When Albert Einstein & Charlie Chaplin Met and Became Fast Famous Friends (1930)

Pho­to via Wiki­me­dia Com­mons

“You do not real­ly under­stand some­thing unless you can explain it to your grand­moth­er,” goes a well-known quote attrib­uted var­i­ous­ly to Albert Ein­stein, Richard Feyn­man, and Ernest Ruther­ford. No mat­ter who said it, “the sen­ti­ment… rings true,” writes Michelle Lav­ery, “for researchers in all dis­ci­plines from par­ti­cle physics to ecopsy­chol­o­gy.” As Feyn­man dis­cov­ered dur­ing his many years of teach­ing, it could be “the mot­to of all pro­fes­sion­al com­mu­ni­ca­tors,” The Guardian’s Rus­sell Gross­man writes, “and espe­cial­ly those who earn a liv­ing com­mu­ni­cat­ing the tricky busi­ness of sci­ence.”

Ein­stein became one of the world’s great sci­ence com­mu­ni­ca­tors by choice, not neces­si­ty, and found ways to explain his com­plex the­o­ries to chil­dren and the elder­ly alike. But per­haps, if he’d had his way, he would rather have avoid­ed words alto­geth­er, and pre­ferred acro­bat­ic feats of silent dar­ing to get his mes­sage across. We might at least con­clude so from his rev­er­ence for the work of Char­lie Chap­lin. Chap­lin was the only per­son Ein­stein want­ed to meet in Cal­i­for­nia dur­ing his sec­ond, 1930–31 vis­it to the U.S., when he was “at the height of his fame,” notes Claire Cock-Starkey at Men­tal Floss, “with news­pa­pers track­ing his every move and aca­d­e­mics clam­or­ing for expla­na­tions of his the­o­ries.”

The admi­ra­tion, of course, was mutu­al. Their first meet­ings hap­pened out­side the press’s scruti­ny, at Uni­ver­sal Stu­dios, “where the pair took a tour and had lunch togeth­er. They hit it off straight away, shar­ing quick wits and curi­ous minds.” In his auto­bi­og­ra­phy, Chap­lin writes that Einstein’s wife Elsa fina­gled an invi­ta­tion to din­ner at Chaplin’s house. And he “was only too hap­py to oblige,” Cock-Starkey writes, arrang­ing an “inti­mate din­ner, at which Elsa regaled him with the sto­ry of when Ein­stein came up with his world-chang­ing the­o­ry, some­time around 1915.”

The two con­tin­ued to cor­re­spond, and the big pub­lic unveil­ing of their friend­ship came when Chap­lin invit­ed Ein­stein to the pre­miere of City Lights in 1931 (see pho­to up top) where the mega-celebri­ties from very dif­fer­ent worlds were greet­ed by reporters, pho­tog­ra­phers, and ador­ing crowds. There are sev­er­al record­ed ver­sions of their con­ver­sa­tion. In one account, Ein­stein expressed bemuse­ment at the cheer­ing, and Chap­lin remarked, “the peo­ple applaud me because every­one under­stands me, and they applaud you because no one under­stands you.”

Chap­lin him­self wrote in his 1933–34 trav­el­ogue, A Come­di­an Sees the World, that one of Einstein’s sons uttered the line, weeks after­ward: “You are pop­u­lar [because] you are under­stood by the mass­es. On the oth­er hand, the professor’s pop­u­lar­i­ty with the mass­es is because he is not under­stood.” Yet anoth­er ver­sion, cir­cu­lat­ing on the Nobel Prize’s Insta­gram and col­lect­ing tens of thou­sands of likes, has the exchange take place in a dia­logue.

Ein­stein: “What I most admire about your art, is your uni­ver­sal­i­ty. You don’t say a word, yet the world under­stands you!”

Chap­lin: “True. But your glo­ry is even greater! The whole world admires you, even though they don’t under­stand a word of what you say.”

