New Archive of Middle Eastern Photography Features 9,000 Digitized Images

From Shamoon Zamir, a lit­er­a­ture pro­fes­sor at NYU Abu Dhabi, comes a “research archive of his­tor­i­cal and con­tem­po­rary pho­tog­ra­phy from the Mid­dle East and North­ern Africa (MENA),” designed to be  ful­ly acces­si­ble to the pub­lic. We’re told:

Today, Akkasah: The Cen­ter for Pho­tog­ra­phy at NYU Abu Dhabi boasts an archive of 62,000 images from the UAE and across the MENA region – of which 9,000 are already dig­i­tized and avail­able online — the only of its kind in the Mid­dle East. These images offer new insights into the his­to­ry and rapid trans­for­ma­tion of the UAE and the broad­er Arab world. They include his­tor­i­cal col­lec­tions rang­ing from the nine­teenth cen­tu­ry to the late twen­ti­eth, cov­er­ing a vari­ety of themes and top­ics, from ear­ly images of the Holy Lands and from the Ottoman Empire, to images from fam­i­ly albums, insti­tu­tion­al archives and the his­to­ry of Egypt­ian cin­e­ma.

You can vis­it the col­lec­tion of images here, which is itself divid­ed into a few key areas: His­tor­i­cal Col­lec­tionsCon­tem­po­rary Projects, and Pho­to Albums.

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:

20,000 Endan­gered Archae­o­log­i­cal Sites Now Cat­a­logued in a New Online Data­base

New Dig­i­tal Archive Puts Online 4,000 His­toric Images of Rome: The Eter­nal City from the 16th to 20th Cen­turies

Vis­it a New Dig­i­tal Archive of 2.2 Mil­lion Images from the First Hun­dred Years of Pho­tog­ra­phy

A Meditative Look at a Japanese Artisan’s Quest to Save the Brilliant, Forgotten Colors of Japan’s Past

We might assume that 21st-cen­tu­ry tech­nol­o­gy enables us to pro­duce fab­ric in all imag­in­able col­ors, most of them total­ly unknown to our ances­tors. Yet none of it has ever quite repli­cat­ed the strik­ing hues achieved by dyers of cen­turies and cen­turies ago. That premise under­lies the slow and painstak­ing work of Sachio Yosh­io­ka, whose fam­i­ly’s fab­ric-dye­ing her­itage goes back to Japan’s Edo peri­od of the 17th to the mid-19th cen­tu­ry. Hav­ing tak­en over his father’s work­shop Tex­tiles Yosh­io­ka in 1988, he has spent the past thir­ty years work­ing only with tra­di­tion­al plant dyes, the kind that once, in a time long before his fam­i­ly even got into the dye­ing busi­ness, made his home­land so col­or­ful.

The Japan­ese dye­ing tra­di­tion, in this read­ing of its his­to­ry, reached its long apex of bril­liance in the Nara and Heian peri­ods, which togeth­er last­ed from the years 710 to 1185. Most of the world admires Japan­ese aes­thet­ic sen­si­bil­i­ties, but often with ref­er­ence to inter­na­tion­al­ly well-known con­cepts like wabi-sabi that ide­al­ize the rus­tic, the imper­fect, and the sub­dued. Unlike in the Edo peri­od, when the strict Tokyu­gawa Shogu­nate man­dat­ed that com­mon peo­ple stick to grays and browns, Nara and Heian cities would have been rich with vivid reds, blues, yel­lows, oranges, and even pur­ples, all in vari­eties one sel­dom sees even today, in Japan or any­where else.

Hence Yosh­ioka’s mis­sion to prac­tice and even refine the same labor-inten­sive dye­ing meth­ods used back then. For­mer­ly a stu­dent of phi­los­o­phy as well as a pub­lish­er of books on the his­to­ry of col­or and fab­ric arts, he now seems devot­ed to what goes on in his Kyoto work­shop. You can watch what he and his assis­tants do there in the video from the Vic­to­ria and Albert Muse­um above. Com­posed of four short films, it includes a seg­ment on Yosh­ioka’s pro­duc­tion of paper flow­ers for the Omizu­tori fes­ti­val at the Tōdai-ji Bud­dhist tem­ple in Nara, the his­tor­i­cal cap­i­tal out­side Kyoto, that cul­mi­nates in an evening fire cer­e­mo­ny.

