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 “go 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, “moon 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.

The Romanovs’ Last Spectacular Ball Brought to Life in Color Photographs (1903)

In 1903, the Romanovs, Russia’s last and longest-reign­ing roy­al fam­i­ly, held a lav­ish cos­tume ball. It was to be their final blowout, and per­haps also the “last great roy­al ball” in Europe, writes the Vin­tage News. The par­ty took place at the Win­ter Palace in St. Peters­burg, 14 years before Czar Nicholas II’s abdi­ca­tion, on the 290th anniver­sary of Romanov rule. The Czar invit­ed 390 guests and the ball ranged over two days of fes­tiv­i­ties, with elab­o­rate 17th-cen­tu­ry boyar cos­tumes, includ­ing “38 orig­i­nal roy­al items of the 17th cen­tu­ry from the armory in Moscow.”

“The first day fea­tured feast­ing and danc­ing,” notes Rus­sia Beyond, “and a masked ball was held on the sec­ond. Every­thing was cap­tured in a pho­to album that con­tin­ues to inspire artists to this day.” The entire Romanov fam­i­ly gath­ered for a pho­to­graph on the stair­case of the Her­mitage the­ater, the last time they would all be pho­tographed togeth­er.

It is like see­ing two dif­fer­ent dead worlds super­im­posed on each other—the Romanovs’ play­act­ing their begin­ning while stand­ing on the thresh­old of their last days.

With the irony of hind­sight, we will always look upon these poised aris­to­crats as doomed to vio­lent death and exile. In a mor­bid turn of mind, I can’t help think­ing of the baroque goth­ic of “The Masque of the Red Death,” Edgar Allan Poe’s sto­ry about a doomed aris­toc­ra­cy who seal them­selves inside a cos­tume ball while a con­ta­gion rav­ages the world out­side: “The exter­nal world could take care of itself,” Poe’s nar­ra­tor says. “In the mean­time it was fol­ly to grieve or to think. The prince had pro­vid­ed all the appli­ances of plea­sure…. It was a volup­tuous scene, that mas­quer­ade.”

Maybe in our imag­i­na­tion, the Romanovs and their friends seem haunt­ed by the weight of suf­fer­ing out­side their palace walls, in both their coun­try and around Europe as the old order fell apart. Or per­haps they just look haunt­ed the way every­one does in pho­tographs from over 100 years ago. Does the col­oriz­ing of these pho­tos by Russ­ian artist Klimbim—who has done sim­i­lar work with images of WW2 sol­diers and por­traits of Russ­ian poets and writ­ers—make them less ghost­ly?

It puts flesh on the pale mono­chro­mat­ic faces, gives the lav­ish cos­tum­ing and fur­ni­ture tex­ture and dimen­sion. Some of the images almost look like art nou­veau illus­tra­tions (and resem­ble those of some of the finest illus­tra­tors of Poe’s work) and the work of con­tem­po­rary painters like Gus­tav Klimt. Maybe it’s just me, but it seems that unease lingers in the eyes of some subjects—Empress Alexan­dra Fedorov­na among them—a cer­tain vague and trou­bled appre­hen­sion.

In their book A Life­long Pas­sion, authors Andrei May­lu­nas and Sergei Miro­nenko quote the Grand Duke Alexan­der Mikhailovitch who remem­bered the event as “the last spec­tac­u­lar ball in the his­to­ry of the empire.” The Grand Duke also recalled that “a new and hos­tile Rus­sia glared though the large win­dows of the palace… while we danced, the work­ers were strik­ing and the clouds in the Far East were hang­ing dan­ger­ous­ly low.” As Rus­sia Beyond notes, soon after this cel­e­bra­tion, “The glob­al eco­nom­ic cri­sis marked the begin­ning of the end for the Russ­ian Empire, and the court ceased to hold balls.”

In 1904, the Rus­so-Japan­ese War began, a war Rus­sia was to lose the fol­low­ing year. Then the aristocracy’s pow­er was fur­ther weak­ened by the Rev­o­lu­tion of 1905, which Lenin would lat­er call the “Great Dress Rehearsal” for the Rev­o­lu­tion­ary takeover of 1917. While the aris­toc­ra­cy cos­tumed itself in the trap­pings of past glo­ry, armies amassed to force their reck­on­ing with the 20th cen­tu­ry.