What­ev­er they real­ly said to each oth­er, it’s clear Ein­stein saw some­thing in Char­lie Chap­lin worth emu­lat­ing. Chap­lin left his mark on Exis­ten­tial­ist phi­los­o­phy, lend­ing the name of his film Mod­ern Times to Jean-Paul Sartre and Simone de Beauvoir’s influ­en­tial jour­nal, Les Temps Mod­ernes. He left a lega­cy on Beat poet­ry, lend­ing the name City Lights to Lawrence Ferlinghetti’s infa­mous San Fran­cis­co book­store and pub­lish­er. And it seems he also maybe had some small effect on physics, or on the most famous of physi­cists, who might have har­bored a secret ambi­tion to be a silent film comedian—or to com­mu­ni­cate, at least, with the uni­ver­sal effec­tive­ness of one as skilled as Char­lie Chap­lin, favorite of genius­es and grand­moth­ers (and genius grand­moth­ers) every­where.

Note: An ear­li­er ver­sion of this post appeared on our site in 2020.

Relat­ed Con­tent:  

60+ Free Char­lie Chap­lin Films Online

Einstein’s The­o­ry of Rel­a­tiv­i­ty Explained in One of the Ear­li­est Sci­ence Films Ever Made (1923)

Hear Albert Ein­stein Read “The Com­mon Lan­guage of Sci­ence” (1941)

The Char­lie Chap­lin Archive Opens, Putting Online 30,000 Pho­tos & Doc­u­ments from the Life of the Icon­ic Film Star

Josh Jones is a writer and musi­cian based in Durham, NC.

The Declaration of Independence Performed by Morgan Freeman, Benicio del Toro, Winona Ryder & Other Actors

Some suc­cess­ful Hol­ly­wood pro­duc­ers spend their mon­ey on yachts, sports teams, and Euro­pean cas­tles. Nor­man Lear’s biggest pur­chase, or at least his most famous one, was a copy of the Dec­la­ra­tion of Inde­pen­dence. He did not, of course, buy the kind of repro­duc­tion any tourist can pick up at the gift shop of a major Amer­i­can his­toric site, but a “Dun­lap broad­side,” one of 200 or so run off by Philadel­phia print­er John Dun­lap on the very night of July 4th, 1776. After hand­ing over $8.1 mil­lion in exchange for the doc­u­ment in 2001, Lear put it on tour, and it there­after made years of pub­lic appear­ances all around the coun­try, includ­ing at the 2002 Olympics, Super Bowl XXXVI, and the Live 8 con­cert in the city where it was made.

Lear’s pur­chase also inspired a film, as it might well do for any man with his con­nec­tions. Co-pro­duced by Lear and the late Rob Rein­er, anoth­er Hol­ly­wood enthu­si­ast of Amer­i­can pol­i­tics, the 2001 short at the top of the post cap­tures a dra­mat­ic read­ing of the Dec­la­ra­tion of Inde­pen­dence by a line­up of big stars of the day, includ­ing the likes of Michael Dou­glas, Winona Ryder, Edward Nor­ton, Renée Zell­weger, and Beni­cio del Toro.

Their per­for­mances were all shot togeth­er at Inde­pen­dence Hall in Philadel­phia by Con­rad Hall, the famed cin­e­matog­ra­ph­er of Cool Hand Luke, Butch Cas­sidy and the Sun­dance Kid, Marathon Man, and Amer­i­can Beau­ty, on  July 4, 2001.

These 25 years lat­er, the film remains an invig­o­rat­ing refresh­er on what the Dec­la­ra­tion of Inde­pen­dence actu­al­ly says. Don’t think of it as the next best thing to read­ing that hal­lowed doc­u­ment: as Mor­gan Free­man tells us in his intro­duc­tion, Thomas Jef­fer­son “intend­ed for the dec­la­ra­tion to be per­formed, and not just read. Its words and rhythms were writ­ten to be spo­ken, in proud and defi­ant tones in grand pub­lic places.” His fel­low thes­pi­ans deliv­er them with the aplomb of a coun­try that under­stood itself as supreme in the world, though one does now feel a cer­tain irony in their speak­ing in the mid-sum­mer of 2001, just months before that con­fi­dence would be ter­ri­bly shak­en. Amer­i­can his­to­ry, it turned out, had not yet end­ed; even now, on the 250th anniver­sary of the Unit­ed States’ inde­pen­dence, it may have just bare­ly begun.