That fire cer­e­mo­ny, called Otaimat­su, remains as com­pelling a spec­ta­cle today as it must have been more than a mil­len­ni­um ago, just as sure­ly as the col­ors Yosh­io­ka has redis­cov­ered have lost none of their allure since then. His ded­i­ca­tion to the work of tra­di­tion­al dye­ing — work his daugh­ter Sarasa will take into its sixth gen­er­a­tion — comes not out of a desire to pay trib­ute to Japan­ese his­to­ry, nor even out of fil­ial piety, but some­thing much sim­pler: “The col­ors you can obtain from plants are so beau­ti­ful,” he says. “This is the one and only rea­son I do what I do.” 

via Kot­tke/Metafil­ter

Relat­ed Con­tent:

How Japan­ese Things Are Made in 309 Videos: Bam­boo Tea Whisks, Hina Dolls, Steel Balls & More

The Art of the Japan­ese Teapot: Watch a Mas­ter Crafts­man at Work, from the Begin­ning Until the Star­tling End

The Mak­ing of Japan­ese Hand­made Paper: A Short Film Doc­u­ments an 800-Year-Old Tra­di­tion

Watch a Japan­ese Crafts­man Lov­ing­ly Bring a Tat­tered Old Book Back to Near Mint Con­di­tion

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Japan­ese Crafts­man Spends His Life Try­ing to Recre­ate a Thou­sand-Year-Old Sword

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

An Introduction to Ivan Ilyin, the Philosopher Behind the Authoritarianism of Putin’s Russia & Western Far Right Movements

Fas­cism had been creep­ing back into Euro­pean and North Amer­i­can pol­i­tics for many years before the word regained its cur­ren­cy in main­stream dis­course as an alarm­ing descrip­tion of present trends. In 2004, his­to­ri­an Enzo Tra­ver­so wrote of the “unset­tling phe­nom­e­non” of “the rise of fas­cist-inspired polit­i­cal move­ments in the Euro­pean are­na (from France to Italy, from Bel­gium to Aus­tria).” Many of those far-right move­ments have come very close to win­ning pow­er, as in Aus­tria and France’s recent elec­tions, or have done so, as in Italy’s.

And while the sud­den rise of the far right came as a shock to many in the US, polit­i­cal com­men­ta­tors fre­quent­ly point out that the ero­sion of demo­c­ra­t­ic civ­il rights and lib­er­ties has been a decades-long project, coin­cid­ing with the finan­cial­iza­tion of the econ­o­my, the pri­va­ti­za­tion of pub­lic goods and ser­vices, the rise of the mass sur­veil­lance state, and the extra­or­di­nary war pow­ers assumed, and nev­er relin­quished, by the exec­u­tive after 9/11, cre­at­ing a per­ma­nent state of excep­tion and weak­en­ing checks on pres­i­den­tial pow­er.

This is not even to men­tion the auto­crat­ic regimes of Turkey’s Recep Tayyip Erdoğan and Russia’s Vladimir Putin, which are tied to oth­er anti-demo­c­ra­t­ic move­ments across the West not only geopo­lit­i­cal­ly but also philo­soph­i­cal­ly, a sub­ject that gets far less press than it deserves. When analy­sis of the philo­soph­i­cal under­pin­nings of neo-fas­cism comes up, it often focus­es on Russ­ian aca­d­e­m­ic Alexan­der Dug­in, “who has been called,” notes Salon’s Conor Lynch, “every­thing from ‘Putin’s brain’ to ‘Putin’s Rasputin.’” (Bloomberg calls Dug­in “the one Russ­ian link­ing Putin, Erdo­gon and Trump.”)

Dugin’s fusion of Hei­deg­ger­ian post­mod­ernism and apoc­a­lyp­tic mys­ti­cism plays a sig­nif­i­cant role in the ide­ol­o­gy of the glob­al­ized far right. But Yale his­to­ri­an Tim­o­thy Sny­der—who has writ­ten exten­sive­ly on both Sovi­et Rus­sia and Nazi Germany—points to an ear­li­er Russ­ian thinker whom he says exer­cis­es con­sid­er­able influ­ence on the ide­ol­o­gy of Vladimir Putin, the fas­cist philoso­pher Ivan Ilyin.

Anton Bar­bashin and Han­nah Thoburn called Ilyin “Putin’s philoso­pher” in a For­eign Affairs pro­file. Ilyin was “a pub­li­cist, a con­spir­a­cy the­o­rist, and a Russ­ian nation­al­ist with a core of fascis­tic lean­ings.” David Brooks iden­ti­fied Ilyin as one of a trio of nation­al­ist philoso­phers Putin quotes and rec­om­mends. Sny­der defines Ilyin’s phi­los­o­phy as explic­it­ly “Russ­ian Chris­t­ian fas­cism,” describ­ing at the New York Review of Books the Russ­ian thinker’s pro­lif­ic writ­ing before and after the Russ­ian Rev­o­lu­tion, a hodge­podge of Ger­man ide­al­ism, psy­cho­analy­sis, Ital­ian fas­cism, and Chris­tian­i­ty.

