The Causes & Prevalence of Suicide Explained by Two Videos from Alain de Botton’s School of Life

“Sui­cide,” writes Albert Camus in “The Myth of Sisy­phus,” has nev­er been dealt with except as a social phe­nom­e­non.” And yet, as Alain de Bot­ton argues in his School of Life video above, at least when it comes to media and gov­ern­ment pri­or­i­ties, con­tem­po­rary soci­eties pre­fer to hard­ly deal with the prob­lem at all, even though it claims the lives of some 800,000 peo­ple every year. “It remains entire­ly strange,” says De Bot­ton, “that through the media we should hear so much about killers and so lit­tle about those who take their own lives.”

Giv­en that so much mass media seems to spe­cial­ize in pro­duc­ing a fear of oth­ers, per­haps this is not so strange after all. How­ev­er, when it comes to the allo­ca­tion of gov­ern­ment resources, most “in the wealthy nations tend over­whelm­ing­ly to direct their efforts to deal­ing with pover­ty, ill­ness, and aging,” and devote lit­tle to the prob­lem of sui­cide. This may be due to social stig­ma. “Sui­cide is the supreme reminder of our intense psy­cho­log­i­cal vul­ner­a­bil­i­ty,” and in high­ly reli­gious soci­eties, like the Unit­ed States, it car­ries an added stigma­ti­za­tion as a “sin.”

Nonethe­less, “giv­en that more peo­ple die by sui­cide than are col­lec­tive­ly mur­dered, die in traf­fic acci­dents, or are killed by ani­mals,” it should stand to rea­son that we would expend more effort on find­ing out why. Per­haps over and above phi­los­o­phy and the social sci­ences, De Bot­ton argues that lit­er­a­ture alerts us to the impor­tance of sev­er­al qual­i­ties that make our lives mat­ter, includ­ing “love, self accep­tance, mean­ing, hope, sta­tus, pride, for­give­ness.” Such intan­gi­bles have no price or val­ue in the com­pet­i­tive mar­ket­places that increas­ing­ly dom­i­nate our lives.

The triv­i­al­iza­tion of psy­cho­log­i­cal needs leads to anoth­er com­mon fea­ture of suicide—the “ele­ment of sur­prise.” The sui­cide of those we know, or thought we knew, near­ly always comes as a shock, which De Bot­ton takes as “evi­dence of an unwit­ting neglect of one anoth­er (and of our­selves).” It does not serve us at all to live in denial of suf­fer­ing or push despair to the mar­gins of thought. “We should always be mind­ful,” Arthur Schopen­hauer wrote in 1818, “of the fact that no man is ever very far from the state in which he would read­i­ly want to seize a sword or poi­son in order to bring his exis­tence to an end.”

Schopenhauer’s grim uni­ver­sal­iz­ing state­ment, how­ev­er, does not accord with the vast dif­fer­ences in sui­cide rates across soci­eties. Cer­tain coun­tries, like Kuwait, have rates close to zero, or 0.1 in 100,000. By con­trast, Chi­na has the high­est rate of all, at 25.6 in 100,000. One sig­nif­i­cant dif­fer­ence, De Bot­ton argues, has to do with the “inter­pre­ta­tion and accep­tance of dif­fi­cul­ty,” includ­ing “a greater accep­tance of fail­ure, a high­er role for for­give­ness,” and “a sta­tus sys­tem that hon­ors intrin­sic val­ue over achieve­ment.”

The dif­fer­ence in sui­cide rates between nations does not have any­thing to do, how­ev­er, with wealth. “One of the most sur­pris­ing aspects of sui­cide,” De Bot­ton observes in the video above, is that rates tend to rise “marked­ly the rich­er and more devel­oped a soci­ety becomes,” a phe­nom­e­non that might appear to “negate the whole pur­pose of eco­nom­ic growth”—that is, if we assume the pur­pose is the max­i­miza­tion of human well-being. The sui­cide rate of an “unde­vel­oped coun­try like the Demo­c­ra­t­ic Repub­lic of the Con­go,” he notes, “is a frac­tion of the rate of a devel­oped coun­try like South Korea.”