Relat­ed con­tent:

Fred­er­ick Douglass’s Fiery 1852 Speech, “The Mean­ing of July 4th for the Negro,” Read by James Earl Jones

John Trumbull’s Famous 1818 Paint­ing Dec­la­ra­tion of Inde­pen­dence Vir­tu­al­ly Defaced to Show Which Found­ing Fathers Owned Slaves

Read George Washington’s “110 Rules of Civil­i­ty”: The Code of Decen­cy That Guid­ed America’s First Pres­i­dent

Meet “Found­ing Moth­er” Mary Katharine God­dard, First Female Post­mas­ter in the U.S. and Print­er of the Dec­la­ra­tion of Inde­pen­dence

Bertrand Russell’s 10 Com­mand­ments for Liv­ing in a Healthy Democ­ra­cy

John Wayne Recites the Pledge of Alle­giance

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Meet the Syntopicon: The Ambitious Index That Tried to Organize All of Western Thought (1952)

Mor­timer J. Adler rose to cul­tur­al promi­nence in the mid-twen­ti­eth-cen­tu­ry Unit­ed States, not that a fig­ure like him could have done so in any oth­er place or time. A hap­haz­ard pro­fes­sion­al and intel­lec­tu­al path involv­ing copy-boy work at the New York Sun, night school, and an incom­plete Colum­bia degree even­tu­al­ly led to a fac­ul­ty posi­tion teach­ing phi­los­o­phy of law at the Uni­ver­si­ty of Chica­go. In 1945, he com­menced work on what would become the Great Books of the West­ern World, a 54-vol­ume set pub­lished by Ency­clopæ­dia Bri­tan­ni­ca includ­ing the works of every­one from Homer to Vir­gil to Dar­win to Hem­ing­way. Sold door-to-door, it became an unlike­ly suc­cess by the ear­ly nine­teen-six­ties, and for a time it was a fair­ly com­mon, if book­shelf-dom­i­nat­ing, sight in the aspi­ra­tional homes of sub­ur­ban Amer­i­ca.

How many of those fam­i­lies reg­u­lar­ly pulled their Great Books off the shelf is anoth­er mat­ter. Despite hav­ing come through an inten­sive process of cura­tion, they could still look rather impos­ing as the wall of knowl­edge they formed all togeth­er. To this prob­lem, Adler offered a char­ac­ter­is­ti­cal­ly ambi­tious and idio­syn­crat­ic solu­tion: a con­cept-ori­ent­ed index called the Syn­topi­con — or rather, “A Syn­topi­con.”

“He believed these two vol­umes to be just the ‘assis­tance’ that the aver­age man need­ed to dig into the books that formed West­ern Civ­i­liza­tion,” writes Jonathan White, an alum­nus of the sim­i­lar­ly West­ern canon-based St. John’s Col­lege. They “com­prised an exhaus­tive cat­a­logue of each time one of the 102 ‘Great Ideas of West­ern Civ­i­liza­tion’ was men­tioned in the 431 ‘Great Books’ enshrined in Bri­tan­ni­ca’s col­lec­tion.”

Good and evil, log­ic and love, plea­sure and pain, uni­ver­sal and par­tic­u­lar: all the big ideas, at least as Adler defined them, were there in A Syn­topi­con. Cus­tomers report­ed­ly found it unwieldy, but the notion behind it holds out a cer­tain appeal still today. It’s even inspired the launch of Syntopi.com, a dig­i­tal suc­ces­sor that enables you to nav­i­gate “the Great Con­ver­sa­tion” in a vari­ety of ways includ­ing a 3D visu­al­iza­tion and a per­son­al cur­ricu­lum-cre­ation tool. The Great Books of the West­ern World’s mid-cen­tu­ry read­ers — pro­fes­sion­als and busi­ness­men look­ing to fill the gaps in their gen­er­al knowl­edge, vet­er­ans ready to learn more after their G.I. Bill-fund­ed col­lege edu­ca­tion, house­wives hop­ing to get a han­dle on what intel­li­gent peo­ple were sup­posed to know about — could have had fun with it. And we could ben­e­fit, no doubt, from redis­cov­er­ing a lit­tle of their earnest­ly self-improv­ing spir­it our­selves. You can view an edi­tion of A Syn­topi­con on the Inter­net Archive, or this site.

