Home Movies of Frida Kahlo (and a Side Order of Romantic Entanglements)

Ear­ly home movies have a cer­tain pre­dictable qual­i­ty. Their sub­jects wan­der around, point­ing at things. They shoo the cam­era away with embar­rassed grins, clus­ter togeth­er awk­ward­ly, and casu­al­ly chat up their side pieces in front of their spous­es….

Wait, what now?

The vis­it between mar­ried artists Fri­da Kahlo and Diego Rivera and exiled Russ­ian Com­mu­nist leader Leon Trot­sky and his wife Natalia Sedo­va appears both cor­dial and ordi­nary in Amer­i­can pho­tog­ra­ph­er Ivan Heisler’s footage, above.

The Trot­skys took up res­i­dence in La Casa Azul, Kahlo’s fam­i­ly home in Jan­u­ary 1937,  after Rivera per­suad­ed Pres­i­dent Lázaro Cár­de­nas to offer them sanc­tu­ary in Mex­i­co.

Short­ly after arrival, Sedo­va wrote a let­ter to friends, speak­ing warm­ly of the hos­pi­tal­i­ty she was receiv­ing:

We were breath­ing puri­fied air…A motorcar…carried us across the fields of palms and cac­ti to the sub­urbs of Mex­i­co City; a blue house, a patio filled with plants, airy rooms, col­lec­tions of Pre-Columbian art, paint­ings from all over: we were on a new plan­et, in Rivera’s house.

Heisler’s slice of life film would appear to be a con­tin­u­a­tion of this relaxed and hap­py vibe.

Trot­sky pats Rivera on the back and con­vers­es ani­mat­ed­ly with Kahlo, near­ly 30 years his junior. The two women embrace and stroll arm in arm, as the men take inter­est in a cac­tus.  Sedo­va seems  delight­ed when Rivera kiss­es her hand. Then every­one stands around and looks at trees.

Gosh, isn’t it nice when all mem­bers of two cou­ples get along so well?

Is it pos­si­ble, though, that an extra cou­ple was lurk­ing in plain sight?

Short­ly after meet­ing, Trot­sky and Kahlo entered into a brief but pas­sion­ate fling, exchang­ing sweet noth­ings in Eng­lish, con­ceal­ing love notes between the pages of books, and bor­row­ing Kahlo’s sis­ter Cristina’s house for trysts.

They called it quits in July of 1937, after Sedo­va caught on and issued her hus­band an ulti­ma­tum.

Accord­ing to the Hoover Insti­tu­tion Library and Archives, Heisler’s film was shot in 1938.

So we will amend our state­ment to say, isn’t it nice when two cou­ples get along so well, even after two of them were dis­cov­ered to be cheat­ing on their part­ners with each oth­er?

Kahlo’s and Rivera’s extra­mar­i­tal dal­liances are hard­ly news, of course.

Dan­ger­ous Minds sug­gests that part of what drew Kahlo to Trot­sky was the oppor­tu­ni­ty to get back at Rivera for his affair with Cristi­na — the sis­ter who vol­un­teered her house as love nest.

And in Van­i­ty Fair, Amy Fine Collins details how Rivera “boast­ed to any­one who would lis­ten” about Kahlo’s same sex lia­sons, but was apoplec­tic over her entan­gle­ments with men, includ­ing sculp­tor Isamu Noguchi, pho­tog­ra­ph­er Nick­o­las Muray, and Trotsky’s sec­re­tary Jean van Hei­jenoort, wit­ness to the bla­tant flir­ta­tion between the artist and his boss.

The romance with Trot­sky “infu­ri­at­ed him most” Collins writes, adding that “long after Trotsky’s assas­si­na­tion, Kahlo delight­ed in dri­ving Rivera into a rage by humil­i­at­ing him with the mem­o­ry of her affair with the great Com­mu­nist.”

…kind of makes one wish this lit­tle film had sound.

The absence of audio is also lament­ed by view­ers of this col­orized assem­blage of ama­teur footage star­ring Kahlo and Rivera.

Trot­sky appears again at the 1:03 mark. Dare we describe him as look­ing smit­ten?

There’s some spec­u­la­tion that the young woman at 1:17 is musi­cian Chavela Var­gas, anoth­er of Kahlo’s lovers. In that same moment, Kahlo proves her­self as in com­mand of her cin­e­mat­ic image as she was in her self-por­traits. She’s as self-pos­sessed as a movie star through­out.

Which makes the ear­ly glimpse of her sketch­ing en plein air in a fur coat and West­ern style hat, feet propped on a low wall, all the more dis­arm­ing.

It’s rare to see Fri­da Kahlo caught off guard, or so she appears, smil­ing and ges­tur­ing off­screen toward the osten­si­ble sub­ject of her draw­ing.

Is there a lip read­er in the house?

(Seri­ous ques­tion.)

