How the Ancient Romans Traveled Without Maps

In an age when many of us could hard­ly make our way to an unfa­mil­iar gro­cery store with­out rely­ing on a GPS nav­i­ga­tion sys­tem, we might well won­der how the Romans could estab­lish and sus­tain their mighty empire with­out so much as a prop­er map. That’s the ques­tion addressed by the His­to­ria Mil­i­tum video above, “How Did Ancient Peo­ple Trav­el With­out Maps?” Or more to the point, how did they trav­el with­out scaled maps — that is, ones “in which the map’s dis­tances were pro­por­tion­al to their actu­al size in the real world,” like almost all those we con­sult on our screens today?

The sur­viv­ing maps from the ancient Roman world tend not to take great pains adher­ing to true geog­ra­phy. Yet as the Roman Empire expand­ed, lay­ing roads across three con­ti­nents, more and more Romans engaged in long-dis­tance trav­el, and for the most part seem to have arrived at their intend­ed des­ti­na­tions.

To do so, they used not maps per se but “itin­er­aries,” which tex­tu­al­ly list­ed towns and cities along the way and the dis­tance between them. By the fourth cen­tu­ry, “all main Roman roads along with 225 stop­ping sta­tions were com­piled in a doc­u­ment called the Itin­er­ar­i­um Antoni­ni, the Itin­er­ary of Emper­or Anto­nius Pius.”

This high­ly prac­ti­cal doc­u­ment includes most­ly roads that “passed through large cities, which pro­vid­ed bet­ter facil­i­ties for hous­ing, shop­ping, bathing, and oth­er trav­el­er needs.” With this infor­ma­tion, “a trav­el­er could copy the spe­cif­ic dis­tances and sta­tions they need­ed to reach their des­ti­na­tion.” Still today, some sev­en­teen cen­turies lat­er, “most peo­ple would­n’t use a paper scaled map for trav­el, but would instead break their jour­ney down into a list of sub­way sta­tions, bus stops, and inter­sec­tions.” And if you were to attempt to dri­ve across Europe, mak­ing a mod­ern-day Roman Empire road trip, you’d almost cer­tain­ly rely on the dis­tances and points of inter­est pro­vid­ed by the syn­the­sized voice read­ing aloud from the vast Itin­er­ar­i­um Antoni­ni of the twen­ty-first cen­tu­ry.

Relat­ed con­tent:

A Map Show­ing How the Ancient Romans Envi­sioned the World in 40 AD

The Largest Ear­ly Map of the World Gets Assem­bled for the First Time: See the Huge, Detailed & Fan­tas­ti­cal World Map from 1587

Ancient Maps that Changed the World: See World Maps from Ancient Greece, Baby­lon, Rome, and the Islam­ic World

Down­load 131,000 His­toric Maps from the Huge David Rum­sey Map Col­lec­tion

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall.

An Introduction to the Astonishing Book of Kells, the Iconic Illuminated Manuscript

What­ev­er set of reli­gious or cul­tur­al tra­di­tions you come from, you’ve prob­a­bly seen a Celtic cross before. Unlike a con­ven­tion­al cross, it has a cir­cu­lar ring, or “nim­bus,” where its arms and stem inter­sect. The sole addi­tion of that ele­ment gives it a high­ly dis­tinc­tive look, and indeed makes it one of the rep­re­sen­ta­tive exam­ples of Insu­lar iconog­ra­phy — that is, iconog­ra­phy cre­at­ed with­in Great Britain and Ire­land in the time after the Roman Empire. Per­haps the most artis­ti­cal­ly impres­sive Celtic cross in exis­tence is found on one of the pages of the ninth-cen­tu­ry Book of Kells (view online here), which itself stands as the most cel­e­brat­ed of all Insu­lar illu­mi­nat­ed man­u­scripts.