De Bot­ton does not address the prob­lem of inequal­i­ty with­in wealthy soci­eties. The Unit­ed States, for exam­ple, the wealth­i­est coun­try in record­ed his­to­ry, also has the great­est degree of eco­nom­ic inequal­i­ty in his­to­ry. Here, sui­cide rates have risen an aston­ish­ing 25% over­all and over 30% in half of the states since 1999. De Botton’s cul­tur­al expla­na­tion for wide­ly vary­ing sui­cide rates between dif­fer­ent kinds of soci­eties may help us under­stand that alarm­ing increase.

Para­phras­ing the work of soci­ol­o­gist Emile Durkheim, he tells us that “the cru­cial fac­tor behind people’s deci­sion to end their lives is not real­ly wealth or pover­ty…. It’s the extent to which the sur­round­ing cul­ture ascribes respon­si­bil­i­ty for fail­ure to indi­vid­u­als” rather than to exter­nal fac­tors beyond our con­trol. Ide­olo­gies of indi­vid­u­al­ism and mer­i­toc­ra­cy cre­ate gross­ly exag­ger­at­ed beliefs about our abil­i­ty to influ­ence events in our favor, and gross­ly exag­ger­ate the shame and stig­ma heaped upon us when we can­not do so.

This makes high-pro­file celebri­ty sui­cides seem to us the ulti­mate conun­drum, since such peo­ple appear, at least super­fi­cial­ly, to have it “all”: wealth, pow­er, tal­ent, sta­tus, and acclaim. But the celebri­ty cul­ture that ele­vates some peo­ple beyond the reach of ordi­nary mor­tals can also be pro­found­ly iso­lat­ing, cre­at­ing illu­sions of hap­pi­ness rather than gen­uine ful­fill­ment. We can nev­er tru­ly know what pri­vate griefs and per­son­al feel­ings of fail­ure and sor­row oth­er peo­ple live with. Tend­ing to our emo­tion­al needs, in spite of soci­etal pres­sures and nar­ra­tives, is crit­i­cal for sui­cide pre­ven­tion and can great­ly deep­en our care and com­pas­sion for our­selves and those around us.

Sui­cide is one of the top 10 caus­es of death in the U.S. right now. Call 1–800-273-TALK (8255) for help and sup­port.

Relat­ed Con­tent:

Depres­sion & Melan­choly: Ani­mat­ed Videos Explain the Cru­cial Dif­fer­ence Between Every­day Sad­ness and Clin­i­cal Depres­sion

A Uni­fied The­o­ry of Men­tal Ill­ness: How Every­thing from Addic­tion to Depres­sion Can Be Explained by the Con­cept of “Cap­ture”

Stephen Fry on Cop­ing with Depres­sion: It’s Rain­ing, But the Sun Will Come Out Again

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

David Bowie Memorialized in Traditional Japanese Woodblock Prints

The East beck­ons me — Japan — but I’m a bit wor­ried that I’ll get too Zen there and my writ­ing will dry up. — David Bowie, 1980

David Bowie’s long­stand­ing fas­ci­na­tion with Japan per­vad­ed his work, becom­ing the gate­way through which many of his fans began to explore that country’s cul­tur­al tra­di­tions and aes­thet­ics.

Per­haps the entry point is design­er Kan­sai Yamamoto’s Zig­gy Star­dust togs, Yukio Mishima’s 1963 nov­el The Sailor Who Fell from Grace from the Sea—one of Bowie’s top 100 books—or the 1000s of images pho­tog­ra­ph­er Masayoshi Suki­ta cap­tured of the rock­er over a peri­od of four decades.

