren. There is just so much that a very young child can take with­out it being over­whelm­ing.

Rogers was care­ful to note that not all chil­dren process scary news in the same way.

To illus­trate, he arranged for a vari­ety of respons­es through­out the Land of Make Believe. One pup­pet, Lady Elaine, is eager to act out what she has seen: “That man got shot by that oth­er man at least six times!”

Her neigh­bor, X the Owl, does­n’t want any part of what is to him a fright­en­ing-sound­ing game.

And Daniel, who Rogers’ wife Joanne inti­mat­ed was a reflec­tion “the real Fred,” pre­ferred to put the top­ic on ice for future discussions—a lux­u­ry that the grown up Rogers would not allow him­self.

The episode has become noto­ri­ous, in part because it aired but once on the small screen. (The 8‑minute clip at the top of the page is the longest seg­ment we were able to truf­fle up online.)

Writer and gameshow his­to­ri­an Adam Ned­eff watched it in its entire­ty at the Paley Cen­ter for Media, and the detailed impres­sions he shared with the Neigh­bor­hood Archive web­site pro­vides a sense of the piece as a whole.

Mean­while, the Paley Center’s cat­a­logue cred­its speak to the dra­ma-in-real-life imme­di­a­cy of the turn­around from con­cep­tion to air­date:

Above is some of the footage Rogers feared unsus­pect­ing chil­dren would be left to process solo. Read­ers, are there any among you who remem­ber dis­cussing this event with your par­ents… or chil­dren?

Ever vig­i­lant, Rogers returned in the days imme­di­ate­ly fol­low­ing the 2001 attack on the World Trade Cen­ter, with a spe­cial mes­sage for par­ents who had grown up watch­ing him.

Relat­ed Con­tent:

Mr. Rogers’ Nine Rules for Speak­ing to Chil­dren (1977)

When Fred Rogers and Fran­cois Clem­mons Broke Down Race Bar­ri­ers on a His­toric Episode of Mis­ter Rogers’ Neigh­bor­hood (1969)

All 886 episodes of Mis­ter Roger’s Neigh­bor­hood Stream­ing Online (for a Lim­it­ed Time)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inkyzine.  Join her in NYC on Mon­day, Sep­tem­ber 9 for anoth­er sea­son of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Every Harrowing Second of the Apollo 11 Landing Revisited in a New NASA Video: It Took Place 50 Years Ago Today (July 20, 1969)

The idea that human beings might not only fly to the moon, but land on its puck­ered sur­face and walk around, seemed like an absolute fan­ta­sy for near­ly all of human his­to­ry. In the exact­ly fifty years since that that very thing hap­pened, â€śmoon shot” has become an almost com­mon­place ref­er­ence for grand, his­toric ges­tures. “Fifty years after Neil Arm­strong walked on the moon, plant­ed an Amer­i­can flag, and flew home,” writes Alex Davies at Wired, “the term moon shot has become short­hand for try­ing to do some­thing that’s real­ly hard and maybe a bit crazy.”

The prob­lem with this, Davies argues, is that the all-eggs-in-one-bas­ket approach does not apply today’s most press­ing, yet most neb­u­lous and glob­al, prob­lems. A “moon shot” cli­mate ini­tia­tive suf­fers from a lack of speci­fici­ty. What exact­ly would it tar­get? How would it mea­sure suc­cess or fail­ure in an unam­bigu­ous way when the prob­lem per­me­ates the econ­o­my, ener­gy, agri­cul­ture, man­u­fac­tur­ing, gov­ern­ment…? A very dif­fer­ent kind of think­ing is required.

Maybe the dualisms of the Cold War made some things sim­pler, in a way. In 1961, John F. Kennedy’s famous artic­u­la­tion of “the goal,” as he put it, could not have been more clear: “land­ing a man on the moon and return­ing him safe­ly to Earth.” You either achieve this, or you don’t. There are no half-mea­sures, and no con­fu­sion about what con­sti­tutes suc­cess. Which brings us to anoth­er prob­lem with turn­ing “moon shot” into a cliché for doing some­thing hard. We for­get just how damned hard it actu­al­ly was.

