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.

Gustave Flaubert Tells His Mother Why Serious Writers Shouldn’t Bother with Day Jobs (1850)

We are what we do — or in oth­er words, we are what we choose to spend our time doing. By this log­ic, a “musi­cian” who spends one quar­ter of his time with his instru­ments and three quar­ters with Excel, though he counts as no less a human being for it, should by rights call him­self a mak­er of spread­sheets rather than a mak­er of music. This view may sound stark, but it has its adher­ents, some of them suc­cess­ful and respect­ed artists. We can rest assured that no less a cre­ator than Gus­tave Flaubert, for instance, would sure­ly have accept­ed it, if we take seri­ous­ly the words of a let­ter he wrote to his moth­er in Feb­ru­ary of 1850.

Though he’d com­plet­ed sev­er­al books at the time, the then 28-year-old Flaubert had yet to make it as a man of let­ters. He did, how­ev­er, do a fair bit of trav­el­ing at that time in his life, com­pos­ing this par­tic­u­lar piece of cor­re­spon­dence dur­ing a sojourn in the Mid­dle East. It seems that even halfway across the world, he could­n’t escape his moth­er’s entreaties to find prop­er employ­ment, if only “un petite place” that would grant him slight­ly more social respectabil­i­ty and finan­cial sta­bil­i­ty. Final­ly fed up, he clar­i­fied his posi­tion on the mat­ter of day jobs once and for all:

Now I come to some­thing that you seem to enjoy revert­ing to and that I utter­ly fail to under­stand. You are nev­er at a loss of things to tor­ment your­self about. What is the sense of this: that I must have a job — “a small job,” you say. First of all, what job? I defy you to find me one, to spec­i­fy in what field, or what it would be like. Frankly, and with­out delud­ing your­self, is there a sin­gle one that I am capa­ble of fill­ing? You add: “One that would­n’t take up much of your time and would­n’t pre­vent you from doing oth­er things.” There’s the delu­sion! That’s what Bouil­het told him­self when he took up med­i­cine, what I told myself when I began law, which near­ly brought about my death from sup­pressed rage. When one does some­thing, one must do it whol­ly and well. Those bas­tard exis­tences where you sell suet all day and write poet­ry at night are made for mediocre minds — like those hors­es equal­ly good for sad­dle and car­riage — the worst kind, that can nei­ther jump a ditch nor pull a plow.

In short, it seems to me that one takes a job for mon­ey, for hon­ors, or as an escape from idle­ness. Now you’ll grant me, dar­ling, (1) that I keep busy enough not to have to go out look­ing for some­thing to do; and (2) if it’s a ques­tion of hon­ors, my van­i­ty is such that I’m inca­pable of feel­ing myself hon­ored by any­thing: a posi­tion, how­ev­er high it might be (and that isn’t the kind you speak of) will nev­er give me the sat­is­fac­tion that I derive from my self-respect when I have accom­plished some­thing well in my own way; and final­ly, if it’s for mon­ey, any jobs or job that I could have would bring in too lit­tle to make much dif­fer­ence to my income. Weigh all these con­sid­er­a­tions: don’t knock your head against a hol­low idea. Is there any posi­tion in which I’d be clos­er to you, more yours? And isn’t not to be bored one of the prin­ci­pal goals of life?

The let­ter may well have con­vinced her: accord­ing to a foot­note includ­ed in The Let­ters of Gus­tave Flaubert: 1830–1857, “there seem to have been no fur­ther sug­ges­tions” that he secure a steady pay­check. Could Flaubert’s moth­er have had an inkling that her son would become, well, Flaubert? At that point he had­n’t even begun writ­ing Madame Bovary, a project that would begin upon his return to France. Its inspi­ra­tion came in part from the ear­ly ver­sion of The Temp­ta­tion of Saint Antho­ny he’d com­plet­ed before embark­ing on his trav­els, which his friends Maxime Du Camp and Louis Bouil­het (the reluc­tant med­ical stu­dent men­tioned in the let­ter) sug­gest­ed he toss in the fire, telling him to write about the stuff of every­day life instead.

Not all of us, of course, can work the same way Flaubert did, with his days spent in revi­sion of each page and his obses­sive life­long hunt for le mot juste: not for noth­ing do we call him “the mar­tyr of style.” But what­ev­er we cre­ate and how­ev­er we cre­ate it, we ignore the words Flaubert wrote to his moth­er at our per­il. The earn­ing of mon­ey has its place, but the idea that any old day job can be eas­i­ly held down with­out dam­age to our real life’s work shades all too eas­i­ly into self-delu­sion. We must remem­ber that “when one does some­thing, one must do it whol­ly and well,” a sen­ti­ment made infi­nite­ly more pow­er­ful by the fact that Flaubert did­n’t just artic­u­late it, he lived it — and now occu­pies one of the high­est places in the pan­theon of the nov­el as a result.

h/t Tom H.