Relat­ed Con­tent:

The West­ern Canon: From Homer to Mil­ton (Free Course)

Harold Bloom Cre­ates a Mas­sive List of Works in The “West­ern Canon”: Read Many of the Books Free Online

The West­ern Tra­di­tion by Eugen Weber: 52 Video Lec­tures

Great Big Ideas: Free Course Fea­tures Top Thinkers Tack­ling the World’s Most Impor­tant Ideas in 12 Lec­tures

48 Ani­mat­ed Videos Explain the His­to­ry of Ideas: From Aris­to­tle to Sartre

The 10 Great­est Books Ever, Accord­ing to 125 Top Authors (Down­load Them for Free)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

An Entire Ancient Greek Philosophical Treatise Burned by Mount Vesuvius Has Been Deciphered with X‑Ray and AI Technologies

Most of our con­cep­tion of Sto­icism, an ancient school of thought much fea­tured here on Open Cul­ture, derives from the writ­ings of just three fig­ures: Epicte­tus, Mar­cus Aure­lius, and Seneca the Younger. But there were oth­er Sto­ics, and despite their antiq­ui­ty, we may yet learn more about them. Take Chrysip­pus of Soli, who was offi­cial­ly known as the Sec­ond Founder of Sto­icism due to his influ­ence on its spread through­out the Greek and Roman world. What we know of his demand­ing work, we know because of ref­er­ences writ­ten on scrolls inad­ver­tent­ly pre­served in a vil­la in Her­cu­la­neum when near­by Mount Vesu­vius erupt­ed in the year 79. To date, most of those “Her­cu­la­neum papyri” have been unread­able, but soon, thanks to tech­nolo­gies like X‑ray micro­to­mog­ra­phy and arti­fi­cial intel­li­gence, that may change.

In 2023, we post­ed about the decod­ing of the first word of one such scroll, an achieve­ment made with the incen­tive of prizes offered by a con­test called the Vesu­vius Chal­lenge. Now, says its web­site, “we have com­plete­ly vir­tu­al­ly unwrapped and read PHerc. 1667 — the scroll the Vesu­vius Chal­lenge com­mu­ni­ty knows as Scroll 4 — with­out ever touch­ing its pages.”

What appears to be lit­tle more than a big hunk of char­coal, fur­ther dam­aged by sev­er­al phys­i­cal unrolling attempts in less tech­no­log­i­cal­ly advanced times, turns out to be “a philo­soph­i­cal trea­tise on ethics, and the evi­dence points to a Sto­ic work: it turns on human nature, impulse, and the moral progress of human beings.” The scrol­l’s last pre­served col­umn even drops the name of Aris­tocre­on, “nephew and dis­ci­ple of the great Sto­ic Chrysip­pus,” sug­gest­ing it dates to the sec­ond cen­tu­ry BC.

These col­lab­o­ra­tive efforts, both tech­no­log­i­cal and intel­lec­tu­al, have made PHerc. 1667 “the first Her­cu­la­neum papyrus to be dig­i­tal­ly unrolled and read in full, end to end, and made avail­able for sus­tained schol­ar­ly study.” But there are also oth­er texts still being deci­phered, includ­ing PHerc. 139, which has been iden­ti­fied as “Philode­mus, On Gods, Book 8 — a trea­tise by the Epi­cure­an philoso­pher whose works fill so much of this library.” In their day, Sto­icism and Epi­cure­anism stood as sim­i­lar but rival philoso­phies, and it seems that the own­er of the so-called Vil­la of the Papyri (pos­si­bly Julius Cae­sar’s father-in-law) had an inter­est in both of them. Ancient Sto­ics and Epi­cure­ans car­ried on a live­ly debate about how to live, some of whose argu­ments were writ­ten down. If the nec­es­sary tech­nolo­gies con­tin­ue to advance, per­haps we’ll one day be able to read them all and pick that con­ver­sa­tion up right where they left it off. Learn more about the decod­ing of the papyrus here and here.

via Smith­son­ian Mag­a­zine

Relat­ed con­tent:

Researchers Use AI to Decode the First Word on an Ancient Scroll Burned by Vesu­vius

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Hannah Arendt on “Personal Responsibility Under Dictatorship:” Better to Suffer Than Collaborate