Land­ing Neil Arm­strong, Buzz Aldrin, and pilot Michael Collins on the moon required an expen­di­ture unthink­able today: “NASA spent $25 bil­lion on the Apol­lo pro­gram,” Davies points out, “more than $150 bil­lion in today’s dol­lars.” The U.S. may spend almost sev­en times that on its mil­i­tary in a year, but it’s unthink­able that this nation, or any oth­er, would invest Apol­lo dol­lars in a com­plete­ly unsure thing, with no imme­di­ate poten­tial for con­trol or exploita­tion.

The same might be said of major cor­po­ra­tions. The space­far­ing ambi­tions of today’s titans seem con­ser­v­a­tive by 1961 stan­dards: “More than 400,000 Amer­i­cans worked on [Apol­lo 11] in some capac­i­ty, near­ly all of them in pri­vate indus­try,” writes Davies. The project absolute­ly depend­ed on this coor­di­nat­ed, col­lec­tive lev­el of human inge­nu­ity and exper­tise because the total com­put­ing pow­er of NASA was sev­er­al mil­lions of times less than that of a smart­phone.

From the human “com­put­ers” who plot­ted Apol­lo 11’s course, to the astro­nauts who flew the craft, humans not only designed, mon­i­tored, and exe­cut­ed the mis­sion, but they also had to impro­vise when things went wrong. And they did, in some ter­ri­fy­ing, life-threat­en­ing ways. “The prob­lems began imme­di­ate­ly upon sep­a­ra­tion from the Com­mand Mod­ule in which Arm­strong, Aldrin and Michael Collins had rid­den to the moon,” explains Rod Pyle at Space.com—but, so too did the prob­lem-solv­ing.

To get a bet­ter sense of why the endeav­or was so earth­shak­ing, and how it almost didn’t hap­pen, watch the video above, “Apol­lo 11: The Com­plete Descent.” Part of NASA’s Apol­lo Flight Jour­nal col­lec­tion, the 20-minute nar­rat­ed doc­u­men­tary of the descent and land­ing pro­vides a “detailed account of every sec­ond of the Apol­lo 11 descent and land­ing.” It “com­bines data from the onboard com­put­er for alti­tude and pitch angle, 16mm film that was shot through­out the descent at 6 frames per sec­ond,” and audio trans­mis­sions from the astro­nauts and mis­sion con­trol.

“Most peo­ple knew that going to the moon was risky,” Pyle writes, “but few, very few, knew the scope of the dan­gers that the crew faced.” Fifty years lat­er, we can almost—with only the devices in our pockets—see and hear the orig­i­nal moon shot the way those first few did.

via Kot­tke

Relat­ed Con­tent:

Apol­lo 11 in Real Time: A New Web Site Lets You Take a Real-Time Jour­ney Through First Land­ing on the Moon

NASA Dig­i­tizes 20,000 Hours of Audio from the His­toric Apol­lo 11 Mis­sion: Stream Them Free Online

David Bowie’s “Space Odd­i­ty” and the Apol­lo 11 Moon Land­ing Turn 50 This Month: Cel­e­brate Two Giant Leaps That Took Place 9 Days Apart

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

Alexis de Tocqueville’s Prediction of How American Democracy Could Lapse Into Despotism, Read by Michel Houellebecq

Michel Houelle­bec­q’s third nov­el Plat­form, which involves a ter­ror­ist bomb­ing in south­east Asia, came out the year before a sim­i­lar real-life inci­dent occurred in Thai­land. His sev­enth nov­el Sub­mis­sion, about the con­ver­sion of France into a Mus­lim coun­try, came out the same day as the mas­sacre at the offices of Islam-pro­vok­ing satir­i­cal week­ly Char­lie Heb­do. His most recent nov­el Sero­tonin, in which farm­ers vio­lent­ly revolt against the French state, hap­pened to come out in the ear­ly stages of the pop­ulist “yel­low vest” move­ment. Houelle­becq has thus, even by some of his many detrac­tors, been cred­it­ed with a cer­tain pre­science about the social and polit­i­cal dan­gers of the world in which we live today.