In brief, Ilyin’s the­o­ret­i­cal works argued that “the world was cor­rupt; it need­ed redemp­tion from a nation capa­ble of total pol­i­tics; that nation was unsoiled Rus­sia.” Ilyin’s, and Putin’s, Russ­ian nation­al­ism has had a para­dox­i­cal­ly glob­al appeal among a wide swath of far right polit­i­cal par­ties and move­ments across the West, as Sny­der writes in his lat­est book The Road to Unfree­dom: Rus­sia, Europe, Amer­i­ca. “What these ways of think­ing have in com­mon,” write The Econ­o­mist in their review of Sny­der’s book, “is a qua­si-mys­ti­cal belief in the des­tiny of nations and rulers, which sets aside the need to observe laws or pro­ce­dures, or grap­ple with phys­i­cal real­i­ties.”

Sny­der sum­ma­rizes Ilyin’s ideas in the Big Think video above in ways that make clear how his thought appeals to far right move­ments across nation­al bor­ders. Ilyin, he says, is “prob­a­bly the most impor­tant exam­ple of how old ideas”—the fas­cism of the 20s, 30s, and 40s—“can be brought back in the 21st cen­tu­ry for a post­mod­ern con­text.” Those ideas can be sum­ma­rized in three the­ses, says Sny­der, the first hav­ing to do with the con­ser­v­a­tive reifi­ca­tion of social hier­ar­chies. “Social advance­ment was impos­si­ble because the polit­i­cal sys­tem, the social sys­tem, is like a body… you have a place in this body. Free­dom means know­ing your place.”

“A sec­ond idea,” says Sny­der, relates to vot­ing as a rat­i­fi­ca­tion, rather than elec­tion, of the leader. “Democ­ra­cy is a rit­u­al…. We only vote in order to affirm our col­lec­tive sup­port for our leader. The leader’s not legit­i­mat­ed by our votes or cho­sen by our votes.” The leader, instead, emerges “from some oth­er place.… In fas­cism the leader is some kind of hero, who emerges from myth.” The third idea might imme­di­ate­ly remind US read­ers of Karl Rove’s dis­missal of the “real­i­ty-based com­mu­ni­ty,” a chill­ing augur of the fact-free real­i­ty of today’s pol­i­tics.

Ilyin thought that “the fac­tu­al world doesn’t count. It’s not real.” In a restate­ment of gnos­tic the­ol­o­gy, he believed that “God cre­at­ed the world but that was a mis­take. The world was a kind of abort­ed process,” because it lacks coher­ence and uni­ty. The world of observ­able facts was, to him, “hor­ri­fy­ing…. Those facts are dis­gust­ing and of no val­ue what­so­ev­er.” These three ideas, Sny­der argues, under­pin Putin’s rule. They also define Amer­i­can polit­i­cal life under Trump, he con­cludes in his New York Review of Books essay.

Ilyin “made of law­less­ness a virtue so pure as to be invis­i­ble,” Sny­der writes, “and so absolute as to demand the destruc­tion of the West. He shows us how frag­ile mas­culin­i­ty gen­er­ates ene­mies, how per­vert­ed Chris­tian­i­ty rejects Jesus, how eco­nom­ic inequal­i­ty imi­tates inno­cence, and how fas­cist ideas flow into the post­mod­ern. This is no longer just Russ­ian phi­los­o­phy. It is now Amer­i­can life.” There are more than enough home­grown sources for Amer­i­can author­i­tar­i­an­ism and inequal­i­ty, one can argue. But Sny­der makes a com­pelling case for the obscure Russ­ian thinker as an indi­rect, and insid­i­ous, influ­ence.

Relat­ed Con­tent:

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

20 Lessons from the 20th Cen­tu­ry About How to Defend Democ­ra­cy from Author­i­tar­i­an­ism, Accord­ing to Yale His­to­ri­an Tim­o­thy Sny­der

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

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

Experience the Mystical Music of Hildegard Von Bingen: The First Known Composer in History (1098 – 1179)

The Ger­man abbess, vision­ary, mys­tic poet, com­pos­er, and heal­er Hilde­gard von Bin­gen “has become a sym­bol to dis­parate groups,” writes Bri­an Wise at WQXR, includ­ing “fem­i­nists and the­olo­gians, musi­col­o­gists and new-age med­i­cine prac­ti­tion­ers. Her chants have been set to tech­no rhythms; her writ­ings on nutri­tion have yield­ed count­less cook­books (even though she nev­er left behind a sin­gle recipe.)” She did leave behind an astound­ing body of work that has made her improb­a­bly pop­u­lar for a 12th cen­tu­ry nun, with a live­ly pres­ence on Face­book and her own Twit­ter account, @MysticHildy (“very into tech­nol­o­gy, love to trav­el”).