Image by Bernd Schwabe, via Wiki­me­dia Com­mons

When Eich­mann in JerusalemHan­nah Arendt’s book about Nazi offi­cer Adolf Eichmann’s trial—came out in 1963, it con­tributed one of the most famous of post-war ideas to the dis­course, the “banal­i­ty of evil.” And the con­cept at first caused a crit­i­cal furor. “Enor­mous con­tro­ver­sy cen­tered on what Arendt had writ­ten about the con­duct of the tri­al, her depic­tion of Eich­mann, and her dis­cus­sion of the role of the Jew­ish Coun­cils,” writes Michael Ezra at Dis­sent mag­a­zine, “Eich­mann, she claimed, was not a ‘mon­ster’; instead, she sus­pect­ed, he was a ‘clown.’”

Arendt blamed vic­tims who were forced to col­lab­o­rate, crit­ics charged, and made the Nazi offi­cer seem ordi­nary and unre­mark­able, reliev­ing him of the extreme moral weight of his respon­si­bil­i­ty. She answered these charges in an essay titled “Per­son­al Respon­si­bil­i­ty Under Dic­ta­tor­ship,” pub­lished in 1964. Here, she aims to clar­i­fy the ques­tion in her title by argu­ing that if Eich­mann were allowed to rep­re­sent a mon­strous and inhu­man sys­tem, rather than shock­ing­ly ordi­nary human beings, his con­vic­tion would make him a scape­goat and let oth­ers off the hook. Instead, she believes that every­one who worked for the regime, what­ev­er their motives, is com­plic­it and moral­ly cul­pa­ble.

But although most peo­ple are cul­pa­ble of great moral crimes, those who col­lab­o­rat­ed were not, in fact, crim­i­nals. On the con­trary, they chose to fol­low the rules in a demon­stra­bly crim­i­nal regime. It’s a nuance that becomes a stark moral chal­lenge. Arendt points out that every­one who served the regime agreed to degrees of vio­lence when they had oth­er options, even if those might be fatal. Quot­ing Mary McCarthy, she writes, “If some­body points a gun at you and says, ‘Kill your friend or I will kill you,’ he is tempt­ing you, that is all.”

While this cir­cum­stance may pro­vide a “legal excuse,” for killing, Arendt seeks to define a “moral issue,” a Socrat­ic prin­ci­ple she had “tak­en for grant­ed” that we all believed: “It is bet­ter to suf­fer than do wrong,” even when doing wrong is the law. Peo­ple like Eich­mann were not crim­i­nals and psy­chopaths, Arendt argued, but rule-fol­low­ers pro­tect­ed by social priv­i­lege. “It was pre­cise­ly the mem­bers of respectable soci­ety,” she writes, “who had not been touched by the intel­lec­tu­al and moral upheaval in the ear­ly stages of the Nazi peri­od, who were the first to yield. They sim­ply exchanged one sys­tem of val­ues against anoth­er,” with­out reflect­ing on the moral­i­ty of the entire new sys­tem.

Those who refused, on the oth­er hand, who even “chose to die,” rather than kill, did not have “high­ly devel­oped intel­li­gence or sophis­ti­ca­tion in moral mat­ters.” But they were crit­i­cal thinkers prac­tic­ing what Socrates called a “silent dia­logue between me and myself,” and they refused to face a future where they would have to live with them­selves after com­mit­ting or enabling atroc­i­ties. We must remem­ber, Arendt writes, that “what­ev­er else hap­pens, as long as we live we shall have to live togeth­er with our­selves.”

Such refusals to par­tic­i­pate might be small and pri­vate and seem­ing­ly inef­fec­tu­al, but in large enough num­bers, they would mat­ter. “All gov­ern­ments,” Arendt writes, quot­ing James Madi­son, “rest on con­sent,” rather than abject obe­di­ence. With­out the con­sent of gov­ern­ment and cor­po­rate employ­ees, the “leader… would be help­less.” Arendt admits the unlike­ly effec­tive­ness of active oppo­si­tion to a one-par­ty author­i­tar­i­an state. And yet when peo­ple feel most pow­er­less, most under duress, she writes, an hon­est “admis­sion of one’s own impo­tence” can give us “a last rem­nant of strength” to refuse.