On what’s called the “car­pet page” of the Book of Kells, explains Smarthis­to­ry’s Steven Zuck­er in the video above, “we see a cross so elab­o­rate that it almost ceas­es to be a cross.” It has “two cross­beams, and these del­i­cate cir­cles with intri­cate inter­lac­ing in each of them, but the cir­cles are so large that they almost over­whelm the cross itself.”

That’s hard­ly the only image of note in the book, which con­tains the four Gospels of the New Tes­ta­ment, among oth­er texts, as well as numer­ous and extrav­a­gant illus­tra­tions, all of them exe­cut­ed painstak­ing­ly by hand on its vel­lum pages back when it was cre­at­ed, cir­ca 800, in the scrip­to­ri­um of a medieval monastery. These illus­tra­tions include, as Zuck­er’s col­league Lau­ren Kil­roy puts it, “the ear­li­est rep­re­sen­ta­tion of the Vir­gin and Child in a man­u­script in West­ern Europe.”

This is hard­ly a vol­ume one approach­es light­ly — espe­cial­ly if one approach­es it in per­son, as Zuck­er and Kil­roy did on their vis­it to Trin­i­ty Col­lege Dublin. “When we were stand­ing in front of the book,” says Kil­roy, they “noticed how many folios formed the book itself” (which would have required the skin of more than 100 young calves). Com­ing to grips with the sheer quan­ti­ty of mate­r­i­al in the Book of Kells is one thing, but under­stand­ing how to inter­pret it is anoth­er still. Hence the free online course pre­vi­ous­ly fea­tured here on Open Cul­ture, which can help you more ful­ly appre­ci­ate the book in its dig­i­tized form avail­able online. Even if the cross, Celtic or oth­er­wise, stirs no par­tic­u­lar reli­gious feel­ings with­in you, the Book of Kells has much to say about the civ­i­liza­tion that pro­duced it: a civ­i­liza­tion that, insu­lar though it may once have been, would go on to change the shape of the world.

Relat­ed Con­tent:

The Medieval Mas­ter­piece the Book of Kells Is Now Dig­i­tized and Avail­able Online

Take a Free Online Course on the Great Medieval Man­u­script the Book of Kells

Dis­cov­er the Medieval Illu­mi­nat­ed Man­u­script Les Très Rich­es Heures du Duc de Berry, “the World’s Most Beau­ti­ful Cal­en­dar” (1416)

Behold the Beau­ti­ful Pages from a Medieval Monk’s Sketch­book: A Win­dow Into How Illu­mi­nat­ed Man­u­scripts Were Made (1494)

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

How Illu­mi­nat­ed Medieval Man­u­scripts Were Made: A Step-by-Step Look at this Beau­ti­ful, Cen­turies-Old Craft

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall.

Discover the CIA’s Simple Sabotage Field Manual: A Timeless Guide to Subverting Any Organization with “Purposeful Stupidity” (1944)

I’ve always admired peo­ple who can suc­cess­ful­ly nav­i­gate what I refer to as “Kafka’s Cas­tle,” a term of dread for the many gov­ern­ment and cor­po­rate agen­cies that have an inor­di­nate amount of pow­er over our per­ma­nent records, and that seem as inscrutable and chill­ing­ly absurd as the labyrinth the char­ac­ter K nav­i­gates in Kafka’s last alle­gor­i­cal nov­el. Even if you haven’t read The Cas­tle, if you work for such an entity—or like all of us have reg­u­lar deal­ings with the IRS, the health­care and bank­ing sys­tem, etc.—you’re well aware of the dev­il­ish incom­pe­tence that mas­quer­ades as due dili­gence and ties us all in knots. Why do mul­ti-mil­lion and bil­lion dol­lar agen­cies seem unable, or unwill­ing, to accom­plish the sim­plest of tasks? Why do so many of us spend our lives in the real-life bureau­crat­ic night­mares sat­i­rized in The Office and Office Space?