For good mea­sure, here is even more footage — the Kahlo-Riveras at the Casa Azul, as cap­tured by Kahlo’s lover Nick­o­las Muray, whose famous 1939 por­trait of the artist in a magen­ta rebo­zo was declared “mar­velous as a Piero del­la Francesca” by her hus­band.

“To me it is more than that,” Kahlo wrote to Muray:

It is a trea­sure, and besides, it will always remind me [of] that morn­ing we had break­fast togeth­er.

Under­stand­ably, some view­ers remain dis­ap­point­ed that the snip­pets of Kahlo on film lack sound, but sure­ly the “voice” in which she wrote her many loves, Diego includ­ed, is far more expres­sive than any audio that a home movie might have cap­tured.

Which is not to say we’ll nev­er hear Fri­da. Above is a record­ing the Nation­al Sound Library of Mex­i­co believes to be her, from a radio show aired the year after her death.

The title of the text from which she is heard read­ing?

Por­trait of Diego.

Relat­ed Con­tent 

The Inti­ma­cy of Fri­da Kahlo’s Self-Por­traits: A Video Essay

A Brief Ani­mat­ed Intro­duc­tion to the Life and Work of Fri­da Kahlo

What the Icon­ic Paint­ing The Two Fridas Actu­al­ly Tells Us About Fri­da Kahlo

Vis­it the Largest Col­lec­tion of Fri­da Kahlo’s Work Ever Assem­bled: 800 Arti­facts from 33 Muse­ums, All Free Online

Take a Vir­tu­al Tour of Fri­da Kahlo’s Blue House Free Online

Dis­cov­er Fri­da Kahlo’s Wild­ly Illus­trat­ed Diary: It Chron­i­cled the Last 10 Years of Her Life, and Then Got Locked Away for Decades

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and cre­ator, most just late­ly, of Inven­tive, Not Well-known: The Small Pota­to Man­i­festo.  Com­ply with her @AyunHalliday.

Japanese Researcher Sleeps in the Same Location as Her Cat for 24 Consecutive Nights!


Cross cat nap­ping with bed hop­ping and you might end up hav­ing an “adven­ture in com­fort” sim­i­lar to the one that informs stu­dent Yuri Naka­hashi’s the­sis for Tokyo’s Hosei Uni­ver­si­ty.

For 24 con­sec­u­tive nights, Naka­hashi for­went the com­forts of her own bed in favor of a green sleep­ing bag, unfurled in what­ev­er ran­dom loca­tion one of her five pet cats had cho­sen as its sleep­ing spot that evening.

(The choice of which cat would get the plea­sure of dic­tat­ing each night’s sleep­ing bag coor­di­nates was also ran­dom­ized.)

As the own­er of five cats, Naka­hashi pre­sum­ably knew what she was sign­ing up for…

 

Cats rack out atop sofa backs, on stairs, and under beds…and so did Naka­hashi.

Her pho­tos sug­gest she logged a lot of time on a bare wood­en floor.

A Fit­Bit mon­i­tored the dura­tion and qual­i­ty of time spent asleep, as well as the fre­quen­cy with which she awak­ened dur­ing the night.

She doc­u­ment­ed the phys­i­cal and psy­cho­log­i­cal effects of this exper­i­ment in an inter­ac­tive pub­lished by the Infor­ma­tion Pro­cess­ing Soci­ety of Japan.

She reports that she eager­ly await­ed the rev­e­la­tion of each night’s coor­di­nates, and that even when her sleep was dis­rupt­ed by her pets’ mid­dle of the night groom­ing rou­tines, bunk­ing next to them had a “relax­ing effect.”

Mean­while, our research sug­gests that the same exper­i­ment would awak­en a vast­ly dif­fer­ent response in a dif­fer­ent human sub­ject, one suf­fer­ing from ail­uro­pho­bia, say, or severe aller­gies to the pro­teins in feline sali­va, urine, and dan­der.

What’s real­ly sur­pris­ing about Nakahashi’s itin­er­ant, and appar­ent­ly plea­sure-filled under­tak­ing is how lit­tle dif­fer­ence there is between her aver­age sleep score dur­ing the exper­i­ment and her aver­age sleep score from the 20 days pre­ced­ing it.

At left, an aver­age sleep score of 84.2 for the 20 days lead­ing up to exper­i­ment. At right, an aver­age sleep score 83.7 dur­ing the exper­i­ment.

Nakahashi’s entry for the YouFab Glob­al Cre­ative Awards, a prize for “work that attempts a dia­logue that tran­scends the bound­aries of species, space, and time” reflects the play­ful spir­it she brought to her slight­ly off-kil­ter exper­i­ment:

 Is it pos­si­ble to add diver­si­ty to the way we enjoy sleep? Let’s think about food. In addi­tion to the taste and nutri­tion of the food, each meal is a spe­cial expe­ri­ence with diver­si­ty depend­ing on the peo­ple you are eat­ing with, the atmos­phere of the restau­rant, the weath­er, and many oth­er fac­tors. In order to bring this kind of enjoy­ment to sleep, we pro­pose an “adven­ture in com­fort” in which the cat decides where to sleep each night, away from the fixed bed­room and bed. This project is sim­i­lar to going out to eat with a good friend at a restau­rant, where the cat guides you to sleep.