Maybe it was Aladdin Sane’s kabu­ki-like make­up or direc­tor Nag­isa Oshi­ma’s World War II dra­ma,  Mer­ry Christ­mas Mr. Lawrence, in which Bowie played a British offi­cer in a Japan­ese POW camp.

The recent release of two mod­ern ukiyo‑e wood­block prints fea­tur­ing the rock­er has caused such mass swoon­ing among legions of Japanophile Bowie fans, the rever­ber­a­tions may well be pow­er­ful enough to ring tem­ple bells in Kyoto.

For each print, artist Masu­mi Ishikawa casts Bowie as both him­self and an icon­ic Japan­ese fig­ure.

In the image at the top of the page, Bowie’s Aladdin Sane assumes the pose of the cen­tral char­ac­ter in Edo Peri­od artist Uta­gawa Kuniyoshi’s Kidô­maru and the Ten­gu, below.

The oth­er print relo­cates the dash­ing Bowie from Ter­ry O’Neill’s Dia­mond Dogs pub­lic­i­ty pho­tos to the realm of magi­cian Takeza­wa Toji, whose spin­ning top per­for­mances had the pow­er to sum­mon drag­ons, at least as depict­ed by Kuniyoshi.

The prints were ordered by the Ukiyo‑e Project, whose mis­sion is to por­tray today’s artists and pop icons on tra­di­tion­al wood­block prints. (Bowie fol­lows pre­vi­ous hon­orees Kiss and Iron Maid­en.)

The prints and the blocks from which the impres­sions were made will be on dis­play at BOOKMARC in Tokyo’s Omote­san­do neigh­bor­hood from June 23 to July 1.

via Spoon and Tam­a­go

Relat­ed Con­tent:

Down­load 2,500 Beau­ti­ful Wood­block Prints and Draw­ings by Japan­ese Mas­ters (1600–1915)

Spe­cial David Bowie Metro­Cards Get Released in New York City

The Peri­od­ic Table of David Bowie: A Visu­al­iza­tion of the Sem­i­nal Artist’s Influ­ence and Influ­ences

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

Patti Smith, The Godmother of Punk, Is Now Putting Her Pictures on Instagram

As evi­denced by her Insta­gram feed the God­moth­er is just like you and me. She posts pic­tures of her kids.

She gives her mom a Moth­ers Day shout out…

She cel­e­brates her friends’ birth­days, posts self­ies, trav­el shots, and pet pics

She’s not above self-pro­mo­tion if the sit­u­a­tion war­rants.

But the accom­pa­ny­ing cap­tions set punk’s poet lau­re­ate apart. No LOLs here.  It’s clear that the award-win­ning author of Just Kids  and M Train thinks about her con­tent, care­ful­ly craft­ing each post before she pub­lish­es. Each is a bite-sized reflec­tion, a page-a-day med­i­ta­tion on what it means to be alive:

This is day two of my Venice report.

I bummed around think­ing of 

Venice in the sev­en­ties. It had

a strong Ras­ta vibe with Reg­gae

music drift­ing from the head shops

and boom box­es on the beach. 

Burn­ing Spear and Jim­my Cliff

and Bob Mar­ley. Venice has an 

ever chang­ing atmos­phere but 

I always like walk­ing around, 

anony­mous, just anoth­er freak. 

On Pacif­ic next to the Cafe Col­lage

I had steamed dumplings and 

gin­ger tea at Mao’s Kitchen. 

The food is great and rea­son­able.

Because it was ear­ly it was 

near­ly emp­ty. Since I was awake

since 4am i was near­ly hyp­no­tized 

by the turn­ing of their over­head 

fan. Before I left they gave me a

for­tune cook­ie. It was a true one.

Reflect­ing my past and cer­tain­ly 

my future. A very good day.