Her fame rests not only on the beau­ty of her work, but on her extra­or­di­nary life sto­ry and the fact that she is the first com­pos­er to whose work we can put a name. She was born in 1098 in Berm­er­sheim, the tenth child of a noble fam­i­ly. It being the cus­tom then to ded­i­cate a tenth child (a “tithe”) to the church, Hilde­gard was sent to the Monastery of Saint Dis­i­bo­den­berg to become a Bene­dic­tine nun under the tute­lage of Jut­ta, a high­ly-respect­ed anchoress.

“After Jutta’s death,” notes Ford­ham University’s source­book, “when Hilde­gard was 38 years of age, she was elect­ed the head of the bud­ding con­vent liv­ing with­in cramped walls of the anchor­age.”

Through­out her life, Hilde­gard had expe­ri­enced visions, begin­ning at the age of 3. (Oliv­er Sacks attrib­uted these to migraines). At age 42, she had a pow­er­ful expe­ri­ence that rad­i­cal­ly changed her life. She described this moment in her writ­ings:

And it came to pass … when I was 42 years and 7 months old, that the heav­ens were opened and a blind­ing light of excep­tion­al bril­liance flowed through my entire brain. And so it kin­dled my whole heart and breast like a flame, not burn­ing but warm­ing… and sud­den­ly I under­stood of the mean­ing of expo­si­tions of the books…

Over­whelmed, and fear­ful of writ­ing down her visions “because of doubt and a low opin­ion of myself and because of diverse say­ings of men,” she nonethe­less found encour­age­ment from lead­ers in the church to write and cir­cu­late her the­o­log­i­cal work: “With papal impri­matur, Hilde­gard was able to fin­ish her first vision­ary work Scivias (“Know the Ways of the Lord”) and her fame began to spread through Ger­many.” Soon after, she relo­cat­ed her con­vent to Bin­gen, and began an incred­i­bly pro­duc­tive peri­od in the last few decades of her life.

All told, she turned out an “extra­or­di­nary array of cre­ative trea­sures,” writes Wise: a dra­ma in verse, “more than 70 musi­cal works, med­ical texts filled with 2,000 reme­dies, writ­ings pre­sent­ing fem­i­nine arche­types for the divine.” Although she held to ortho­dox doc­trine, oppos­ing the Cathars, for exam­ple, and oth­er “schis­mat­ics,” she was a mys­tic whose ideas far exceed­ed the cramped the­o­log­i­cal con­fines of so many male coun­ter­parts. “Hildegard’s visions caused her to see humans as ‘liv­ing sparks’ of God’s love, com­ing from God as day­light comes from the sun,” writes Fr. Don Miller. “This uni­ty was not appar­ent to many of her con­tem­po­raries.”

Her tran­scen­dent sight did not blind her to the diverse beau­ty of the nat­ur­al world. “She not only had faith,” says Ger­man direc­tor and actress Mar­garethe Von Trot­ta, who made a 2010 biopic about Hilde­gard, “but she was so curi­ous. Today, per­haps she would have been a sci­en­tist because she did so much research on heal­ing peo­ple, on plants and ani­mals.” Hildegard’s tal­ent, intel­lect, and force­ful per­son­al­i­ty made her a for­mi­da­ble per­son, “the only known female fig­ure of her time,” writes Music Acad­e­my Online, “who achieved such intel­lec­tu­al stature and whose con­tri­bu­tions have had last­ing impact.” The revived inter­est in her music coin­cid­ed with “the ‘new age’ chant craze in the mid-1990s,” but Hildegard’s work dif­fers marked­ly from medieval chant writ­ten for male voic­es.

Vary­ing from “high­ly syl­lab­ic to dra­mat­ic melis­mas (swirling melodies on a sin­gle open syl­la­ble,” Melanie Spiller explains, “her music is quite dis­tinc­tive and eas­i­ly rec­og­niz­able, with unsu­al ele­ments for the time, includ­ing exceed­ing an octave by a fourth or fifth, and large and fre­quent leaps.” Her music also func­tioned as “a vehi­cle for her own mys­ti­cal expe­ri­ence,” and it con­tin­ues to move listeners—of faith and no faith—who hear in her song cel­e­bra­tions of the divine­ly fem­i­nine and the won­ders of the nat­ur­al world.