One answer comes via Lau­rence J. Peter’s 1969 satire The Peter Prin­ci­ple—which offers the the­o­ry that man­agers and exec­u­tives get pro­mot­ed to the lev­el of their incompetence—then, David Brent-like, go on to ruin their respec­tive depart­ments. The Har­vard Busi­ness Review summed up dis­turb­ing recent research con­firm­ing and sup­ple­ment­ing Peter’s insights into the nar­cis­sism, over­con­fi­dence, or actu­al sociopa­thy of many a gov­ern­ment and busi­ness leader. But in addi­tion to human fail­ings, there’s anoth­er pos­si­ble rea­son for bureau­crat­ic dis­or­der; the con­spir­a­cy-mind­ed among us may be for­giv­en for assum­ing that in many cas­es, insti­tu­tion­al incom­pe­tence is the result of delib­er­ate sab­o­tage from both above and below. The ridicu­lous inner work­ings of most orga­ni­za­tions cer­tain­ly make a lot more sense when viewed in the light of one set of instruc­tions for “pur­pose­ful stu­pid­i­ty,” name­ly the once top-secret Sim­ple Sab­o­tage Field Man­u­al, writ­ten in 1944 by the CIA’s pre­cur­sor, the Office of Strate­gic Ser­vices (OSS).

Now declas­si­fied and freely avail­able on the CIA web­site, the man­u­al that the agency describes as “sur­pris­ing­ly rel­e­vant” was once dis­trib­uted to OSS offi­cers abroad to assist them in train­ing “cit­i­zen-sabo­teurs” in occu­pied coun­tries like Nor­way and France. Such peo­ple, writes Rebec­ca Onion at Slate, “might already be sab­o­tag­ing mate­ri­als, machin­ery, or oper­a­tions of their own ini­tia­tive,” but may have lacked the devi­ous tal­ent for sow­ing chaos that only an intel­li­gence agency can prop­er­ly mas­ter. Gen­uine lazi­ness, arro­gance, and mind­less­ness may sure­ly be endem­ic. But the Field Man­u­al asserts that “pur­pose­ful stu­pid­i­ty is con­trary to human nature” and requires a par­tic­u­lar set of skills. The cit­i­zen-sabo­teur “fre­quent­ly needs pres­sure, stim­u­la­tion or assur­ance, and infor­ma­tion and sug­ges­tions regard­ing fea­si­ble meth­ods of sim­ple sab­o­tage.”

You can read the full doc­u­ment here. Or find an easy-to-read ver­sion on Project Guten­berg here. To get a sense of just how “timeless”—according to the CIA itself—such instruc­tions remain, see the abridged list below, cour­tesy of Busi­ness Insid­er. You will laugh rue­ful­ly, then maybe shud­der a lit­tle as you rec­og­nize how much your own work­place, and many oth­ers, resem­ble the kind of dys­func­tion­al mess the OSS metic­u­lous­ly planned dur­ing World War II.

Orga­ni­za­tions and Con­fer­ences

  • Insist on doing every­thing through “chan­nels.” Nev­er per­mit short-cuts to be tak­en in order to expe­dite deci­sions.
  • Make “speech­es.” Talk as fre­quent­ly as pos­si­ble and at great length. Illus­trate your “points” by long anec­dotes and accounts of per­son­al expe­ri­ences.
  • When pos­si­ble, refer all mat­ters to com­mit­tees, for “fur­ther study and con­sid­er­a­tion.” Attempt to make the com­mit­tee as large as pos­si­ble — nev­er less than five.
  • Bring up irrel­e­vant issues as fre­quent­ly as pos­si­ble.
  • Hag­gle over pre­cise word­ings of com­mu­ni­ca­tions, min­utes, res­o­lu­tions.
  • Refer back to mat­ters decid­ed upon at the last meet­ing and attempt to re-open the ques­tion of the advis­abil­i­ty of that deci­sion.
  • Advo­cate “cau­tion.” Be “rea­son­able” and urge your fel­low-con­fer­ees to be “rea­son­able” and avoid haste which might result in embar­rass­ments or dif­fi­cul­ties lat­er on.