She notes that tra­di­tion­al beds have an immo­bil­i­ty owing to “their phys­i­cal weight and cul­tur­al con­cepts such as direc­tion.”

This sug­gests that her work could be of some ben­e­fit to humans in decid­ed­ly less fan­ci­ful, invol­un­tary sit­u­a­tions, whose lack of hous­ing leads them to sleep in unpre­dictable, and inhos­pitable loca­tions.

Naka­hashi’s time in the green sleep­ing bag inspired her to cre­ate the below mod­el of a more flex­i­ble bed, using a polypropy­lene bag, rice and nylon film.

We have cre­at­ed a pro­to­type of a dou­ble-lay­ered inflat­able bed that has a pouch struc­ture that inflates with air and a jam­ming struc­ture that becomes hard when air is com­pressed. The pouch side soft­ly receives the body when inflat­ed. The jam­ming side becomes hard when the air is removed, and can be firm­ly fixed in an even space. The air is designed to move back and forth between the two lay­ers, so that when not in use, the whole thing can be rolled up soft­ly for stor­age. 

It’s hard to imag­ine the pres­ence of a pussy­cat doing much to ame­lio­rate the anx­i­ety of those forced to flee their famil­iar beds with lit­tle warn­ing, but we can see how Nakahashi’s design might bring a degree of phys­i­cal relief when sleep­ing in sub­way sta­tions, base­ment cor­ners, and oth­er har­row­ing loca­tions.

Via Spoon & Toma­go

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Relat­ed Con­tent 

A 110-Year-Old Book Illus­trat­ed with Pho­tos of Kit­tens & Cats Taught Kids How to Read

An Ani­mat­ed His­to­ry of Cats: How Over 10,000 Years the Cat Went from Wild Preda­tor to Sofa Side­kick

GPS Track­ing Reveals the Secret Lives of Out­door Cats

Aldous Huxley Predicts in 1950 What the World Will Look Like in the Year 2000

I’ve been think­ing late­ly about how and why utopi­an fic­tion shades into dystopi­an. Though we some­times imag­ine the two modes as inver­sions of each oth­er, per­haps they lie instead on a con­tin­u­um, one along which all soci­eties slide, from func­tion­al to dys­func­tion­al. The cen­tral prob­lem seems to be this: Utopi­an thought relies on putting the com­pli­ca­tions of human behav­ior on the shelf to make a max­i­mal­ly effi­cient social order—or of find­ing some con­ve­nient way to dis­pense with those com­pli­ca­tions. But it is pre­cise­ly with this lat­ter move that the trou­ble begins. How to make the mass of peo­ple com­pli­ant and pacif­ic? Mass media and con­sumerism? Forced col­lec­tiviza­tion? Drugs?

Read­ers of dystopi­an fic­tion will rec­og­nize these as some of the design flaws in Aldous Huxley’s utopian/dystopian soci­ety of Brave New World, a nov­el that asks us to wres­tle with the philo­soph­i­cal prob­lem of whether we can cre­ate a ful­ly func­tion­al soci­ety with­out rob­bing peo­ple of their agency and inde­pen­dence. Doesn’t every utopia, after all, imag­ine a world of strict hier­ar­chies and con­trols? The original—Thomas More’s Utopia—gave us a patri­ar­chal slave soci­ety (as did Plato’s Repub­lic). Huxley’s Brave New World sim­i­lar­ly sit­u­ates human­i­ty in a caste sys­tem, sub­or­di­nat­ed to tech­nol­o­gy and sub­dued with med­ica­tion.

While Huxley’s utopia has erad­i­cat­ed the nuclear fam­i­ly and nat­ur­al human reproduction—thus solv­ing a pop­u­la­tion crisis—it is still a soci­ety ruled by the ideas of found­ing fathers: Hen­ry Ford, H.G. Wells, Freud, Pavlov, Shake­speare, Thomas Robert Malthus. If you want­ed to know, in the ear­ly 20th cen­tu­ry, what the future would be like, you’d typ­i­cal­ly ask a famous man of ideas. Red­book mag­a­zine did just that in 1950, writes Matt Novak at Pale­o­fu­ture; they “asked four experts—curiously all men, giv­en that Red­book was and is a mag­a­zine aimed at women—about what the world may look like fifty years hence.”

One of those men was Hux­ley, and in his answers, he draws on at least two of Brave New World’s intel­lec­tu­al founders, Ford and Malthus, in pre­dic­tions about pop­u­la­tion growth and the nature of work. In addi­tion to the ever-present threats of war, Hux­ley first turns to the Malthu­sian prob­lems of over­pop­u­la­tion and scarce resources.