Fol­low Pat­ti Smith on Insta­gram here.

via W Mag­a­zine

Relat­ed Con­tent:

Pat­ti Smith’s 40 Favorite Books

Pat­ti Smith Cre­ates a Detailed Pack­ing List for Going on Tour: Haru­ki Muraka­mi Books, Loquat Tea & More

Hear Pat­ti Smith Read the Poet­ry that Would Become Hors­es: A Read­ing of 14 Poems at Colum­bia Uni­ver­si­ty, 1975

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

Doc Martens Boots Now Come Adorned with Traditional Japanese Art

In wake of a recent prom cheongsam dust up, it remains to be seen whether Doc Martens’ spe­cial edi­tion East­ern Art shoes and boots will be regard­ed as a mis­step.

Dr. Martens’ Artist Series paid trib­ute to West­ern heavy hit­ters like Hierony­mus BoschWilliam Hog­a­rth, JMW Turn­er, and William Blake.

Those eye-catch­ing kicks may have inspired more than a few fash­ion-con­scious punks to delve into art his­to­ry, but what will consumers—and more impor­tant­ly activists on the alert for cul­tur­al appropriation—make of the East­ern Art line?

The com­pa­ny web­site describes the inau­gur­al design as:

a new homage to tra­di­tion­al Japan­ese art with a fresh, con­tem­po­rary … spin. Fea­tur­ing detailed hand-drawn paint­ings, the art is dig­i­tal­ly print­ed on a tex­tured leather designed to emu­late tra­di­tion­al Japan­ese parch­ment, while gold-tone eye­lets and stud­ding com­plete the look.

One won­ders what led the footwear giant to go with a mish­mash “inspired by” approach, when there are so many won­der­ful Edo peri­od artists who mer­it a boot of their own?

Kat­sushi­ka Hokusai’s The Dream of the Fish­er­man’s Wife (see here) would make for an unfor­get­table toe cap…

Kita­gawa Uta­maro could shod heels and ankles with the float­ing world.

Tawaraya Sōtat­su’s work would eas­i­ly trans­fer from screen to shoe.

Thus far, the lone com­plaints have cen­tered on the pain of break­ing in the new boots, a badge of hon­or among long­time wear­ers of the company’s best-sell­ing 1460 Pas­cal style.

Asia Trend reports that Doc Martens has two shops in Japan, with plans to open more.

If you’re inclined to stomp around in a pair of Dr. Martens 1460 Pas­cal East­ern Art boots or 1461 Oxfords, best place your order soon, as these spe­cial edi­tions have a way of sell­ing out quick­ly.

via MyMod­ern­Met

Relat­ed Con­tent:

Doc Martens Now Come Adorned with William Blake’s Art, Thanks to a Part­ner­ship with Tate Britain

Doc Martens Boots Adorned with Hierony­mus Bosch’s “Gar­den of Earth­ly Delights”

Down­load 2,500 Beau­ti­ful Wood­block Prints and Draw­ings by Japan­ese Mas­ters (1600–1915)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

Mister Rogers Accepts a Lifetime Achievement Award, and Helps You Thank Everyone Who Has Made a Difference in Your Life

Tele­vi­sion host and children’s advo­cate Fred Rogers was also an ordained Pres­by­ter­ian min­is­ter, for whom spir­i­tu­al reflec­tion was as nat­ur­al and nec­es­sary a part of dai­ly life as his veg­e­tar­i­an­ism and morn­ing swims.

His qui­et per­son­al prac­tice could take a turn for the pub­lic and inter­ac­tive, as he demon­strat­ed from the podi­um at the Day­time Emmy Awards in 1997, above.

Accept­ing a Life­time Achieve­ment Award, he refrained from run­ning through the stan­dard laun­dry list of thanks. Instead he invit­ed the audi­ence to join him in spend­ing 10 sec­onds think­ing of the peo­ple who “have loved us into being.”

He then turned his atten­tion to his wrist­watch as hun­dreds of glam­orous­ly attired talk show hosts and soap stars thought of the teach­ers, rel­a­tives, and oth­er influ­en­tial adults whose ten­der care, and per­haps rig­or­ous expec­ta­tions, helped shape them.