Relat­ed Con­tent:

Read 4,500 Unpub­lished Pages of Flaubert’s Madame Bovary

How Sein­feld, the Sit­com Famous­ly “About Noth­ing,” Is Like Gus­tave Flaubert’s Nov­els About Noth­ing

Charles Bukows­ki Rails Against 9‑to‑5 Jobs in a Bru­tal­ly Hon­est Let­ter (1986)

William Faulkn­er Resigns From His Post Office Job With a Spec­tac­u­lar Let­ter (1924)

Bri­an Eno’s Advice for Those Who Want to Do Their Best Cre­ative Work: Don’t Get a Job

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

Applause Fills the Air as Stephen Hawking Gets Laid to Rest in Cambridge, England

Ear­li­er today, they laid Stephen Hawk­ing to rest in a pri­vate funer­al held at Uni­ver­si­ty Church of St. Mary the Great in Cam­bridge, Eng­land. Although the funer­al itself was attend­ed by only 500 guests, the streets of Cam­bridge swelled with onlook­ers who broke into applause as the cof­fin hold­ing the physi­cist made its way into the church, leav­ing us with some proof that there’s still some­thing right in a world tilt­ing toward the wrong, that we can still appre­ci­ate some­one who over­came so much, and left us with even more.

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:

Stephen Hawk­ing Picks the Music (and One Nov­el) He’d Spend Eter­ni­ty With: Stream the Playlist Online

The Big Ideas of Stephen Hawk­ing Explained with Sim­ple Ani­ma­tion
Stephen Hawking’s Lec­tures on Black Holes Now Ful­ly Ani­mat­ed with Chalk­board Illus­tra­tions

Watch Stephen Hawking’s Inter­view with Neil DeGrasse Tyson, Record­ed 10 Days Before His Death: A Last Con­ver­sa­tion about Black Holes, Time Trav­el & More

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The Models for “American Gothic” Pose in Front of the Iconic Painting (1942)

Grant Wood’s “Amer­i­can Goth­ic” now hangs at the Art Insti­tute of Chica­go. And on the muse­um’s web­site you’ll find a lit­tle back­ground infor­ma­tion intro­duc­ing you to the icon­ic 1930 paint­ing:

The impe­tus for the paint­ing came while Wood was vis­it­ing the small town of Eldon in his native Iowa. There he spot­ted a lit­tle wood farm­house, with a sin­gle over­sized win­dow, made in a style called Car­pen­ter Goth­ic. [See it here.] “I imag­ined Amer­i­can Goth­ic peo­ple with their faces stretched out long to go with this Amer­i­can Goth­ic house,” he said. He used his sis­ter and his den­tist as mod­els for a farmer and his daugh­ter, dress­ing them as if they were “tin­types from my old fam­i­ly album.” The high­ly detailed, pol­ished style and the rigid frontal­i­ty of the two fig­ures were inspired by Flem­ish Renais­sance art, which Wood stud­ied dur­ing his trav­els to Europe between 1920 and 1926. After return­ing to set­tle in Iowa, he became increas­ing­ly appre­cia­tive of mid­west­ern tra­di­tions and cul­ture, which he cel­e­brat­ed in works such as this. Amer­i­can Goth­ic, often under­stood as a satir­i­cal com­ment on the mid­west­ern char­ac­ter, quick­ly became one of America’s most famous paint­ings and is now firm­ly entrenched in the nation’s pop­u­lar cul­ture. Yet Wood intend­ed it to be a pos­i­tive state­ment about rur­al Amer­i­can val­ues, an image of reas­sur­ance at a time of great dis­lo­ca­tion and dis­il­lu­sion­ment. The man and woman, in their sol­id and well-craft­ed world, with all their strengths and weak­ness­es, rep­re­sent sur­vivors.

Above, you can see Wood’s sis­ter and dentist–otherwise known as Nan Wood Gra­ham and Dr. B.H. McKeeby–posing in front of “Amer­i­can Goth­ic” in 1942. That’s when the paint­ing first went on dis­play in its home­town, Cedar Rapids, Iowa. It’s a fair­ly meta moment. Gra­ham and McK­ee­by look down­right dour in the pic­ture, just as in the paint­ing.

Grant Wood died of pan­cre­at­ic can­cer in ’42, and his sis­ter even­tu­al­ly moved to North­ern Cal­i­for­nia, where she became the care­tak­er of his lega­cy. She did, after all, owe him a debt. “Grant made a per­son­al­i­ty out of me,” she said. “I would have had a very drab life with­out [Amer­i­can Goth­ic].”