Man­agers

  • In mak­ing work assign­ments, always sign out the unim­por­tant jobs first. See that impor­tant jobs are assigned to inef­fi­cient work­ers.
  • Insist on per­fect work in rel­a­tive­ly unim­por­tant prod­ucts; send back for refin­ish­ing those which have the least flaw.
  • To low­er morale and with it, pro­duc­tion, be pleas­ant to inef­fi­cient work­ers; give them unde­served pro­mo­tions.
  • Hold con­fer­ences when there is more crit­i­cal work to be done.
  • Mul­ti­ply the pro­ce­dures and clear­ances involved in issu­ing instruc­tions, pay checks, and so on. See that three peo­ple have to approve every­thing where one would do.

Employ­ees

  • Work slow­ly
  • Work slow­ly.
  • Con­trive as many inter­rup­tions to your work as you can.
  • Do your work poor­ly and blame it on bad tools, machin­ery, or equip­ment. Com­plain that these things are pre­vent­ing you from doing your job right.
  • Nev­er pass on your skill and expe­ri­ence to a new or less skill­ful work­er.

Note: This post orig­i­nal­ly appeared on our site in Decem­ber 2015.

Relat­ed Con­tent:

The CIA’s Style Man­u­al & Writer’s Guide: 185 Pages of Tips for Writ­ing Like a Spook

How the CIA Fund­ed & Sup­port­ed Lit­er­ary Mag­a­zines World­wide While Wag­ing Cul­tur­al War Against Com­mu­nism

The C.I.A.’s “Bes­tiary of Intel­li­gence Writ­ing” Sat­i­rizes Spook Jar­gon with Mau­rice Sendak-Style Draw­ings

How the CIA Secret­ly Used Jack­son Pol­lock & Oth­er Abstract Expres­sion­ists to Fight the Cold War

When the CIA Stud­ied Psy­chic Tech­niques to Alter Human Con­scious­ness & Unlock Time Trav­el: Dis­cov­er “The Gate­way Process”

 

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

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Explore the World’s First 3D Replica of St. Peter’s Basilica, Made with AI

In the trail­er below for the world’s first 3D repli­ca of St. Peter’s Basil­i­ca, Yves Ubel­mann speaks of using “AI for Good,” which isn’t just an ide­al, but also the name of a lab at Microsoft. Microsoft and Ubel­man’s dig­i­tal-preser­va­tion com­pa­ny Iconem were two of the par­tic­i­pants in that ambi­tious project, along with the Vat­i­can itself. Pope Fran­cis, writes AP’s Nicole Win­field, “has called for the eth­i­cal use of AI and used his annu­al World Mes­sage of Peace this year to urge an inter­na­tion­al treaty to reg­u­late it, argu­ing that tech­nol­o­gy lack­ing human val­ues of com­pas­sion, mer­cy, moral­i­ty and for­give­ness were too great.”

What bet­ter show of good faith in the tech­nol­o­gy than to allow AI to be used to bring the cen­ter of the faith Pope Fran­cis rep­re­sents to the world? In the near­ly 400 years since its com­ple­tion, of course, the world has always come to the cur­rent St. Peter’s Basil­i­ca, and will con­tin­ue to do so.

The 3D-repli­ca project “has been launched ahead of the Vatican’s 2025 Jubilee, a holy year in which more than 30 mil­lion pil­grims are expect­ed to pass through the basilica’s Holy Door, on top of the 50,000 who vis­it on a nor­mal day,” Win­field writes. But no mat­ter where in the world you hap­pen to be, you can vir­tu­al­ly enter St. Peter’s Basil­i­ca right now, and spend as long as you like, admir­ing the basil­i­ca itself, the cupo­la, Bernini’s St. Peter’s Bal­dachin, and Michelan­gelo’s Pietà, among oth­er fea­tures.