Who knows what thoughts went through the mind of the tzar, tza­ri­na, and their heirs dur­ing those two days, and the minds of the almost 400 noble­men and women dressed in cos­tumes spe­cial­ly designed by artist Sergey Solomko, who drew from the work of sev­er­al his­to­ri­ans to make accu­rate 17th-cen­tu­ry recre­ations, while Peter Carl Fabergé chose the jew­el­ry, includ­ing, writes the Vin­tage News, the tzarina’s “pearls topped by a dia­mond and emer­ald-stud­ded crown” and an “enor­mous emer­ald” on her bro­cad­ed dress?

If the Romanovs had any inkling their almost 300-year dynasty was com­ing to its end and would take all of the Russ­ian aris­toc­ra­cy with it, they were, at least, deter­mined to go out with the high­est style; the fam­i­ly with “almost cer­tain­ly… the most abso­lutist pow­ers” would spare no expense to live in their past, no mat­ter what the future held for them. See the orig­i­nal, black and white pho­tos, includ­ing that last fam­i­ly por­trait, at His­to­ry Dai­ly and Rus­sia Beyond, and see sev­er­al more col­orized images at the Vin­tage News.

via The Vin­tage News

Relat­ed Con­tent:

Russ­ian His­to­ry & Lit­er­a­ture Come to Life in Won­der­ful­ly Col­orized Por­traits: See Pho­tos of Tol­stoy, Chekhov, the Romanovs & More

Tsarist Rus­sia Comes to Life in Vivid Col­or Pho­tographs Tak­en Cir­ca 1905–1915

Col­orized Pho­tos Bring Walt Whit­man, Char­lie Chap­lin, Helen Keller & Mark Twain Back to Life

How Obses­sive Artists Col­orize Old Pho­tographs & Restore the True Col­ors of the Past

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

Behold Fantastical Illustrations from the 13th Century Arabic Manuscript Marvels of Things Created and Miraculous Aspects of Things Existing

Reli­gion, his­to­ry, med­i­cine, poet­ry, ethnog­ra­phy, zool­o­gy, cos­mol­o­gy, polit­i­cal philosophy—in many a medieval text, these cat­e­gories all seem to melt togeth­er. Or rather, they don’t exist sep­a­rate­ly in the way we think of them, as labels on a library shelf and cours­es in a cat­a­logue. The same log­i­cal rules do not apply—the appeal to author­i­ty, for exam­ple is not a fal­la­cy so much as a pri­ma­ry method­ol­o­gy. If knowl­edge came from the right prophet, schol­ar, or sage, it could be trust­ed, a mode of think­ing that gave rise to mon­sters, phan­toms, and out­landish beings of all kinds.

It’s easy to call these meth­ods prim­i­tive, but so-called medieval ways of think­ing are still very much with us, and thinkers hun­dreds and thou­sands of years ago have had sur­pris­ing­ly sci­en­tif­ic approach­es, despite lim­it­ed resources and tech­nolo­gies.

We find both the fan­tas­ti­cal and the sci­en­tif­ic woven togeth­er in medieval man­u­scripts, illu­mi­nat­ing and com­ment­ing on each oth­er. And we find exact­ly that in the works of Abu Yahya Zakariya’ ibn Muham­mad al-Qazwi­ni, Per­sian writer, physi­cian, astronomer, geo­g­ra­ph­er, and author of a 13th cen­tu­ry trea­tise called ‘Ajā’ib al-makhlūqāt wa-gharā’ib al-mawjūdāt, or Mar­vels of Things Cre­at­ed and Mirac­u­lous Aspects of Things Exist­ing.

This work is “the most well-known exam­ple,” writes the Nation­al Library of Med­i­cine, “of a genre of clas­si­cal Islam­ic lit­er­a­ture that was con­cerned with ‘mirabil­ia’ or won­ders of cre­ation.” Draw­ing on 50 dif­fer­ent authors, includ­ing sev­er­al ancient Islam­ic geo­g­ra­phers and his­to­ri­ans, Qazwi­ni weaves myth, leg­end, and sci­ence, tying them togeth­er with sto­ries and poet­ry. The Qur’an and hadith are sig­nif­i­cant sources—for a sec­tion on “angelol­o­gy,” for exam­ple. When the cos­mog­ra­phy comes down to earth, mov­ing down through the ranks of humans, beasts, plants, and min­er­als, all sorts of weird, folk­loric ter­res­tri­al crea­tures show up.