We have only for a moment to imag­ine what would hap­pen to any of these forms of gov­ern­ment if enough peo­ple would act “irre­spon­si­bly” and refuse sup­port, even with­out active resis­tance and rebel­lion, to see how effec­tive a weapon this could be. It is in fact one of the many vari­a­tions of non­vi­o­lent action and resistance—for instance the pow­er that is poten­tial in civ­il dis­obe­di­ence.

We have exam­ple after exam­ple of these kinds of refusals to par­tic­i­pate in a mur­der­ous sys­tem or fur­ther its aims. Arendt was aware these actions can come at great cost. The alter­na­tives, she argues, may be far worse.

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent:

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

Han­nah Arendt’s Orig­i­nal Arti­cles on “the Banal­i­ty of Evil” in the New York­er Archive

Hen­ry David Thore­au on When Civ­il Dis­obe­di­ence and Resis­tance Are Jus­ti­fied (1849)

Josh Jones is a writer and musi­cian based in Durham, NC.

How Japan Invented Daisugi, the Ancient Method of Growing Lumber Without Cutting Down Trees

Ask any­one, of most any age and in most any soci­ety, how we get wood, and you’ll hear one answer: by cut­ting down trees. It’s there­fore nat­ur­al that any method of lum­ber pro­duc­tion that leaves trees stand­ing will get a lot of atten­tion. Such has been the case with daisu­gi, the 600-year-old Japan­ese tech­nique we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture. The Leaf of Life video above explains just what it involves: “Spe­cial­ly plant­ed cedar trees are pruned heav­i­ly. Think of it as a giant bon­sai.” While these oper­a­tions take place bien­ni­al­ly, “har­vest­ing takes 20 years, and old tree stock grows up to 100 shoots at a time,” pro­duc­ing a stronger and more flex­i­ble wood to boot.

Such an unusu­al method of cul­ti­va­tion, you may imag­ine, must have arisen in unusu­al cir­cum­stances. As the video explains, daisu­gi was orig­i­nal­ly invent­ed in the west­ern Japan­ese region of Kitaya­ma, well south of the Osa­ka-Kyoto-Nara conur­ba­tion.

Work­ing under a short­age of seedlings and flat ter­rain, the arborists of Kitaya­ma devel­oped this method of forest­ing that made it pos­si­ble to “reduce the num­ber of plan­ta­tions, make the har­vest cycle faster, and pro­duce denser wood as well.” More than a lit­tle of the demand for it owed to the four­teenth-cen­tu­ry elite vogue for sukiya-zukuri, an ele­gant form of res­i­den­tial archi­tec­ture much expand­ed from the tra­di­tion­al Japan­ese tea house.

For a more nuts-and-bolts — or rather, trunks-and-branch­es — expla­na­tion of how daisu­gi is done, have a look at the video just above from Roji Gar­den­ing. You first need a sugi tree, also known as a Cryp­tome­ria japon­i­ca or Japan­ese red­wood, whose fast growth makes it all work. When it reach­es six or sev­en meters, which takes about as many years, “you do some­thing West­ern gar­den­ers would nev­er dream of”: cut the trunk at the height of half a meter, prune back the remain­ing branch­es, and cul­ti­vate the buds that appear on the remain­ing “plat­form seed­er.” Con­tin­ue reg­u­lar­ly prun­ing the series of “per­fect­ly ver­ti­cal” new trunks into which they grow, even­tu­al­ly remov­ing every­thing but the top 30 cen­time­ters on each. With­in a decade, you’ll end up with a good source of wood, if you need it, but also an “ever-chang­ing, inter­est­ing state­ment tree” — that, as a bonus, will also look like some­thing out of a Ghi­b­li movie.

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!