How­ev­er impor­tant (and atten­tion-draw­ing) arti­fi­cial intel­li­gence was as a tool in the cre­ation of this ultra-pre­cise “dig­i­tal twin” of St. Peter’s Basil­i­ca, the four-week process of cap­tur­ing every detail of the real struc­ture that could be cap­tured also neces­si­tat­ed the use of drones, lasers, and cam­eras tak­ing more than 400,000 dig­i­tal pho­tos. The “AI for Good Lab con­tributed advanced tools that refined the dig­i­tal twin with mil­lime­ter-lev­el accu­ra­cy, and used AI to help detect and map struc­tur­al vul­ner­a­bil­i­ties like cracks and miss­ing mosa­ic tiles,” says Microsoft­’s site. “The Vat­i­can over­saw the col­lab­o­ra­tion, ensur­ing the preser­va­tion of the Basil­i­ca as a cul­tur­al, spir­i­tu­al, and his­tor­i­cal­ly sig­nif­i­cant site for years to come.”

It makes a cer­tain sense to apply the high­est tech­nol­o­gy of our time for the ben­e­fit of a build­ing known as the great­est archi­tec­tur­al mar­vel of its time. But in order to bet­ter appre­ci­ate the kind of knowl­edge that will be revealed by the 22 petabytes of infor­ma­tion that went into the dig­i­tal mod­el (which offers its own guid­ed tour) we’d do well to immerse our­selves first in what was already known about St. Peter’s Basil­i­ca. For a brief intro­duc­tion to the con­cep­tion and evo­lu­tion of this grand church as it stands today, we could do much worse than archi­tec­ture-and-his­to­ry YouTu­ber Manuel Bravo’s video “St Peter’s Basil­i­ca Explained.” If you watch it, don’t be sur­prised if you find your­self tempt­ed to engage in pro­longed explo­ration of the mod­el — or indeed, to book a vis­it to the real thing. Enter the dig­i­tal St. Peter’s here.

Relat­ed con­tent:

Take a 3D Vir­tu­al Tour of the Sis­tine Chapel, St. Peter’s Basil­i­ca and Oth­er Art-Adorned Vat­i­can Spaces

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

3D Scans of 7,500 Famous Sculp­tures, Stat­ues & Art­works: Down­load & 3D Print Rodin’s Thinker, Michelangelo’s David & More

The Vat­i­can Library Goes Online and Dig­i­tizes Tens of Thou­sands of Man­u­scripts, Books, Coins, and More

Rome Reborn: A New 3D Vir­tu­al Mod­el Lets You Fly Over the Great Mon­u­ments of Ancient Rome

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall.

The Final Days of Leo Tolstoy Captured in Rare Footage from 1910

114 years ago today (Novem­ber 20, 1910), Leo Tol­stoy—the author who gave us two major Russ­ian clas­sics Anna Karen­i­na and War & Peacedied at Astapo­vo, a small, remote train sta­tion in the heart of Rus­sia. Pneu­mo­nia was the offi­cial cause. His death came just weeks after Tol­stoy, then 82 years old, made a rather dra­mat­ic deci­sion. He left his wife, his com­fort­able estate, and his wealth, then trav­eled 26 hours to Shar­mardi­no, where Tolstoy’s sis­ter Marya lived, and where he planned to spend the remain­der of his life in a small, rent­ed hut. (Elif Batu­man has more on this.) But then he pushed on, board­ing a train to the Cau­ca­sus. And it proved to be more than his already weak­ened con­sti­tu­tion could han­dle. Rather amaz­ing­ly, the footage above brings you back to Tol­stoy’s final days, and right to his deathbed itself. This clip comes from a 1969 BBC series Civil­i­sa­tion: A Per­son­al View by Ken­neth Clark, and these days you can still find copies of Clark’s accom­pa­ny­ing book kick­ing around online.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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

Relat­ed Con­tent 

The Only Col­or Pic­ture of Tol­stoy, Tak­en by Pho­tog­ra­phy Pio­neer Sergey Prokudin-Gorsky (1908)

Thomas Edison’s Record­ings of Leo Tol­stoy: Hear the Voice of the Great Russ­ian Nov­el­ist