The phoenix (or Simurgh), for exam­ple, and the Homa, or par­adise bird—which lands on someone’s head and instant­ly makes them king—sit com­fort­ably next to eagles, vul­tures, and ostrich­es, all of which are con­strued as mar­velous or mirac­u­lous in some way.

The trea­tise cov­ered all the won­ders of the world, and the vari­ety of the sub­ject mat­ter (humans and their anato­my, plants, ani­mals, strange crea­tures at the edges of the inhab­it­ed world, con­stel­la­tions of stars, zodi­a­cal signs, angels, and demons) pro­vid­ed great scope for the artist.

First writ­ten in Ara­bic in the late 1200s and ded­i­cat­ed to the gov­er­nor of Bagh­dad, the man­u­script was “immense­ly pop­u­lar” in the Islam­ic world. It was trans­lat­ed into Per­sian and Turk­ish and copied out in rich­ly illus­trat­ed edi­tions for cen­turies. The images here come from a Per­sian trans­la­tion, “thought to hail from 17th-cen­tu­ry Mughal India,” writes The Pub­lic Domain Review, and the art vivid­ly dis­plays the “eclec­tic mix of top­ics” in al-Qazwini’s book. These were sub­jects that “chal­lenged understanding”—often because they con­cerned things that do not exist, and often because they described nat­ur­al phe­nom­e­non that could not yet be explained.

“From humans and their anato­my to strange myth­i­cal crea­tures; from plants and ani­mals to con­stel­la­tions of stars and zodi­a­cal signs,” The Pub­lic Domain Review explains, the trea­tise pur­port­ed to sur­vey all the “known” world. Al-Qazwi­ni embell­ished his explo­rations for enter­tain­ment pur­pos­es, but he also cre­at­ed exten­sive tax­onomies and described prac­ti­cal sci­ence like the use of “a type of pitch or tar that we today know as asphalt,” San Francisco’s Asian Art Muse­um notes in their cat­a­logue descrip­tion of anoth­er illus­trat­ed man­u­script, in Ara­bic, from 1650. For al-Qazwi­ni and his read­ers, as for oth­er 13th-cen­tu­ry schol­ars, writ­ers, and read­ers around the world, the bound­aries between faith, fact, and fic­tion were per­me­able, and imag­i­na­tion some­times seems to have been the ulti­mate author­i­ty.

via The Pub­lic Domain Review 

Relat­ed Con­tent:

700 Years of Per­sian Man­u­scripts Now Dig­i­tized and Avail­able Online

The Com­plex Geom­e­try of Islam­ic Art & Design: A Short Intro­duc­tion

Learn Islam­ic & Indi­an Phi­los­o­phy with 107 Episodes of the His­to­ry of Phi­los­o­phy With­out Any Gaps Pod­cast

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

The 1855 Map That Revolutionized Disease Prevention & Data Visualization: Discover John Snow’s Broad Street Pump Map

No, he didn’t help defeat an implaca­ble zom­bie army intent on wip­ing out all life. But Eng­lish obste­tri­cian John Snow seems as impor­tant as the sim­i­lar­ly-named Game of Thrones hero for his role in per­suad­ing mod­ern med­i­cine of the germ the­o­ry of dis­ease. Dur­ing the 1854 out­break of cholera in Lon­don, Snow con­vinced author­i­ties and crit­ics that the dis­ease spread from a con­t­a­m­i­nat­ed water pump on Broad Street, lead­ing to the now-leg­endary info­graph­ic map above show­ing the inci­dences of cholera clus­tered around the pump.

Snow’s per­sis­tence result­ed in the removal of the han­dle from the Broad Street pump and has been cred­it­ed with end­ing an epi­dem­ic that claimed 500 lives. The Broad Street pump map has become “an endur­ing fea­ture of the folk­lore of pub­lic health and epi­demi­ol­o­gy,” write the authors of an arti­cle pub­lished in The Lancet. They also point out that, con­trary to pop­u­lar retellings, the “map did not give rise to the insight” that the pump and its germ-cov­ered han­dle caused the out­break. “Rather it tend­ed to con­firm the­o­ries already held by the var­i­ous inves­ti­ga­tors.”