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:

Daisu­gi, the 600-Year-Old Japan­ese Tech­nique of Grow­ing Trees Out of Oth­er Trees, Cre­at­ing Per­fect­ly Straight Lum­ber

The Art of Cre­at­ing a Bon­sai: One Year Con­densed Con­densed Into 22 Mes­mer­iz­ing Min­utes

The Biol­o­gy of Bon­sai Trees: The Sci­ence Behind the Tra­di­tion­al Japan­ese Art Form

What Makes the Art of Bon­sai So Expen­sive?: $1 Mil­lion for a Bon­sai Tree, and $32,000 for Bon­sai Scis­sors

A Dig­i­tal Ani­ma­tion Com­pares the Size of Trees: From the 3‑Inch Bon­sai, to the 300-Foot Sequoia

This 392-Year-Old Bon­sai Tree Sur­vived the Hiroshi­ma Atom­ic Blast & Still Flour­ish­es Today: The Pow­er of Resilience

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Great Moon Hoax of 1835: Where “Fake News” Began

Think­ing back to the many child­hood gro­cery-store trips made with their par­ents, Amer­i­cans of a cer­tain age will remem­ber noth­ing so vivid­ly as the Week­ly World News. It always stood out on the check­out stand’s impulse-buy rack, in part because of its adher­ence to stark yet jum­bled black-and-white cov­er designs even as all the oth­er mag­a­zines grew slick­er and sim­pler. But what real­ly caught our young and impres­sion­able eyes had even more to do with the con­trast between the sur­round­ing pub­li­ca­tions’ mun­dane cov­er­age of home, fam­i­ly, and celebri­ty and the WWN’s unfail­ing­ly, scream­ing­ly out­landish head­lines: “I WAS BIGFOOT’S LOVE SLAVE!” “WILD WEST TOWN ON VENUS!” “BAT BOY LEADS COPS ON 3 STATE CHASE!”

For many of us, the temp­ta­tion to buy (or at least flip through) an issue of the WWN lay in keep­ing up with the exploits of Bat Boy, the most promi­nent of many fic­tion­al char­ac­ters to which its extrav­a­gant­ly lurid yet odd­ly sober sto­ries returned again and again. Though intro­duced only in 1992, he has notable ances­tors in his indus­try: take the “Ves­per­tilio-homo,” or “man-bat,” a race found to have made its home on the moon in 1835.

Or at least that’s what the read­ers of New York news­pa­per the Sun were told in a series of illus­trat­ed arti­cles, lat­er col­lect­ed in book form, that cred­it­ed the dis­cov­ery to the astronomer Sir John Her­schel. Her­schel was real, but as the Sun admit­ted the fol­low­ing month, the Ves­per­tilio-homo was­n’t — nor were the uni­corn-goats, minia­ture zebras, and beavers walk­ing on their hind legs report­ed­ly also seen through his tele­scope.

The “Great Moon Hoax,” as it’s now known, and about which you can learn more from the BBC video at the top of the post, was­n’t Her­schel’s doing. A reporter called Richard Adams Locke admit­ted to the fab­ri­ca­tion, seem­ing­ly moti­vat­ed by a desire to boost the cir­cu­la­tion of the Sun, one of the many “pen­ny paper” tabloids of the day that lived and died by sen­sa­tion and scan­dal, and also to make light of the extrav­a­gant astro­nom­i­cal claims then in the air. Much like the writ­ers of the Week­ly World News — or lat­er, the Onion — Locke want­ed less to fool read­ers than to enter­tain them by sat­i­riz­ing an over-cred­u­lous pop­u­lar cul­ture. Yet what he pio­neered was, quite lit­er­al­ly, “fake news,” though that label by now refers to media cre­at­ed with clear intent to deceive. The world has changed since the eigh­teen-thir­ties, and indeed, even since Bat Boy’s late twen­ti­eth-cen­tu­ry hey­day, when the WWN pre­dict­ed his elec­tion as Pres­i­dent of the Unit­ed States in 2028. Stranger things have cer­tain­ly hap­pened.

via Boing Boing

Relat­ed con­tent:

“Moon Hoax Not”: Short Film Explains Why It Was Impos­si­ble to Fake the Moon Land­ing

The 1957 “Spaghet­ti-Grows-on-Trees” Hoax: One of TV’s First April Fools’ Day Pranks

The Birth of the Moon: How Did It Get There in the First Place?