Leo Tolstoy’s 17 “Rules of Life:” Wake at 5am, Help the Poor, & Only Two Broth­el Vis­its Per Month

An Ani­mat­ed Intro­duc­tion to Leo Tol­stoy, and How His Great Nov­els Can Increase Your Emo­tion­al Intel­li­gence

 

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What Victorian People Sounded Like: Hear Recordings of Florence Nightingale & Queen Victoria Herself

More than 120 years after the end of the Vic­to­ri­an era, we might assume that we retain a more or less accu­rate cul­tur­al mem­o­ry of the Vic­to­ri­ans them­selves: of their social mores, their aes­thet­ic sen­si­bil­i­ties, their ambi­tions great and small, their many and var­ied hang-ups. Some of the most vivid rep­re­sen­ta­tions of these qual­i­ties have come down to us through pri­ma­ry sources, which tend to be texts and works of visu­al art. Late in Queen Vic­to­ri­a’s reign came pho­tographs, and at the very end, even the motion pic­ture. But how can we be sure how her peo­ple real­ly sound­ed?

Strict­ly speak­ing, the ear­li­est process for mechan­i­cal­ly record­ing the sound of the human voice dates back to 1860, not even halfway through the Vic­to­ri­an era. But the tech­nol­o­gy still had a long way to go at that time, and it was­n’t until the 1880s that Thomas Edis­on’s phono­graph and the wax cylin­ders it played became com­mer­cial­ly viable. So explains the King and Things video above, on the spread of audio record­ing and the ear­li­est pos­si­bil­i­ties it opened for cap­tur­ing the voic­es of what we now regard as the dis­tant past. Those voic­es include that of a man intro­duced as “one of Eng­land’s most famous after-din­ner speak­ers, Mr. Edmund Yates.”

That cylin­der was record­ed in 1888, at one of the Lon­don soirées held by an Amer­i­can Edi­son employ­ee named George Gouraud. The son of French engi­neer François Gouraud, who had intro­duced daguerreo­type pho­tog­ra­phy to the Unit­ed States in the 1830s, he took it upon him­self to bring the phono­graph to Britain. He did so in a top-down man­ner, invit­ing social­ly dis­tin­guished guests to his home for din­ner so that they might thrill to the nov­el­ty of after-din­ner speech­es deliv­ered by machine — and then record their own mes­sages to Edi­son him­self.  “I can only say that I am aston­ished and some­what ter­ri­fied at the results of this evening’s exper­i­ments,” said one of Gouraud’s guests, the com­pos­er Sir Arthur Sul­li­van.

That aston­ish­ment aside, Sul­li­van also admit­ted that he was “ter­ri­fied at the thought that so much hideous and bad music may be put on record for­ev­er.” Many alive today would cred­it him with con­sid­er­able pre­science on that count. But he also under­stood that the phono­graph would pro­duce won­ders, such as the record­ings includ­ed in this video of such nota­bles as four-time Prime Min­is­ter William Glad­stone, Flo­rence Nightin­gale, and Queen Vic­to­ria her­self — at least accord­ing to the con­sen­sus of the schol­ars who’ve scru­ti­nized the high­ly indis­tinct record­ing in ques­tion. Only long after Edis­on’s time would human­i­ty devel­op a record­ing tech­nol­o­gy capa­ble of being replayed again and again with­out degra­da­tion. But giv­en our image of Vic­to­ri­ans, per­haps it’s suit­able that their voic­es should sound ghost­ly.