Snow him­self pub­lished a pam­phlet in 1849 called “On the Mode of Com­mu­ni­ca­tion of Cholera” in which he argued that “cholera is com­mu­ni­cat­ed by the evac­u­a­tions from the ali­men­ta­ry canal.” As he remind­ed read­ers of The Edin­burgh Med­ical Jour­nal in an 1856 let­ter, in that same year, “Dr William Budd pub­lished a pam­phlet ‘On Malig­nant Cholera’ in which he expressed views sim­i­lar to my own.” Germ the­o­ry had a long, dis­tin­guished his­to­ry already, and Snow and his con­tem­po­raries made sound, evi­dence-based argu­ments for it.

But their posi­tion “large­ly went ignored by the med­ical estab­lish­ment,” notes Randy Alfred at Wired, “and was opposed by a local water com­pa­ny near one Lon­don out­break.” The accept­ed, main­stream sci­en­tif­ic opin­ion held that all dis­ease was spread through “mias­ma,” or bad air. Pol­lu­tion, it was thought, must be the cause. After the pump handle’s removal, Snow pub­lished an 1855 mono­graph on water­borne dis­eases. This was the first pub­lic appear­ance of the leg­endary map—after the removal of the han­dle.

Help­ing to inform Snow’s map, anoth­er inves­ti­ga­tor, parish priest Hen­ry White­head had “con­clud­ed that it was the wash­ing of soiled dia­pers into drains which flowed to the com­mu­nal cesspool that con­t­a­m­i­nat­ed the pump and start­ed the out­break,” writes Atlas Obscu­ra. White­head, a for­mer crit­ic of germ the­o­ry, lat­er point­ed out that the removal of the pump han­dle didn’t actu­al­ly stop the epi­dem­ic, which, he said, “had already run its course” by that point.

Nonethe­less, Snow and oth­er pro­po­nents of the the­o­ry were vin­di­cat­ed, White­head had to admit, and Snow’s inter­ven­tion “had prob­a­bly every­thing to do with pre­vent­ing a new out­break.” The sim­ple, yet sophis­ti­cat­ed data visu­al­iza­tion would lead to rad­i­cal new ways of con­cep­tu­al­iz­ing dis­ease out­breaks, help­ing to stop or pre­vent who knows how many epi­demics before they killed hun­dreds or thou­sands. Snow’s map also deserves cred­it for giv­ing “data jour­nal­ists a mod­el of how to work today.”

It was hard­ly the first or only data visu­al­iza­tion of cholera out­breaks of the time. “As ear­ly as the 1830s,” Visu­al Cap­i­tal­ist points out, “geo­g­ra­phers began using spa­cial analy­sis to study cholera epi­demi­ol­o­gy.” But Snow’s was by far the most influ­en­tial, and effec­tive, of them all. In his TED talk above, jour­nal­ist Steven John­son (author of The Ghost Map:The Sto­ry of Lon­don’s Most Ter­ri­fy­ing Epi­dem­ic and How It Changed Sci­ence, Cities, and the Mod­ern World) tells the sto­ry of how the out­break, and Snow’s the­o­ry and map, “helped cre­ate the world that we live in today, and par­tic­u­lar­ly the kind of city that we live in today.”

Read a Q&A with John­son here; head over to The Guardian’s Data Blog to see Snow’s visu­al­iza­tion recre­at­ed over a mod­ern, satel­lite-view map of Lon­don and the Soho neigh­bor­hood of the famous Broad Street pump; and learn more about Snow and dead­ly cholera out­breaks in the crowd­ed Euro­pean cities of the ear­ly 19th cen­tu­ry at the John Snow Archive and Research Com­pan­ion online.

Relat­ed Con­tent:

Flo­rence Nightin­gale Saved Lives by Cre­at­ing Rev­o­lu­tion­ary Visu­al­iza­tions of Sta­tis­tics (1855)

Napoleon’s Dis­as­trous Inva­sion of Rus­sia Detailed in an 1869 Data Visu­al­iza­tion: It’s Been Called “the Best Sta­tis­ti­cal Graph­ic Ever Drawn”

The Art of Data Visu­al­iza­tion: How to Tell Com­plex Sto­ries Through Smart Design

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

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