So too has a coun­try­man of Houelle­bec­q’s who did his writ­ing more than 150 years ear­li­er: Alex­is de Toc­queville, author of Democ­ra­cy in Amer­i­ca, the endur­ing study of that then-new coun­try and its dar­ing­ly exper­i­men­tal polit­i­cal sys­tem. And what does per­haps France’s best-known liv­ing man of let­ters think of Toc­queville, one of his best-known pre­de­ces­sors? “I read him for the first time long ago and real­ly found it a bit bor­ing,” Houelle­becq says in the inter­view clip above, with a flat­ness rem­i­nis­cent of his nov­els’ dis­af­fect­ed nar­ra­tors. “Then I tried again two years ago and I was thun­der­struck.”

As an exam­ple of Toc­queville’s clear-eyed assess­ment of democ­ra­cy, Houelle­becq reads aloud this pas­sage about its poten­tial to turn into despo­tism:

I seek to trace the nov­el fea­tures under which despo­tism may appear in the world. The first thing that strikes the obser­va­tion is an innu­mer­able mul­ti­tude of men, all equal and alike, inces­sant­ly endeav­or­ing to pro­cure the pet­ty and pal­try plea­sures with which they glut their lives. Each of them, liv­ing apart, is as a stranger to the fate of all the rest; his chil­dren and his pri­vate friends con­sti­tute to him the whole of mankind. As for the rest of his fel­low cit­i­zens, he is close to them, but he does not see them; he touch­es them, but he does not feel them; he exists only in him­self and for him­self alone; and if his kin­dred still remain to him, he may be said at any rate to have lost his coun­try.

Above this race of men stands an immense and tute­lary pow­er, which takes upon itself alone to secure their grat­i­fi­ca­tions and to watch over their fate. That pow­er is absolute, minute, reg­u­lar, prov­i­dent, and mild. It would be like the author­i­ty of a par­ent if, like that author­i­ty, its object was to pre­pare men for man­hood; but it seeks, on the con­trary, to keep them in per­pet­u­al child­hood: it is well con­tent that the peo­ple should rejoice, pro­vid­ed they think of noth­ing but rejoic­ing. For their hap­pi­ness such a gov­ern­ment will­ing­ly labors, but it choos­es to be the sole agent and the only arbiter of that hap­pi­ness; it pro­vides for their secu­ri­ty, fore­sees and sup­plies their neces­si­ties, facil­i­tates their plea­sures, man­ages their prin­ci­pal con­cerns, directs their indus­try, reg­u­lates the descent of prop­er­ty, and sub­di­vides their inher­i­tances: what remains, but to spare them all the care of think­ing and all the trou­ble of liv­ing?

Being a writer, Houelle­becq nat­u­ral­ly points out the deft­ness of Toc­queville’s style: “It’s mag­nif­i­cent­ly punc­tu­at­ed. The dis­tri­b­u­tion of colons and semi­colons in the sec­tions is mag­nif­i­cent.” But he also has com­ments on the pas­sage’s phi­los­o­phy, pro­nounc­ing that it “con­tains Niet­zsche, only bet­ter.” The oper­a­tive Niet­zschean con­cept here is the “last man,” described in Thus Spoke Zarathus­tra as the pre­sum­able end point of mod­ern soci­ety. If con­di­tions con­tin­ue to progress in the way they have been, each and every human being will become this last man, a weak, com­fort­able, com­pla­cent indi­vid­ual with noth­ing left to fight for, who desires noth­ing more than his small plea­sure for the day, his small plea­sure for the night, and a good sleep.