Relat­ed con­tent:

100-Year-Old Music Record­ings Can Now Be Heard for the First Time, Thanks to New Dig­i­tal Tech­nol­o­gy

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

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

Thomas Edison’s 1889 Record­ing of Otto von Bis­mar­ck‎ Dis­cov­ered

The Old­est Voic­es That We Can Still Hear: Hear Audio Record­ings of Ghost­ly Voic­es from the 1800s

Hear the First Record­ing of the Human Voice (1860)

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

 

A New 3D Scan, Created from 25,000 High-Resolution Images, Reveals the Remarkably Well-Preserved Wreck of Shackleton’s Endurance

Pho­tos on this page cour­tesy of the Falk­lands Mar­itime Her­itage 

Few who hear the sto­ry of the Endurance could avoid reflect­ing on the apt­ness of the ship’s name. A year after set­ting out on the Impe­r­i­al Trans-Antarc­tic Expe­di­tion in 1914, it got stuck in a mass of drift­ing ice off Antarc­ti­ca. There it remained for ten months, while leader Sir Ernest Shack­le­ton and his crew of 27 men wait­ed for a thaw. But the Endurance was being slow­ly crushed, and even­tu­al­ly had to be left to its watery grave. What secures its place in the his­to­ry books is the sub-expe­di­tion made by Shack­le­ton and five oth­ers in search of help, which ensured the res­cue of every sin­gle man who’d been on the ship.

This har­row­ing jour­ney has, of course, inspired doc­u­men­taries, includ­ing this year’s Endurance from Nation­al Geo­graph­ic, which debuted at the Lon­don Film Fes­ti­val last month and will come avail­able to stream on Dis­ney+ lat­er this fall. “The doc­u­men­tary incor­po­rates footage and pho­tos cap­tured dur­ing the expe­di­tion by Aus­tralian pho­tog­ra­ph­er Frank Hur­ley, who [in 1914] brought sev­er­al cam­eras along for the jour­ney,” writes Smithsonian.com’s Sarah Kuta. “Film­mak­ers have col­or-treat­ed Hurley’s black-and-white images and footage for the first time. They also used arti­fi­cial intel­li­gence to recre­ate crew mem­bers’ voic­es to ‘read’ their own diary entries.”

The fruits of an even more tech­no­log­i­cal­ly impres­sive project have been released along with Endurance: a 3D dig­i­tal mod­el “cre­at­ed from more than 25,000 high-res­o­lu­tion images cap­tured after the icon­ic ves­sel was dis­cov­ered in March 2022.”

As we not­ed at the time here on Open Cul­ture, the ship was found to be in remark­ably good con­di­tion after well over a cen­tu­ry spent two miles beneath the Wed­dell Sea. “Endurance looks much like it did when it sank on Novem­ber 21, 1915. Every­day items used by the crew — includ­ing din­ing plates, a boot and a flare gun — are still eas­i­ly rec­og­niz­able among the pro­tect­ed wreck­age.”

Endurance has, in oth­er words, endured. Its intact­ness — which “makes it look as though the ship,” writes CNN.com’s Jack Guy, “has been mirac­u­lous­ly lift­ed out of the Wed­dell Sea onto dry land in one piece” — is, in its way, as improb­a­ble and impres­sive as Shack­le­ton and com­pa­ny’s sur­vival of its fate­ful first expe­di­tion. The degree of detail cap­tured by this new scan (not tech­no­log­i­cal­ly fea­si­ble back at the time of the last acclaimed doc­u­men­tary on this sub­ject), should make pos­si­ble fur­ther, even deep­er research into the sto­ry of the Endurance. But one ques­tion will remain unan­swer­able: would that sto­ry have res­onat­ed quite as long had the ship kept its orig­i­nal name, Polaris?

via Smithsonian.com

Relat­ed con­tent:

The First Full 3D Scan of the Titan­ic, Made of More Than 700,000 Images Cap­tur­ing the Wreck’s Every Detail

How an Ancient Roman Ship­wreck Could Explain the Uni­verse

See the Well-Pre­served Wreck­age of Ernest Shackleton’s Ship Endurance Found in Antarc­ti­ca

Hear Ernest Shack­le­ton Speak About His Antarc­tic Expe­di­tion in a Rare 1909 Record­ing

New­ly Dis­cov­ered Ship­wreck Proves Herodotus, the “Father of His­to­ry,” Cor­rect 2500 Years Lat­er