Relat­ed Con­tent:

1200 Years of Women Com­posers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

A YouTube Chan­nel Com­plete­ly Devot­ed to Medieval Sacred Music: Hear Gre­go­ri­an Chant, Byzan­tine Chant & More

Mashup Weaves Togeth­er 57 Famous Clas­si­cal Pieces by 33 Com­posers: From Bach to Wag­n­er

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

Enter a Digitized Collection of 38,000 Pamphlets & Periodicals From the French Revolution

“What oth­er solu­tion but rev­o­lu­tion?” asks Jon­ah Wal­ters of the con­di­tions for most of the pop­u­la­tion in late-18th cen­tu­ry France. The major­i­ty lived in abject pover­ty; “the eco­nom­ic sub­ju­ga­tion in the coun­try­side was pro­found.” The urban workers—or sans-culottes—fared lit­tle bet­ter. “The cler­gy and nobil­i­ty,” on the oth­er hand, “com­pris­ing about 1.6 per­cent of the pop­u­la­tion, were doing just fine—most nobles lived in extreme opu­lence.” This out­line sketch­es the barest con­text for the resent­ment that fueled the vio­lence of the French Rev­o­lu­tion and the thou­sands of exe­cu­tions even­tu­al­ly car­ried out by the Rev­o­lu­tion­ary Tri­bunal.

Lawyer and ora­tor Georges Dan­ton, who had argued force­ful­ly for the killing of Louis XVI, pro­posed the Tri­bunal, in fact, as a means of stem­ming ter­ror. “I shall go so far as to say,” he declared, “that if a tri­bunal had been in exis­tence” in the years between 1789 and 1793, “the peo­ple, who have been so often and so cru­el­ly rebuked for the actions of these days, would not have cov­ered them with blood.” He advo­cat­ed that the tri­bunal “be ter­ri­ble in order that the peo­ple may be spared the neces­si­ty of being ter­ri­ble.” The fol­low­ing year, Dan­ton him­self was behead­ed, accused of lenien­cy and self-indul­gence.

Like his con­tem­po­raries Robe­spierre and Marat, Danton’s sto­ry illus­trates the rev­o­lu­tion­ar­ies’ elo­quent ide­al­ism and their com­mit­ment to the exe­cu­tion of roy­al­ists, coun­ter­rev­o­lu­tion­ar­ies, and thou­sands of accused crim­i­nals as a means of remak­ing the nation and ful­ly destroy­ing the Ancien Régime. Kingston University’s Marisa Lin­ton sums up the polit­i­cal cri­sis:

The French went almost overnight from being an absolute monar­chy to a polit­i­cal sys­tem in which the will of the peo­ple replaced that of the king. In the absence of tra­di­tions of par­lia­men­tary rule, the French fell back on uni­ver­sal­ist abstract prin­ci­ples and Enlight­en­ment rhetoric which were to prove increas­ing­ly divi­sive and leave no space for legit­i­mate oppo­si­tion. In this cli­mate, all polit­i­cal rivals had the poten­tial to be denounced as con­spir­a­tors against pop­u­lar sov­er­eign­ty.

As in the Amer­i­can Rev­o­lu­tion a few years ear­li­er, these debates took place in pub­lic via speech­es, peri­od­i­cals, and pam­phlets, which were print­ed by the tens of thou­sands. Chicago’s New­ber­ry Library French Rev­o­lu­tion Col­lec­tion hous­es on the Inter­net Archive “more than 30,000” such pam­phlets and “more than 23,000 issues of 180 peri­od­i­cals pub­lished between 1780 and 1810…. The col­lec­tion rep­re­sents the opin­ions of all the fac­tions that opposed and defend­ed the monar­chy dur­ing the tur­bu­lent peri­od between 1789 and 1799 and also con­tains innu­mer­able ephemer­al pub­li­ca­tions of the ear­ly Repub­lic.”

Much of the impres­sive New­ber­ry col­lec­tion, “among the most com­pre­hen­sive in the world,” has been dig­i­tized and made freely avail­able via the French Rev­o­lu­tion Pam­phlets Dig­i­tal Ini­tia­tive. Addi­tion­al­ly, the New­ber­ry has an open project for trans­lat­ing these pam­phlets into Eng­lish “in order to broad­en access, aid class­room instruc­tion, and sup­port schol­ar­ship.” The over­whelm­ing major­i­ty of the mate­ri­als are, of course, in French, but some few are also in Latin and oth­er lan­guages.

The pam­phlet at the top is one of sev­er­al trans­lat­ed by the stu­dents of DePaul Uni­ver­si­ty Pro­fes­sor Pas­cale-Anne Brault. This doc­u­ment announces the ver­dict of the Rev­o­lu­tion­ary Court against Jean-Bap­tiste Car­ri­er, a for­mer deputy of the Nation­al Con­ven­tion who stood accused of hor­rif­ic atroc­i­ties in the com­mis­sion of his duties, includ­ing “drown­ing men, women, chil­dren” and “assas­si­nat­ing a large num­ber of peo­ple and burn­ing towns, where men and women had their throats cut and girls were raped.” The judg­ment claims that “Nero was less blood­thirsty” than Car­ri­er and his accom­plices.