A Field Guide to Fake News and Oth­er Infor­ma­tion Dis­or­ders: A Free Man­u­al to Down­load, Share & Re-Use

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Leonardo da Vinci’s Notebooks, Separated for 400 Years, Have Been Reunited and Put Online

Leonar­do da Vin­ci was a painter, draughts­man, engi­neer, sci­en­tist, the­o­rist, sculp­tor, and archi­tect, to pro­vide only his most wide­ly agreed-upon list of occu­pa­tions. It is he, more than any oth­er sin­gle fig­ure, who comes to mind when we think of the ide­al of the “Renais­sance man.” Though con­sid­ered rather less prac­ti­cal today than it was in fif­teenth-cen­tu­ry Italy, the relent­less quest­ing for both sci­en­tif­ic knowl­edge and artis­tic per­fec­tion implied by that title has nev­er entire­ly ceased to appeal. For aspir­ing mod­ern Renais­sance men, one of the most endur­ing sources of inspi­ra­tion remains Leonar­do’s own note­books, full of back­wards-writ­ten explo­rations of ideas both real­ized and unre­al­ized that move unpre­dictably from one intel­lec­tu­al domain to anoth­er.

That last qual­i­ty seems to have dis­pleased the sculp­tor Pom­peo Leoni, who even­tu­al­ly came into pos­ses­sion of Leonar­do’s note­books after they were inher­it­ed by his last stu­dent Francesco Melzi. Leoni “dis­mount­ed and cut the folios, sep­a­rat­ing the mate­ri­als into two albums accord­ing
to his own judge­ment,” notes the Ital­ian Embassy in Lon­don, “the larg­er por­tion for tech­ni­cal and sci­en­tif­ic top­ics,” and the small­er for “Leonardo’s artis­tic and fig­u­ra­tive work­ings.”

In the ear­ly sev­en­teenth cen­tu­ry, Leoni’s son-in-law sold the for­mer album, now known as the Codex Atlanti­cus, to a count who in turn donat­ed it to the Veneran­da Bib­liote­ca Ambrosiana; the lat­ter end­ed up in Eng­land’s Roy­al Col­lec­tion by 1670 or so. Only now have they been reunit­ed, thanks to a project called Leonar­dothe­ka.

The cul­mi­na­tion of a decade’s work involv­ing the Veneran­da Bib­liote­ca Ambrosiana as well as the Bib­liote­ca Leonar­diana and the Roy­al Col­lec­tion Trust, Leonar­dothe­ka dig­i­tal­ly reunites those albums after four cen­turies apart. Such a task also entailed the recon­struc­tion of 50 long-sun­dered indi­vid­ual pages and their replace­ment into their orig­i­nal con­text. The note­books com­bined “decades of anatom­i­cal stud­ies, fly­ing machines, land­scapes, and gro­cery-list-adja­cent mus­ings, all tan­gled togeth­er the way Leonar­do’s mind may have worked,” writes Anas­ta­sia Scott at Dis­cov­er. Yet he’d “like­ly nev­er intend­ed to sep­a­rate art from sci­ence in the first place. A sin­gle page might hold a machine, a horse, and a poem, and Leoni sev­ered con­nec­tions the artist had made on pur­pose.” With those con­nec­tions restored, we here in the twen­ty-twen­ties — a time plagued by its own doubts about the rela­tion­ship between what we now call “human­i­ties” and “STEM” — can see once again how a real Renais­sance mind worked. Enter the Leonar­dothe­ka here.

via Kot­tke

Relat­ed con­tent:

A Com­plete Dig­i­ti­za­tion of Leonar­do Da Vinci’s Codex Atlanti­cus, the Largest Col­lec­tion of His Draw­ings & Writ­ings

Leonar­do da Vinci’s Vision­ary Inven­tions Ren­dered in 3D Ani­ma­tion: Heli­copters, Robot­ic Knights, The First Ever Div­ing Suit & More

Why Did Leonar­do da Vin­ci Write Back­wards? A Look Into the Ulti­mate Renais­sance Man’s “Mir­ror Writ­ing”

The Doo­dles in Leonar­do da Vinci’s Man­u­scripts Con­tain His Ground­break­ing The­o­ries on the Laws of Fric­tion, Sci­en­tists Dis­cov­er

Leonar­do da Vinci’s Hand­writ­ten Resume (Cir­ca 1482)

Leonar­do da Vinci’s To-Do List from 1490: The Plan of a Renais­sance Man

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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