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

How Designing Buildings Upside-Down Revolutionized Architecture, Making Possible St. Paul’s Cathedral, Sagrada Família & More

For 142 years now, Sagra­da Família has been grow­ing toward the sky. Or at least that’s what it seems to be doing, as its ongo­ing con­struc­tion real­izes ever more ful­ly a host of forms that look and feel not quite of this earth. It makes a kind of sense to learn that, in design­ing the cathe­dral that would remain a work in progress near­ly a cen­tu­ry after his death, Antoni Gaudí built a mod­el upside-down, mak­ing use of grav­i­ty in the oppo­site way to which we nor­mal­ly think of it as act­ing on a build­ing. But as archi­tec­ture YouTu­ber Stew­art Hicks explains in the video above, Gaudí was hard­ly the first to use that tech­nique.

Take St. Paul’s Cathe­dral, which Christo­pher Wren decid­ed to make the tallest build­ing in Lon­don in 1685. It includ­ed what would be the high­est dome ever built, at 365 feet off the ground. “For a tra­di­tion­al dome design to reach this height, it would have to span an open­ing that’s 160 feet or 49 meters wide, but this made it much too heavy for the walls below,” says Hicks. “Exist­ing tech­niques for build­ing this just could­n’t work.” Enter sci­en­tist-engi­neer Robert Hooke, who’d already been fig­ur­ing out ways to mod­el forces like this by hang­ing chains from the ceil­ing.

“Hooke’s genius was that he real­ized that the chain in his exper­i­ments was cal­cu­lat­ing the per­fect shape for it to remain in ten­sion, since that’s all it can do.” He explained domes as, phys­i­cal­ly, “the exact oppo­site of the chains. His famous line was, ‘As hangs the flex­ile line, so but invert­ed will stand the rigid arch.’ ” In oth­er words, “if you flip the shape of Hooke’s chain exper­i­ments upside down, the forces flip, and this shape is the per­fect com­pres­sion sys­tem.” Hence the dis­tinc­tive­ly elon­gat­ed-look­ing shape of the dome on the com­plet­ed St. Paul’s Cathe­dral, a depar­ture from all archi­tec­tur­al prece­dent.

The shape upon which Wren and Hooke set­tled turned out to be very sim­i­lar to what archi­tec­ture now knows as a cate­nary curve, a con­cept impor­tant indeed to Gaudí, who was “famous­ly enam­ored with what some call organ­ic forms.” He made detailed mod­els to guide the con­struc­tion of his projects, but after those he’d left behind for Sagra­da Família were destroyed by anar­chists in 1936, the builders had noth­ing to go on. Only in 1979 did the young archi­tect Mark Bur­ry “imag­ine the mod­els upside-down,” which brought about a new under­stand­ing of the build­ing’s com­plex, land­scape-like forms. It was a sim­i­lar phys­i­cal insight that made pos­si­ble such dra­mat­ic mid-cen­tu­ry build­ings as Anni­bale Vitel­lozzi and Pier Nervi’s Palazzet­to del­lo Sport and Eero Saari­nen’s TWA Flight Cen­ter: pure Space Age, but root­ed in the Enlight­en­ment.

Relat­ed con­tent:

How the World’s Biggest Dome Was Built: The Sto­ry of Fil­ip­po Brunelleschi and the Duo­mo in Flo­rence

How This Chica­go Sky­scraper Bare­ly Touch­es the Ground

Why Hasn’t the Pantheon’s Dome Col­lapsed?: How the Romans Engi­neered the Dome to Last 19 Cen­turies and Count­ing

An Archi­tec­tur­al Tour of Sagra­da Família, Antoni Gaudí’s Auda­cious Church That’s Been Under Con­struc­tion for 142 Years

A Guid­ed Tour of the Largest Hand­made Mod­el of Impe­r­i­al Rome: Dis­cov­er the 20x20 Meter Mod­el Cre­at­ed Dur­ing the 1930s

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

 

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