Fur­ther up, we see the first page of a pam­phlet writ­ten by René Louis Delagueulle, a mem­ber of the Nation­al Con­ven­tion, detail­ing plans for “a Repub­li­can Edu­ca­tion of the Peo­ple.” Delagueulle begins his pro­pos­al with a set of jus­ti­fi­ca­tions, among them the need for full employ­ment. “This mea­sure equal­ly oblig­es all cit­i­zens to learn,” he writes, “at a set age, an art, a trade or a pro­fes­sion capa­ble of procur­ing them the means of sub­sis­tence. We have decreed equal­i­ty: we wish it not to be an emp­ty name, that it remain illu­so­ry & with­out real­i­ty; for in a demo­c­ra­t­ic & pop­u­lar Repub­lic, the law of equal­i­ty is the only law that can bring about com­mon hap­pi­ness.”

Just above, see a pam­phlet titled “The Dec­la­ra­tion of the Rights of Women,” penned in 1792 by an anony­mous col­lec­tive of female French cit­i­zens writ­ing under the pseu­do­nym Phi­laletes (Greek for “lover of truth”). The pam­phlet con­sists of sev­en­teen arti­cles enu­mer­at­ing the rights of free speech for French women. “Women are born, live, and die with the right to speak,” states the first arti­cle. “They are equal in their ambi­tion in this regard.” The doc­u­ment ends with a “Ded­i­ca­tion Epis­tle to Female Cit­i­zens,” which begins, “for too long the Assem­blée Nationale has made you wait for the dec­la­ra­tion of your rights; it is essen­tial and urgent that they be pro­claimed.”

These fas­ci­nat­ing doc­u­ments rep­re­sent just a tiny sam­pling of the thou­sands of pam­phlets avail­able, though most of them remain to be trans­lat­ed into Eng­lish. You can vol­un­teer to help with the trans­la­tion ini­tia­tive here. And enter the enor­mous archive of near­ly 40,000 pam­phlets, orga­nized by year, sub­ject, cre­ator, col­lec­tion, and lan­guage, here.

Relat­ed Con­tent:

14,000 Free Images from the French Rev­o­lu­tion Now Avail­able Online

Explore 5,300 Rare Man­u­scripts Dig­i­tized by the Vat­i­can: From The Ili­ad & Aeneid, to Japan­ese & Aztec Illus­tra­tions

3,500 Occult Man­u­scripts Will Be Dig­i­tized & Made Freely Avail­able Online, Thanks to Da Vin­ci Code Author Dan Brown

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

Optical Scanning Technology Lets Researchers Recover Lost Indigenous Languages from Old Wax Cylinder Recordings

In an 1878 North Amer­i­can Review descrip­tion of his new inven­tion, the phono­graph, which tran­scribed sound on wax-cov­ered met­al cylin­ders, Thomas Edi­son sug­gest­ed a num­ber of pos­si­ble uses: “Let­ter writ­ing and all kinds of dic­ta­tion with­out the aid of a stenog­ra­ph­er,” “Phono­graph­ic books” for the blind, “the teach­ing of elo­cu­tion,” and, of course, “Repro­duc­tion of music.” He did not, vision­ary though he was, con­ceive of one extra­or­di­nary use to which wax cylin­ders might be put—the recov­ery or recon­struc­tion of extinct and endan­gered indige­nous lan­guages and cul­tures in Cal­i­for­nia.

And yet, 140 years after Edison’s inven­tion, this may be the most cul­tur­al­ly sig­nif­i­cant use of the wax cylin­der to date. “Among the thou­sands of wax cylin­ders” at UC Berkeley’s Phoebe A. Hearst Muse­um of Anthro­pol­o­gy, writes Hyperallergic’s Alli­son Meier, “are songs and spo­ken-word record­ings in 78 indige­nous lan­guages of Cal­i­for­nia. Some of these lan­guages, record­ed between 1900 and 1938, no longer have liv­ing speak­ers.”

Such is the case with Yahi, a lan­guage spo­ken by a man called “Ishi,” who was sup­pos­ed­ly the last sur­viv­ing mem­ber of his cul­ture when anthro­pol­o­gist Alfred Kroe­ber met him in 1911. Kroe­ber record­ed near­ly 6 hours of Ishi’s speech on 148 wax cylin­ders, many of which are now bad­ly degrad­ed.

“The exist­ing ver­sions” of these arti­facts “sound ter­ri­ble,” says Berke­ley lin­guist Andrew Gar­rett in the Nation­al Sci­ence Foun­da­tion video at the top, but through dig­i­tal recon­struc­tion much of this rare audio can be restored. Gar­rett describes the project—supported joint­ly by the NSF and NEH—as a “dig­i­tal repa­tri­a­tion of cul­tur­al her­itage.” Using an opti­cal scan­ning tech­nique, sci­en­tists can recov­er data from these frag­ile mate­ri­als with­out fur­ther dam­ag­ing them. You can see audio preser­va­tion­ist Carl Haber describe the advanced meth­ods above.