Dur­ing the next fifty years mankind will face three great prob­lems: the prob­lem of avoid­ing war; the prob­lem of feed­ing and cloth­ing a pop­u­la­tion of two and a quar­ter bil­lions which, by 2000 A.D., will have grown to upward of three bil­lions, and the prob­lem of sup­ply­ing these bil­lions with­out ruin­ing the planet’s irre­place­able resources.

As Novak points out, Huxley’s esti­ma­tion is “less than half of the 6.1 bil­lion that would prove to be a real­i­ty by 2000.” In order to address the prob­lem of feed­ing, hous­ing, and cloth­ing all of those peo­ple, Hux­ley must make an “unhap­pi­ly… large assumption—that the nations can agree to live in peace. In this event mankind will be free to devote all its ener­gy and skill to the solu­tion of its oth­er major prob­lems.”

“Huxley’s pre­dic­tions for food pro­duc­tion in the year 2000,” writes Novak, “are large­ly a call for the con­ser­va­tion of resources. He cor­rect­ly points out that meat pro­duc­tion can be far less effi­cient than using agri­cul­tur­al lands for crops.” Hux­ley rec­om­mends sus­tain­able farm­ing meth­ods and the devel­op­ment of “new types of syn­thet­ic build­ing mate­ri­als and new sources for paper” in order to curb the destruc­tion of the world’s forests. What he doesn’t account for is the degree to which the over­whelm­ing greed of a pow­er­ful few would dri­ve the exploita­tion of finite resources and hold back efforts at sus­tain­able design, agri­cul­ture, and energy—a sit­u­a­tion that some might con­sid­er an act of war.

But Hux­ley’s utopi­an pre­dic­tions depend upon putting aside these com­pli­ca­tions. Like many mid-cen­tu­ry futur­ists, he imag­ined a world of increased leisure and greater human ful­fill­ment, but he “sees that poten­tial for bet­ter work­ing con­di­tions and increased stan­dards of liv­ing as obtain­able only through a sus­tained peace.” When it comes to work, Hux­ley’s fore­casts are part­ly Fordist: Advances in tech­nol­o­gy are one thing, but “work is work,” he writes, “and what mat­ters to the work­er is nei­ther the prod­uct nor the tech­ni­cal process, but the pay, the hours, the atti­tude of the boss, the phys­i­cal envi­ron­ment.”

To most office and fac­to­ry work­ers in 2000 the appli­ca­tion of nuclear fis­sion to indus­try will mean very lit­tle. What they will care about is what their fathers and moth­ers care about today—improvement in the con­di­tions of labor. Giv­en peace, it should be pos­si­ble, with­in the next fifty years, to improve work­ing con­di­tions very con­sid­er­ably. Bet­ter equipped, work­ers will pro­duce more and there­fore earn more.

Unfor­tu­nate­ly, Novak points out, “per­haps Huxley’s most inac­cu­rate pre­dic­tion is his assump­tion that an increase in pro­duc­tiv­i­ty will mean an increase in wages for the aver­age work­er.” Despite ris­ing prof­its and effi­cien­cy, this has proven untrue. In a Freudi­an turn, Hux­ley also pre­dicts the decen­tral­iza­tion of indus­try into “small coun­try com­mu­ni­ties, where life is cheap­er, pleas­an­ter and more gen­uine­ly human than in those breed­ing-grounds of mass neu­ro­sis…. Decen­tral­iza­tion may help to check that march toward the asy­lum, which is a threat to our civ­i­liza­tion hard­ly less grave than that of ero­sion and A‑bomb.”

While tech­no­log­i­cal improve­ments in mate­ri­als may not fun­da­men­tal­ly change the con­cerns of work­ers, improve­ments in robot­ics and com­put­er­i­za­tion may abol­ish many of their jobs, leav­ing increas­ing num­bers of peo­ple with­out any means of sub­sis­tence. So we’re told again and again. But this was not yet the press­ing con­cern in 2000 that it is for futur­ists just a few years lat­er. Per­haps one of Huxley’s most pre­scient state­ments takes head-on the issue fac­ing our cur­rent society—an aging pop­u­la­tion in which “there will be more elder­ly peo­ple in the world than at any pre­vi­ous time. In many coun­tries the cit­i­zens of six­ty-five and over will out­num­ber the boys and girls of fif­teen and under.”

Pen­sions and a point­less leisure offer no solu­tion to the prob­lems of an aging pop­u­la­tion. In 2000 the younger read­ers of this arti­cle, who will then be in their sev­en­ties, will prob­a­bly be inhab­it­ing a world in which the old are pro­vid­ed with oppor­tu­ni­ties for using their expe­ri­ence and remain­ing strength in ways sat­is­fac­to­ry to them­selves, and valu­able to the com­mu­ni­ty.