(Play along from home at the 2:15 mark.)

Ten sec­onds may not seem like much, but con­sid­er how often we deploy emo­jis and “likes” in place of sit­ting with oth­ers’ feel­ings and our own.

Of all the things Fred Rogers was cel­e­brat­ed for, the time he allot­ted to mak­ing oth­ers feel heard and appre­ci­at­ed may be the great­est.

Fif­teen years after his death, the Inter­net ensures that he will con­tin­ue to inspire us to be kinder, try hard­er, lis­ten bet­ter.

That effect should quadru­ple when Mor­gan Neville’s Mis­ter Rogers doc­u­men­tary, Won’t You Be My Neigh­bor? is released next month.

Anoth­er sweet Emmy moment comes at the top, when the hon­oree smooches his wife, Joanne Rogers, before head­ing off to join pre­sen­ter Tim Rob­bins at the podi­um. Described in Esquire as “hearty and almost whoop­ing in (her) forth­right­ness,” the stal­wart Mrs. Rogers appeared in a hand­ful of episodes, but nev­er played the sort of high­ly vis­i­ble role Mrs. Claus inhab­it­ed with­in her husband’s pub­lic realm.

The full text of Mis­ter Rogers’ Life­time Achieve­ment Award award speech is below:

So many peo­ple have helped me to come here to this night.  Some of you are here, some are far away and some are even in Heav­en.  All of us have spe­cial ones who loved us into being.  Would you just take, along with me, 10 sec­onds to think of the peo­ple who have helped you become who you are, those who cared about you and want­ed what was best for you in life.  10 sec­onds, I’ll watch the time. Whomev­er you’ve been think­ing about, how pleased they must be to know the dif­fer­ence you feel they have made.  You know they’re kind of peo­ple tele­vi­sion does well to offer our world.  Spe­cial thanks to my fam­i­ly, my friends, and my co-work­ers in Pub­lic Broad­cast­ing and Fam­i­ly Com­mu­ni­ca­tions, and to this Acad­e­my for encour­ag­ing me, allow­ing me, all these years to be your neigh­bor.  May God be with you.  Thank you very much.

via Men­tal Floss

Relat­ed Con­tent:

Watch a Marathon Stream­ing of All 856 Episodes of Mis­ter Rogers Neigh­bor­hood, and the Mov­ing Trail­er for the New Doc­u­men­tary, Won’t You Be My Neigh­bor?

Mis­ter Rogers Turns Kids On to Jazz with Help of a Young Wyn­ton Marsalis and Oth­er Jazz Leg­ends (1986)

Mis­ter Rogers, Sesame Street & Jim Hen­son Intro­duce Kids to the Syn­the­siz­er with the Help of Her­bie Han­cock, Thomas Dol­by & Bruce Haack

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC this Wednes­day, May 16, for anoth­er month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Cornell Creates a Database of Fugitive Slave Ads, Telling the Story of Those Who Resisted Slavery in 18th & 19th Century America

While the val­ue of slaves in the U.S. from the colo­nial peri­od to the Civ­il War rose and fell like oth­er mar­ket goods, for the most part, enslaved peo­ple con­sti­tut­ed the most valu­able kind of prop­er­ty, typ­i­cal­ly worth even more than land and oth­er high­ly val­ued resources. In one study, three Uni­ver­si­ty of Kansas his­to­ri­ans esti­mate that dur­ing most of the 18th cen­tu­ry in South Car­oli­na, slaves “made up close to half of the per­son­al wealth record­ed in pro­bate inven­to­ry in most decades.” By the 19th cen­tu­ry, slave­hold­ers had begun tak­ing out insur­ance poli­cies on their slaves as Rachel L. Swarns doc­u­ments at The New York Times.