The project rep­re­sents a sci­en­tif­ic break­through and also a stark reminder of the geno­cide and humil­i­a­tion of indige­nous peo­ple in the Amer­i­can west. When he was found, “starv­ing, dis­ori­ent­ed and sep­a­rat­ed from his tribe,” writes Jes­si­ca Jimenez at The Dai­ly Cal­i­forn­ian, Ishi was “believed to be the last Yahi man in exis­tence because of the Three Knolls Mas­sacre in 1866, in which the entire Yahi tribe was thought to have been slaugh­tered.” (Accord­ing to anoth­er Berke­ley schol­ar his sto­ry may be more com­pli­cat­ed.) He was “put on dis­play at the muse­um, where out­siders could watch him make arrows and describe aspects of Yahi cul­ture.” He nev­er revealed his name (“Ishi” means “man”) and died of tuber­cu­lo­sis in 1916.

The wax cylin­ders will allow schol­ars to recov­er oth­er lan­guages, sto­ries, and songs from peo­ples destroyed or dec­i­mat­ed by the 19th cen­tu­ry “Indi­an Wars.” Between 1900 and 1940, Kroe­ber and his col­leagues record­ed “Native Cal­i­for­ni­ans from many regions and cul­tures,” the Berke­ley project page explains, “speak­ing and singing; recit­ing his­to­ries, nar­ra­tives and prayers, list­ing names for places and objects among many oth­er things, all in a wide vari­ety of lan­guages. Many of the lan­guages record­ed on the cylin­ders have trans­formed, fall­en out of use, or are no longer spo­ken at all, mak­ing this col­lec­tion a unique and invalu­able resource for lin­guists and con­tem­po­rary com­mu­ni­ty mem­bers hop­ing to learn about or revi­tal­ize lan­guages, or retrieve impor­tant piece of cul­tur­al her­itage.”

via Hyper­al­ler­gic

Relat­ed Con­tent:

Down­load 10,000 of the First Record­ings of Music Ever Made, Cour­tesy of the UCSB Cylin­der Audio Archive

Inter­ac­tive Map Shows the Seizure of Over 1.5 Bil­lion Acres of Native Amer­i­can Land Between 1776 and 1887

1,000+ Haunt­ing & Beau­ti­ful Pho­tos of Native Amer­i­can Peo­ples, Shot by the Ethno­g­ra­ph­er Edward S. Cur­tis (Cir­ca 1905)

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

The Ancient Astronomy of Stonehenge Decoded

The sum­mer sol­stice draws nigh, and many of us will spend it bemoan­ing the fact that we have yet again failed to make it to Stone­henge to view the sun ris­ing over its mas­sive Heel Stone.

Don’t beat your­self up too bad­ly.

Accord­ing to Vox’s Senior Edi­to­r­i­al Pro­duc­er Joss Fong, above, it’s like­ly that the win­ter sol­stice was actu­al­ly a far big­ger deal to the Neolith­ic builders who engi­neered the site.

While much of it is now in ruins, arche­ol­o­gists, his­to­ri­ans, astronomers, and oth­er experts have been able to recon­struct what the ancient mon­u­ment would have looked like in its hey­day. The place­ment of the mas­sive stones in care­ful­ly arranged con­cen­tric cir­cles sug­gest that its feats of astron­o­my were no acci­dent.

As Fong points out, the builders would not have known that the earth trav­els around the sun, nor that it tilts on its ver­ti­cal axis, thus effect­ing where the sun’s rays will strike through­out the year.

They would, how­ev­er, have had good cause to mon­i­tor any nat­ur­al phe­nom­e­na as it relat­ed to their agri­cul­tur­al prac­tices.

The sum­mer sol­stice would have come at the height of their grow­ing sea­son, but if this year’s sun­rise cel­e­brants spin 180 degrees, they will be fac­ing in the same direc­tion as those ancient builders would have when they arrived to cel­e­brate the win­ter sol­stice with a sun­set feast.

These days, the win­ter sol­stice attracts a siz­able num­ber of tourists, along with neo-druids, neo-pagans, and Wic­cans.

Bun­dle up and join them, take a vir­tu­al tour, or at the very least, try your hand at assem­bling the nifty Aedes-Ars Stone­henge Mod­el Kit Fong glues togeth­er like a pro.

Relat­ed Con­tent:

An Artist Vis­its Stone­henge in 1573 and Paints a Charm­ing Water­col­or Paint­ing of the Ancient Ruins

Vis­it Pom­peii (also Stone­henge & Ver­sailles) with Google Street View

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her solo show Nurse!, in which one of Shakespeare’s best loved female char­ac­ters hits the lec­ture cir­cuit to set the record straight opens June 12 at The Tank in New York City. Fol­low her @AyunHalliday.