Giv­en the decrease in wages, ris­ing inequal­i­ty, and loss of home val­ues and retire­ment plans, more and more of the peo­ple Hux­ley imag­ined are instead work­ing well into their sev­en­ties. But while Hux­ley failed to fore­see the pro­found­ly destruc­tive force of unchecked greed—and had to assume a per­haps unob­tain­able world peace—he did accu­rate­ly iden­ti­fy many of the most press­ing prob­lems of the 21st cen­tu­ry. Eight years after the Red­book essay, Hux­ley was called on again to pre­dict the future in a tele­vi­sion inter­view with Mike Wal­lace. You can watch it in full at the top of the post.

Wal­lace begins in a McCarthyite vein, ask­ing Hux­ley to name “the ene­mies of free­dom in the Unit­ed States.” Hux­ley instead dis­cuss­es “imper­son­al forces,” return­ing to the prob­lem of over­pop­u­la­tion and oth­er con­cerns he addressed in Brave New World, such as the threat of an over­ly bureau­crat­ic, tech­no­crat­ic soci­ety too heav­i­ly depen­dent on tech­nol­o­gy. Four years after this inter­view, Hux­ley pub­lished his final book, the philo­soph­i­cal nov­el Island, in which, writes Vel­ma Lush, the evils he had warned us about, “over-pop­u­la­tion, coer­cive pol­i­tics, mil­i­tarism, mech­a­niza­tion, the destruc­tion of the envi­ron­ment and the wor­ship of sci­ence will find their oppo­sites in the gen­tle and doomed Utopia of Pala.”

The utopia of IslandHuxley’s wife Lau­ra told Alan Watts—is “pos­si­ble and actu­al… Island is real­ly vision­ary com­mon sense.” But it is also a soci­ety, Hux­ley trag­i­cal­ly rec­og­nized, made frag­ile by its unwill­ing­ness to con­trol human behav­ior and pre­pare for war.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

via Pale­o­fu­ture

Relat­ed Con­tent:

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

Zen Mas­ter Alan Watts Dis­cov­ers the Secrets of Aldous Hux­ley and His Art of Dying

Hear Aldous Hux­ley Read Brave New World. Plus 84 Clas­sic Radio Dra­mas from CBS Radio Work­shop (1956–57)

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

 

How to Give Yourself a 3000-Year-Old Hairstyle Using Iron Age Tools

There was a peri­od in the late 20th-cen­tu­ry when hav­ing hair long enough to sit on was con­sid­ered some­thing of an accom­plish­ment.

Judg­ing by the long hair pins unearthed from Austria’s Hall­statt bur­ial site, extreme length was an ear­ly Iron Age hair goal, too, pos­si­bly because a coro­net of thick braids made it eas­i­er to bal­ance a bas­ket on your head or keep your veil secure­ly fas­tened.

Mor­gan Don­ner, whose YouTube chan­nel doc­u­ments her attempts to recre­ate his­tor­i­cal gar­ments and hair­styles, com­mit­ted to try­ing var­i­ous Hall­statt looks after read­ing arche­ol­o­gogist Kari­na Grömer’s 2005 arti­cle Exper­i­mente zur Haar- und Schleier­tra­cht in der Hall­stattzeit (Exper­i­ments on hair­styles and veils in the Hall­statt peri­od.)

Gromer, the vice-head of the Vien­na Nat­ur­al His­to­ry Muse­um’s Depart­ment of Pre­his­to­ry, pub­lished pre­cise dia­grams show­ing the posi­tion of the hair orna­ments in rela­tion to the occu­pants of var­i­ous graves.

For exam­ple, the skele­ton in grave 45, below, was dis­cov­ered with “10 bronze nee­dles to the left of and below the skull, (and) parts of a bronze spi­ral roll in the neck area.”

Although no hair fibers sur­vive, researchers cross-ref­er­enc­ing the pins’ posi­tion against fig­ur­al rep­re­sen­ta­tions from peri­od arti­facts, have made a pret­ty edu­cat­ed guess as to the sort of hair do this indi­vid­ual may have sport­ed in life, or more accu­rate­ly, giv­en the con­text, death.

As to the “bronze spi­ral roll” — which Don­ner per­sists in refer­ring to as a spi­ral “doobly doo” — it func­tioned much like a mod­ern day elas­tic band, pre­vent­ing the braid from unrav­el­ling.

Don­ner twists hers from wire, after arrang­ing to have repli­ca hair­pins cus­tom made to his­tor­i­cal­ly accu­rate dimen­sions. (The man­u­fac­tur­er, per­haps mis­un­der­stand­ing her inter­est in his­to­ry, coat­ed them with an antiquing agent that had to be removed with “brass clean­er and a bit of rub­bing.”

Most of the styles are vari­ants on a bun. All with­stand the “shake test” and would look right at home in a bridal mag­a­zine.