“Alive,” Swarns writes, “slaves were among a white man’s most prized assets. Dead, they were con­sid­ered vir­tu­al­ly worth­less…. By 1847, insur­ance poli­cies on slaves account­ed for a third of the poli­cies in a firm”—New York Life—“that would become one of the nation’s For­tune 100 com­pa­nies.” Giv­en the huge eco­nom­ic incen­tives for per­pet­u­at­ing the sys­tem of chat­tel slav­ery, the fact that peo­ple did not want to be held in forced labor for life—and to con­demn their chil­dren and grand­chil­dren to the same—presented slave­hold­ers with a seri­ous prob­lem.

For over 250 years, count­less num­bers of enslaved peo­ple attempt­ed to escape to free­dom. And thou­sands of slave­own­ers ran news­pa­per ads to try and recov­er their invest­ments. These ads are like­ly famil­iar from text­books and his­tor­i­cal arti­cles on slav­ery; they have long been used singly to illus­trate a point, “but they have nev­er been sys­tem­at­i­cal­ly col­lect­ed,” notes Cor­nell University’s Free­dom on the Move project, which intends to “com­pile all North Amer­i­can slave run­away ads and make them avail­able for sta­tis­ti­cal, geo­graph­i­cal, tex­tu­al, and oth­er forms of analy­sis.” While the data­base is still in progress, exam­ples of the ads are being shared on the @fotmproject Twit­ter account.

The ongo­ing project presents a tremen­dous oppor­tu­ni­ty for his­tor­i­cal schol­ars of the peri­od. “If we could col­lect and col­late all of these ads,” the project’s researchers write, “we would cre­ate what might be the sin­gle rich­est source of data pos­si­ble for under­stand­ing the lives of the approx­i­mate­ly eight mil­lion peo­ple who were enslaved in the U.S.” It is esti­mat­ed that 100,000 or more such ads sur­vive “from the colo­nial and pre-Civ­il War U.S.,” though they might rep­re­sent a frac­tion of those pub­lished, and of the num­ber of attempt­ed, and suc­cess­ful, escapes.

Many of the ads casu­al­ly reveal evi­dence of bru­tal treat­ment, list­ing scars and brands, miss­ing fin­gers, speech imped­i­ments, and halt­ing walks. They show many of the escaped slaves to have been skilled in sev­er­al trades and speak mul­ti­ple lan­guages. A large num­ber of the escapees are chil­dren. As Uni­ver­si­ty of New Orleans his­to­ri­an Mary Niall Mitchell tells Hyper­al­ler­gic, “iron­i­cal­ly, in try­ing to retrieve their property—the peo­ple they claimed as things—enslavers left us mounds of evi­dence about the human­i­ty of the peo­ple they bought and sold.” (Mitchell is one of the projects three lead researchers, along with Uni­ver­si­ty of Alabama’s Joshua Roth­man and Cornell’s Edward Bap­tist, author of The Half Has Nev­er Been Told.)

The slave­hold­ers who ran ads also left evi­dence of what they made them­selves believe in order to hold peo­ple as prop­er­ty. One ad describes a run­away slave named Bil­ly as hav­ing been “per­suad­ed to leave his mas­ter by some vil­lain,” as though Bil­ly must sure­ly have been con­tent­ed with his lot. In the over­whelm­ing major­i­ty of cas­es, we will nev­er know with cer­tain­ty what most peo­ple thought about being enslaved. Yet the fact that hun­dreds of thou­sands attempt­ed to escape at great per­son­al risk, often with­out any help—to such a degree that extreme, inflam­ma­to­ry mea­sures like the Fugi­tive Slave Act were even­tu­al­ly deemed necessary—should offer suf­fi­cient tes­ta­ment, if the rel­a­tive­ly few writ­ten nar­ra­tives aren’t enough. “For some” of the peo­ple in the ads, says Mitchell, “this may be the only place some­thing about them sur­vives, in any detail, in the writ­ten record,”

Free­dom on the Move, writes Hyperallergic’s Alli­son Meier, “expands on the his­to­ry of resis­tance against slav­ery in the 18th and 19th cen­turies.” It offers a com­pelling pic­ture of two intol­er­a­bly irre­solv­able views—those of slave­hold­ers who viewed enslaved peo­ple as pro­pri­etary invest­ments; and those of the enslaved who refused to be reduced to objects for oth­ers’ plea­sure and prof­it.