Chilling and Surreal Propaganda Posters from the NSA Are Now Declassified and Put Online

“Omg wow this is rly cool and unique like I nev­er knew the gov­ermnet was wac­thing me.”

So wrote an anony­mous inter­net com­menter on a Wash­ing­ton Post arti­cle about NSA mobile phone track­ing, jok­ing, or just emerg­ing from a bunker some­where off the grid. Every­one knows the gov­ern­ment is watch­ing or might be. Or at least we should since the infa­mous 2013 rev­e­la­tions about the mas­sive scope of NSA domes­tic sur­veil­lance. Reports of domes­tic spy­ing first appeared in 2005. In 2009, Alex Kings­bury at U.S. News and World Report described the Agency as “one of the most secre­tive fief­doms inside the Amer­i­can gov­ern­ment… prob­a­bly famil­iar to most peo­ple only as the guys who may or may not be lis­ten­ing to your phone calls and read­ing your E‑mails as they sur­veil ter­ror­ists.”

As is often the case when gov­ern­ment over­reach, abuse, or cor­rup­tion become pub­lic knowl­edge, the ques­tion is not whether most Amer­i­cans know, but whether they care. An often-mis­used Ben Franklin quote pops up fre­quent­ly in argu­ments about a nec­es­sary bal­ance between “lib­er­ty” and “secu­ri­ty.” The lat­ter now seems to inevitably entail extra-con­sti­tu­tion­al spy­ing (as well as tor­ture, indef­i­nite deten­tion, police mil­i­ta­riza­tion and oth­er total­ly nor­mal gov­ern­ment oper­a­tions).

These days, as often as not, gov­ern­ment sur­veil­lance takes place by proxy, by way of tech monop­o­lies like AT&T, Ama­zon, and Google (which the NSA helped cre­ate). Maybe, when it comes to the gov­ern­ment watch­ing, resis­tance is futile, as a species of out­er space cyborg total­i­tar­i­ans likes to say.

In any case, we might imag­ine that pub­lic debates about civ­il lib­er­ties and pri­va­cy are laugh­able to many a sea­soned intel­li­gence agent. A recent­ly declas­si­fied trove of pro­pa­gan­da posters aimed at NSA employ­ees, dat­ing from the 50s, 60s, and 70s, shows that in the mind of the Agency, there is no con­flict between lib­er­ty and secu­ri­ty. With­out secu­ri­ty (or total secre­cy), many of these posters sug­gest, all free­dom is lost. They do so in some “super freaky” ways, to quote Jason Kot­tke, look­ing like “they were cooked up by Sal­vador Dali or the Dadaists. Or even Mad Mag­a­zine.”

Some of the posters, espe­cial­ly those from the Cold War, look pret­ty chill­ing in hind­sight, with their theo­crat­ic over­tones and anti-Com­mu­nist apoc­a­lyp­ti­cism. Agency employ­ees were to under­stand that not only might they risk their jobs and clear­ances if they hap­pened to spill clas­si­fied info, but that every­thing they held dear—Christmas, prayer, fish­ing, free­dom of the press—might be destroyed. The posters get pro­gres­sive­ly groovi­er as things thawed between the super­pow­ers, and they stop allud­ing to spe­cif­ic ene­mies and threats to Chris­t­ian piety. Still, there’s some­thing a lit­tle creepy about an intel­li­gence agency co-opt­ing the Mona Lisa and Sat­ur­day Night Fever.

The agency was offi­cial­ly cre­at­ed in 1952 to mon­i­tor for­eign elec­tron­ic sig­nals, which at the time meant radio and tele­phone traf­fic. The com­par­a­tive­ly bronze-age tech­nol­o­gy avail­able in the decades these posters were print­ed makes them seem all the more quaint, with their ref­er­ences to care­less­ly dis­card­ed doc­u­ments and get­ting too chat­ty in the car pool. Is the gov­ern­ment still war­rant­less­ly spy­ing on Amer­i­cans? There may have been sev­er­al recent “inad­ver­tent com­pli­ance laps­es,” the NSA admits, but sure­ly a secret court and trust­wor­thy Con­gress will keep every­one hon­est.

See many more of these bizarre posters here.

via Kot­tke

Relat­ed Con­tent:

Han­nah Arendt Explains How Pro­pa­gan­da Uses Lies to Erode All Truth & Moral­i­ty: Insights from The Ori­gins of Total­i­tar­i­an­ism

“Glo­ry to the Con­querors of the Uni­verse!”: Pro­pa­gan­da Posters from the Sovi­et Space Race (1958–1963)

When Sovi­et Artists Turned Tex­tiles (Scarves, Table­cloths & Cur­tains) into Beau­ti­ful Pro­pa­gan­da in the 1920s & 1930s

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

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