Star Wars fans will be grat­i­fied to find not one, but two icon­ic Princess Leia looks.

Our favorites were the braid­ed loops and dou­ble buns meant to be sport­ed beneath a veil.

“The braids do kind of act nice­ly as an anchor point for the veil to sit on,” Don­ner reports, “Not a lot of mod­ern appli­ca­tion per se for this par­tic­u­lar style but it’s cute. It’s fun.”

Either would give you some seri­ous Medieval Fes­ti­val street cred, even if you have to resort to exten­sions.

Donner’s video gets a lot of love in the com­ments from a num­ber of archae­ol­o­gy pro­fes­sion­als, includ­ing a funer­ary archae­ol­o­gist who prais­es the way she deals with the “inher­ent issues of preser­va­tion bias.”

The final nine min­utes con­tain a DIY tuto­r­i­al for those who’d like to make their own hair­pins, as well as the spi­ral “doobly doo”.

If you’re of a less crafty bent, a jew­el­ry design­er in Fin­land is sell­ing repli­cas based on the grave finds of Hall­statt cul­ture on Etsy.

Watch a playlist of Donner’s his­tor­i­cal hair exper­i­ments and tuto­ri­als, though a peek at her Insta­gram reveals that she got a buz­z­cut last fall, cur­rent­ly grown out to pix­ie-ish length.

Down­load Grömer’s illus­trat­ed arti­cle on Hall­statt peri­od hair­styles and veils for free (in Ger­man) here.

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Ukrainian Violinists Play in Solidarity with 94 Other Violinists from 29 Countries

Vio­lin­ist Keren­za Pea­cock writes: “I befriend­ed some young vio­lin­ists in Ukraine via Insta­gram and dis­cov­ered some were in base­ment shel­ters but had their vio­lins. So I asked col­leagues across the world to accom­pa­ny them in har­mo­ny. And I got sent videos from 94 vio­lin­ists in 29 coun­tries in 48 hours!! An aston­ish­ing col­lab­o­ra­tion form­ing an inter­na­tion­al vio­lin choir of sup­port for Ukraine. Illia Bon­darenko had to film this between explo­sions, because he could not hear him­self play.

We play an old Ukrain­ian folk song called Ver­bo­vaya Doschech­ka. Nine oth­er young vio­lin­ists shel­ter­ing in Ukraine join in uni­son, and are accom­pa­nied in har­mo­ny by play­ers from Lon­don Sym­pho­ny Orches­tra, Tokyo Sym­pho­ny, Oslo Phil­har­mon­ic, the Hol­ly­wood Stu­dios, and top vio­lin­ists from all over the world includ­ing Ire­land, the Nether­lands, New Zealand, Bel­gium, Geor­gia, Poland, South Korea, South Africa, Moldo­va, Den­mark, India, and the entire vio­lin sec­tion of the Munich Cham­ber Orches­tra!”

Learn more about the col­lab­o­ra­tion here, and donate to sup­port Ukraini­ans in dis­tress here.

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M.I.T. Computer Program Predicts in 1973 That Civilization Will End by 2040

In 1704, Isaac New­ton pre­dict­ed the end of the world some­time around (or after, “but not before”) the year 2060, using a strange series of math­e­mat­i­cal cal­cu­la­tions. Rather than study what he called the “book of nature,” he took as his source the sup­posed prophe­cies of the book of Rev­e­la­tion. While such pre­dic­tions have always been cen­tral to Chris­tian­i­ty, it is star­tling for mod­ern peo­ple to look back and see the famed astronomer and physi­cist indulging them. For New­ton, how­ev­er, as Matthew Stan­ley writes at Sci­ence, “lay­ing the foun­da­tion of mod­ern physics and astron­o­my was a bit of a sideshow. He believed that his tru­ly impor­tant work was deci­pher­ing ancient scrip­tures and uncov­er­ing the nature of the Chris­t­ian reli­gion.”

Over three hun­dred years lat­er, we still have plen­ty of reli­gious doom­say­ers pre­dict­ing the end of the world with Bible codes. But in recent times, their ranks have seem­ing­ly been joined by sci­en­tists whose only pro­fessed aim is inter­pret­ing data from cli­mate research and sus­tain­abil­i­ty esti­mates giv­en pop­u­la­tion growth and dwin­dling resources. The sci­en­tif­ic pre­dic­tions do not draw on ancient texts or the­ol­o­gy, nor involve final bat­tles between good and evil. Though there may be plagues and oth­er hor­ri­ble reck­on­ings, these are pre­dictably causal out­comes of over-pro­duc­tion and con­sump­tion rather than divine wrath. Yet by some strange fluke, the sci­ence has arrived at the same apoc­a­lyp­tic date as New­ton, plus or minus a decade or two.