Safe to say that nei­ther Niet­zsche nor Toc­queville looked for­ward, nor does Houelle­becq look for­ward, to the world of ener­vat­ed last men into which democ­ra­cy could deliv­er us. Houelle­becq also reads aloud anoth­er pas­sage from Democ­ra­cy in Amer­i­ca, one that now appears on the Wikipedia page for soft despo­tism, describ­ing how a demo­c­ra­t­ic gov­ern­ment might gain absolute pow­er over its peo­ple with­out the peo­ple even notic­ing:

After hav­ing thus suc­ces­sive­ly tak­en each mem­ber of the com­mu­ni­ty in its pow­er­ful grasp and fash­ioned him at will, the supreme pow­er then extends its arm over the whole com­mu­ni­ty. It cov­ers the sur­face of soci­ety with a net­work of small com­pli­cat­ed rules, minute and uni­form, through which the most orig­i­nal minds and the most ener­getic char­ac­ters can­not pen­e­trate, to rise above the crowd. The will of man is not shat­tered, but soft­ened, bent, and guid­ed; men are sel­dom forced by it to act, but they are con­stant­ly restrained from act­ing. Such a pow­er does not destroy, but it pre­vents exis­tence; it does not tyr­an­nize, but it com­press­es, ener­vates, extin­guish­es, and stu­pe­fies a peo­ple, till each nation is reduced to noth­ing bet­ter than a flock of timid and indus­tri­ous ani­mals, of which the gov­ern­ment is the shep­herd.

“A lot of what I’ve writ­ten could be sit­u­at­ed with­in this sce­nario,” Houelle­becq says, adding that in his gen­er­a­tion the “defin­i­tive trans­for­ma­tion of soci­ety into indi­vid­u­als” has been more com­plete than Toc­queville or Niet­zsche would have imag­ined.

In addi­tion to lack­ing a fam­i­ly, Houelle­becq (whose sec­ond nov­el was titled Atom­ized) also men­tions hav­ing “the impres­sion of being caught up in a net­work of com­pli­cat­ed, minute, and stu­pid rules” as well as “of being herd­ed toward a uni­form kind of hap­pi­ness, toward a hap­pi­ness which does­n’t real­ly make me hap­py.” In the end, adds Houelle­becq, the aris­to­crat­ic Toc­queville “is in favor of the devel­op­ment of democ­ra­cy and equal­i­ty, while being more aware than any­one else of its dan­gers.” That the 19th-cen­tu­ry Amer­i­ca Toc­queville knew avoid­ed them he cred­it­ed to the “habits of the heart” of the Amer­i­can peo­ple. We cit­i­zens of demo­c­ra­t­ic coun­tries, whichev­er demo­c­ra­t­ic coun­try we live in, would do well to ask where the habits of our own hearts will lead us next.

Relat­ed Con­tent:

Alex­is De Tocqueville’s Democ­ra­cy in Amer­i­ca: An Ani­mat­ed Intro­duc­tion to the Most Insight­ful Study of Amer­i­can Democ­ra­cy

How to Know if Your Coun­try Is Head­ing Toward Despo­tism: An Edu­ca­tion­al Film from 1946

George Orwell’s Final Warn­ing: Don’t Let This Night­mare Sit­u­a­tion Hap­pen. It Depends on You!

Is Mod­ern Soci­ety Steal­ing What Makes Us Human?: A Glimpse Into Nietzsche’s Thus Spoke Zarathus­tra by The Par­tial­ly Exam­ined Life

The His­to­ry of West­ern Social The­o­ry, by Alan Mac­Far­lane, Cam­bridge Uni­ver­si­ty

Hunter S. Thomp­son Gets in a Gun­fight with His Neigh­bor & Dis­pens­es Polit­i­cal Wis­dom: “In a Democ­ra­cy, You Have to Be a Play­er”

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, on Face­book, or on Insta­gram.

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