Vis­it Free­dom on the Move and find out more.

via Hyper­al­ler­gic

Relat­ed Con­tent:

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

Boston Pub­lic Library Launch­es a Crowd­sourced Project to Tran­scribe 40,000 Doc­u­ments from Its Anti-Slav­ery Col­lec­tion: You Can Now Help

The His­to­ry of the U.S. Civ­il War Visu­al­ized Month by Month and State by State, in an Info­graph­ic from 1897

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

The Genius of Harry Beck’s 1933 London Tube Map–and How It Revolutionized Subway Map Design Everywhere

The sub­way is a mar­vel of engi­neer­ing, and so is the mod­ern sub­way map.

For the first 25 years of its exis­tence, Lon­don Under­ground rid­ers relied on a map that reflect­ed the actu­al dis­tance between sta­tions, as well as rivers, parks, and oth­er above­ground phe­nom­e­na.

As design­er Michael Bierut observes in the video at the top, the rad­i­cal­ly revised approach it final­ly adopt­ed in 1933 proved so intu­itive and easy to use, it remains the uni­ver­sal tem­plate for mod­ern sub­way maps.

The brain­child of Har­ry Beck, a young drafts­man in the Lon­don Under­ground Sig­nals Office, the new map is more accu­rate­ly a dia­gram that pri­or­i­tized rid­ers’ needs.

He did away with all above­ground ref­er­ences save the Thames, and replot­ted the sta­tions at equidis­tant points along col­or-cod­ed straight lines.

This innovation—for which he was paid about $8—helped rid­ers to glean at a glance where to make the sub­ter­ranean con­nec­tions that would allow them to trav­el from point A to point B.

The for­mer senior cura­tor of Lon­don Trans­port Muse­um, Anna Ren­ton, said in an inter­view with The Verge that Beck’s design may have helped per­suade city dwellers to make the leap to sub­urbs ser­viced by the Under­ground “by mak­ing them look clos­er to the cen­ter, and show­ing how easy it was to com­mute.”

It’s not Beck’s fault if ser­vice falls short of his map’s effi­cient ide­al, par­tic­u­lar­ly on nights and week­ends, when track work and ser­vice advi­sories abound, ren­der­ing such com­mutes a night­mare.

The appeal of sub­way map-themed sou­venirs is also a tes­ta­ment to the visu­al appeal of Beck’s orig­i­nal design, espe­cial­ly giv­en that such pur­chas­es are not lim­it­ed to tourists.

Relat­ed Con­tent:

Ani­mat­ed GIFs Show How Sub­way Maps of Berlin, New York, Tokyo & Lon­don Com­pare to the Real Geog­ra­phy of Those Great Cities

A Won­der­ful Archive of His­toric Tran­sit Maps: Expres­sive Art Meets Pre­cise Graph­ic Design

The Roman Roads of Britain Visu­al­ized as a Sub­way Map

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, April 23 for the third install­ment of her lit­er­ary-themed vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

A Vending Machine Now Distributes Free Short Stories at Francis Ford Coppola’s Café Zoetrope

I loved the idea of a vend­ing machine, a dis­pens­ing machine that doesn’t dis­pense pota­to chips or beer or cof­fee for mon­ey but gives you art. I espe­cial­ly liked the fact that you didn’t put mon­ey in. — Film­mak­er Fran­cis Ford Cop­po­la

Thus­ly did film­mak­er Cop­po­la arrange for a free Short Edi­tion sto­ry vend­ing machine to be installed in Café Zoetrope, his San Fran­cis­co restau­rant.