The “end of the world” in these sce­nar­ios means the end of mod­ern life as we know it: the col­lapse of indus­tri­al­ized soci­eties, large-scale agri­cul­tur­al pro­duc­tion, sup­ply chains, sta­ble cli­mates, nation states…. Since the late six­ties, an elite soci­ety of wealthy indus­tri­al­ists and sci­en­tists known as the Club of Rome (a fre­quent play­er in many con­spir­a­cy the­o­ries) has fore­seen these dis­as­ters in the ear­ly 21st cen­tu­ry. One of the sources of their vision is a com­put­er pro­gram devel­oped at MIT by com­put­ing pio­neer and sys­tems the­o­rist Jay For­rester, whose mod­el of glob­al sus­tain­abil­i­ty, one of the first of its kind, pre­dict­ed civ­i­liza­tion­al col­lapse in 2040. “What the com­put­er envi­sioned in the 1970s has by and large been com­ing true,” claims Paul Rat­ner at Big Think.

Those pre­dic­tions include pop­u­la­tion growth and pol­lu­tion lev­els, “wors­en­ing qual­i­ty of life,” and “dwin­dling nat­ur­al resources.” In the video at the top, see Aus­trali­a’s ABC explain the computer’s cal­cu­la­tions, “an elec­tron­ic guid­ed tour of our glob­al behav­ior since 1900, and where that behav­ior will lead us,” says the pre­sen­ter. The graph spans the years 1900 to 2060. “Qual­i­ty of life” begins to sharply decline after 1940, and by 2020, the mod­el pre­dicts, the met­ric con­tracts to turn-of-the-cen­tu­ry lev­els, meet­ing the sharp increase of the “Zed Curve” that charts pol­lu­tion lev­els. (ABC revis­it­ed this report­ing in 1999 with Club of Rome mem­ber Kei­th Suter.)

You can prob­a­bly guess the rest—or you can read all about it in the 1972 Club of Rome-pub­lished report Lim­its to Growth, which drew wide pop­u­lar atten­tion to Jay Forrester’s books Urban Dynam­ics (1969) and World Dynam­ics (1971). For­rester, a fig­ure of New­ton­ian stature in the worlds of com­put­er sci­ence and man­age­ment and sys­tems theory—though not, like New­ton, a Bib­li­cal prophe­cy enthusiast—more or less endorsed his con­clu­sions to the end of his life in 2016. In one of his last inter­views, at the age of 98, he told the MIT Tech­nol­o­gy Review, “I think the books stand all right.” But he also cau­tioned against act­ing with­out sys­tem­at­ic think­ing in the face of the glob­al­ly inter­re­lat­ed issues the Club of Rome omi­nous­ly calls “the prob­lem­at­ic”:

Time after time … you’ll find peo­ple are react­ing to a prob­lem, they think they know what to do, and they don’t real­ize that what they’re doing is mak­ing a prob­lem. This is a vicious [cycle], because as things get worse, there is more incen­tive to do things, and it gets worse and worse.

Where this vague warn­ing is sup­posed to leave us is uncer­tain. If the cur­rent course is dire, “unsys­tem­at­ic” solu­tions may be worse? This the­o­ry also seems to leave pow­er­ful­ly vest­ed human agents (like Exxon’s exec­u­tives) whol­ly unac­count­able for the com­ing col­lapse. Lim­its to Growth—scoffed at and dis­parag­ing­ly called “neo-Malthu­sian” by a host of lib­er­tar­i­an crit­ics—stands on far sur­er evi­den­tiary foot­ing than Newton’s weird pre­dic­tions, and its cli­mate fore­casts, notes Chris­t­ian Par­en­ti, “were alarm­ing­ly pre­scient.” But for all this doom and gloom it’s worth bear­ing in mind that mod­els of the future are not, in fact, the future. There are hard times ahead, but no the­o­ry, no mat­ter how sophis­ti­cat­ed, can account for every vari­able.

Note: An ear­li­er ver­sion of this post appeared on our site in 2018.

Relat­ed Con­tent:

In 1953, a Tele­phone-Com­pa­ny Exec­u­tive Pre­dicts the Rise of Mod­ern Smart­phones and Video Calls

In 1922, a Nov­el­ist Pre­dicts What the World Will Look Like in 2022: Wire­less Tele­phones, 8‑Hour Flights to Europe & More

In 1704, Isaac New­ton Pre­dicts the World Will End in 2060

It’s the End of the World as We Know It: The Apoc­a­lypse Gets Visu­al­ized in an Inven­tive Map from 1486

Watch the Destruc­tion of Pom­peii by Mount Vesu­vius, Re-Cre­at­ed with Com­put­er Ani­ma­tion (79 AD)

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

Pianist Plays “What a Wonderful World” for Ukrainian Refugees at Lviv Station

Reuters jour­nal­ist Andrew Mar­shall post­ed this on Twit­ter: “Out­side Lviv sta­tion, which is throng­ing with exhaust­ed refugees flee­ing war in east­ern Ukraine, an accom­plished pianist is play­ing “What a Won­der­ful World.” It’s haunt­ing­ly beau­ti­ful.” Indeed.

If you would like to sup­port Ukraini­ans in des­per­ate need, vis­it this page to find aid orga­ni­za­tions doing good work on the ground.

For any Russ­ian cit­i­zens vis­it­ing our site, you can see the atroc­i­ties being com­mit­ted by your leader here, here, here, here, here and here. Also find advice on get­ting around Russ­ian cen­sor­ship of media here.

Relat­ed Con­tent 

How Volodymyr Zelen­skyy Went from Play­ing a Pres­i­dent on a Com­e­dy TV Show to Very Real Life

West Point Expert Gives Ukraini­ans Advice on Con­duct­ing Effec­tive Urban War­fare Against Russ­ian Troops

Dick Van Dyke Still Dancing at 96!

Beloved com­ic actress Bet­ty White left some big shoes to fill last New Year’s Eve when she shocked the world by dying at the ten­der age of 99.

Who could pos­si­bly match her zest for life so many years into it?

Pag­ing Dick Van Dyke

The nim­ble-foot­ed 96-year-old has yet to host Sat­ur­day Night Live, but remains cul­tur­al­ly rel­e­vant nonethe­less, thanks to the endur­ing pop­u­lar­i­ty of his ear­ly work.

His ear­ly 60s sit­com, The Dick Van Dyke Show, was a sta­ple of ‘90s-era Nick at Nite.

Even Gen­er­a­tion Alpha knows who he is, thanks to his ever­green turn as Bert, the danc­ing chim­neysweep in Mary Pop­pins (1964).

The phys­i­cal grace he brought to such musi­cal fare as Bye Bye Birdie and Chit­ty Chit­ty Bang Bang is some­thing he delib­er­ate­ly strived for as a fan of silent com­e­dy’s greats, and at 96, it’s not some­thing he takes for grant­ed. He began strength train­ing many decades ago, after observ­ing Broad­way dancers’ work outs, and main­tains a dai­ly reg­i­men of crunch­es, leg lifts, and hip open­ers.

Like White, he thrives in the com­pa­ny of younger peo­ple.

He’s by far the old­est mem­ber of The Van­tastix, a bar­ber­shop quar­tet he formed in 2020.

And for those keep­ing score, he’s 46 years old­er than his bride of ten years, Arlene Sil­ver, who sings and dances with him in the above video (and directs, too.)

Yes, Van Dyke’s shoul­ders and tor­so may have stiff­ened a bit in the four years since Mary Pop­pins Returns  found him hop­ping atop a desk for a sprite­ly soft shoe, but the ease with which he pro­pels him­self from a low slung wing­back chair at the one-minute mark will strike many view­ers as noth­ing short of mirac­u­lous.

(For those admir­ing the decor, Fall­en Fruit’s recent SUPERSHOW instal­la­tion pro­vid­ed the video’s younger-than-spring­time set.)

Van Dyke’s loose limbed appeal is accom­pa­nied by a refresh­ing­ly flex­i­ble atti­tude, anoth­er way in which he mod­els health aging.

A year into his mar­riage to Sil­ver, he told Parade that they’re so well suit­ed because “she’s very mature for her age, and I’m very imma­ture for my age.”

“Imma­ture in a good way, Sil­ver clar­i­fied to Huff­Post, “with the won­der of a child”:

He’s just fun, he’s open mind­ed. He’s not stuck in his ways at all.

We take very good care of each oth­er. But, I’m very aware that I have a nation­al trea­sure on my hands.

No won­der peo­ple love him. As proof, wit­ness the twen­ty-some­thing leap­ing to their feet to give him an ova­tion, as he makes his entrance in Disneyland’s 60th-anniver­sary spe­cial six years ago.

12 sec­onds lat­er, the 90-year-old Van Dyke was also leap­ing.

“When peo­ple tell you you look good in your 90s, what they mean is you don’t look dead,” Van Dyke con­fid­ed in the late Carl Rein­er’s 2017 doc­u­men­tary, If You’re Not in the Obit, Eat Break­fast:

At 30, I exer­cised to look good. In my 50s, I exer­cised to stay fit. In my 70s, to stay ambu­la­to­ry. In my 80s, to avoid assist­ed liv­ing. Now, in my 90s, I’m just doing it out of pure defi­ance.

via Boing­Bo­ing

Relat­ed Con­tent 

The Pow­er of Pulp Fiction’s Dance Scene, Explained by Chore­o­g­ra­phers and Even John Tra­vol­ta Him­self

One of the Great­est Dances Sequences Ever Cap­tured on Film Gets Restored in Col­or by AI: Watch the Clas­sic Scene from Stormy Weath­er

The Icon­ic Dance Scene from Hel­lza­pop­pin’ Pre­sent­ed in Liv­ing Col­or with Arti­fi­cial Intel­li­gence (1941)

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

 

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