The French-built machine is the per­fect com­pan­ion for soli­tary din­ers, freely dis­pens­ing tales on skin­ny, eco-friend­ly paper with the push of a but­ton. Read­ers have a choice over the type of story—romantic, fun­ny, scary—and the amount of time they’re will­ing to devote to it.

After which, they can per­haps begin the task of adapt­ing it into a fea­ture-length film script. Part of Coppola’s attrac­tion to the form is that short sto­ries, like movies, are intend­ed to be con­sumed in a sin­gle sit­ting.

Short Edi­tion, the Greno­ble-based start-up, has been fol­low­ing up on the public’s embrace of the Café Zoetrope machine by send­ing even more short sto­ry kiosks state­side.

Colum­bus Pub­lic Health just unveiled one near the children’s area at its immu­niza­tion clin­ic, pro­vid­ing Ohio kids and par­ents from most­ly dis­ad­van­taged back­grounds with access to free lit­er­a­ture while they wait.

Philadelphia’s Free Library won a grant to install four sto­ry dis­pensers, with more slat­ed for loca­tions in South Car­oli­na and Kansas.

Part of the allure lays in receiv­ing a tan­gi­ble object. You can recy­cle your sto­ry into a book­mark, leave it for some­one else to find, or—in Coppola’s words—save it for an “artis­tic lift” while “wait­ing for a bus, or mar­riage license, or lunch.”

A café patron described the cog­ni­tive dis­so­nance of watch­ing her cousin read the sto­ry the Zoetrope machine picked out for her:

The scene seemed archa­ic: a woman frozen in con­cen­tra­tion, in the mid­dle of a buzzing crowd, read­ing from a line of print instead of scrolling through Insta­gram, as one might nor­mal­ly do while sit­ting solo at a bar. 

“When peo­ple ask [if] we have wifi for the kids,” Café Zoetrope’s gen­er­al man­ag­er told Lit­er­ary Hub, “We point to the machine and say, ‘No, but you have a story—you can read.’”

Those with­out access to a Short Edi­tion sto­ry vend­ing machine can get a feel for the expe­ri­ence dig­i­tal­ly on the company’s web­site.

Scroll down to the dice icon, spec­i­fy your pre­ferred tone and a read­ing time between 1 and 5 min­utes.

Or throw cau­tion to the wind by hit­ting the search but­ton sans spec­i­fi­ca­tion, as I did to become the 3232nd read­er of “Drowned,” a one-minute true crime sto­ry by Cléa Bar­reyre, trans­lat­ed from the French by Wendy Cross.

French speak­ers can also sub­mit their writ­ing. The vend­ing machines’ sto­ries are drawn from Short Edition’s online com­mu­ni­ty, a trove of some 100,000 short sto­ries by near­ly 10,000 authors. Reg­is­ter­ing for a free account will allow you to read sto­ries, after which you can tog­gle over to the French site to post your con­tent through the orange author space por­tal at the top right of the page. The FAQ and Google Trans­late should come in handy here. The edi­tors are cur­rent­ly review­ing sub­mis­sions of comics, poems, and micro fic­tion for the Sum­mer Grand Prix du Court, though again—only in French, for now. 

Short Edi­tion hopes to start con­sid­er­ing oth­er lan­guages for vend­ing machine con­tent inclu­sion soon, begin­ning with Eng­lish. For now, all sto­ries being dis­pensed have been trans­lat­ed from the orig­i­nal French by British lit­er­ary pro­fes­sion­als.

Bon courage!

via Lit­er­ary Hub

Relat­ed Con­tent:

Read 19 Short Sto­ries From Nobel Prize-Win­ning Writer Alice Munro Free Online

Napoleon’s Kin­dle: See the Minia­tur­ized Trav­el­ing Library He Took on Mil­i­tary Cam­paigns

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

Behold the “Book Wheel”: The Renais­sance Inven­tion Cre­at­ed to Make Books Portable & Help Schol­ars Study (1588)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, April 23 for the third install­ment of her lit­er­ary-themed vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

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