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!

via Art­sy/Kot­tke

Relat­ed Con­tent:

“The Artist Project” Reveals What 127 Influ­en­tial Artists See When They Look at Art: An Acclaimed Video Series from The Met­ro­pol­i­tan Muse­um of Art

Whit­ney Muse­um Puts Online 21,000 Works of Amer­i­can Art, By 3,000 Artists

Smith­son­ian Dig­i­tizes & Lets You Down­load 40,000 Works of Asian and Amer­i­can Art

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Pre-Flight Safety Demonstration Gets Performed as a Modern Dance: A Creative Video from a Taiwanese Airline

Tai­wanese air­line EVA Air’s pre-flight safe­ty video is a gen­uine odd­i­ty in a field lit­tered with cre­ative inter­pre­ta­tions.

Ten years ago, air­lines were straight­for­ward about com­ply­ing with the Inter­na­tion­al Civ­il Avi­a­tion Orga­ni­za­tion, the Fed­er­al Avi­a­tion Admin­is­tra­tion, and oth­er gov­ern­ing bod­ies’ require­ments.  These instruc­tions were seri­ous busi­ness. Chil­dren and oth­er first time trav­el­ers paid strict atten­tion to infor­ma­tion about tray tables, exits, and inflat­able life vests that jad­ed fre­quent fly­ers ignored, con­fi­dent that most take offs and land­ings tend to go accord­ing to plan, and the over­whelm­ing num­ber of planes tend stay in the air for the dura­tion of one’s flight.

What about the ones that don’t though? There are times when a too-cool-for-school busi­ness trav­el­er seat­ed next to an emer­gency exit could spell dis­as­ter for every­one onboard.

Vir­gin America’s 2007 ani­mat­ed safe­ty video, below, was the first to recap­ture pas­sen­gers’ atten­tion, with a blasé nar­ra­tive style that poked fun at the stan­dard tropes:

For the .0001% of you who have nev­er oper­at­ed a seat­belt before, it works like this…

The cocky tone was dialed down for more crit­i­cal infor­ma­tion, like how to assist the child in the seat next to you when the yel­low oxy­gen masks drop from the over­head com­part­ment. (Imag­ine the may­hem if indie ani­ma­tor Bill Plymp­ton had been in the pilot’s seat for this one…)

The irrev­er­ent approach was a hit. The FAA took note, encour­ag­ing cre­ativ­i­ty in a 2010 Advi­so­ry Cir­cu­lar:

Every air­line pas­sen­ger should be moti­vat­ed to focus on the safe­ty infor­ma­tion in the pas­sen­ger brief­ing; how­ev­er, moti­vat­ing peo­ple, even when their own per­son­al safe­ty is involved, is not easy. One way to increase pas­sen­ger moti­va­tion is to make the safe­ty infor­ma­tion brief­in­gs and cards as inter­est­ing and attrac­tive as pos­si­ble.

For a while EVA Air, an inno­va­tor whose fleet includes sev­er­al Hel­lo Kit­ty Jets, played it safe by stick­ing to crowd pleas­ing schtick. Its 2012 CGI safe­ty demo video, below, must’ve played par­tic­u­lar­ly well with the Hel­lo Kit­ty demo­graph­ic.

…looks a bit 2012, no?

A few months ago, EVA took things in a direc­tion few indus­try pro­fes­sion­als could’ve pre­dict­ed: mod­ern dance, per­formed with utmost sin­cer­i­ty.

Chore­o­g­ra­ph­er Bulareyaung Pagarla­va, a mem­ber of Taiwan’s indige­nous Pai­wan com­mu­ni­ty, and a small crew of dancers spent three months trans­lat­ing the famil­iar direc­tives into a vocab­u­lary of sym­bol­ic ges­tures. See the results at the top of the post.

You’ll find none of the stock char­ac­ters who pop­u­late oth­er air­lines’ videos here—no sneaky smok­ers, no con­cerned moms, no sleepy busi­ness­peo­ple. There’s bare­ly a sug­ges­tion of a cab­in.

Unfet­tered by seats or over­head bins, the bright­ly clad, bare­foot dancers leap and roll as they inter­act with 3D pro­jec­tions, behav­ior that would cer­tain­ly sum­mon a flight atten­dant if per­formed on an actu­al plane.

Does it work?

The answer may depend on whether or not the plane on which you’re trav­el­ing takes a sud­den nose dive.

In “No Jok­ing,” an essay about air­port secu­ri­ty, Uni­ver­si­ty of Ottawa pro­fes­sor Mark B. Salter writes that it is “dif­fi­cult to moti­vate pas­sen­gers to con­tem­plate their own mor­tal­i­ty.” The fash­ion for jok­i­ness in safe­ty videos “nat­u­ral­izes areas of anx­i­ety,” a men­tal trick of which Freud was well aware.

What then are we to make of the EVA Air dancer at the 4:35 minute mark, who appears to be falling back­ward through the night sky?

Would you show a jet’s worth of trav­el­ers the mod­ern dance equiv­a­lent of Air­plane 1975, Fear­less, or Snakes on a Plane before they taxi down the run­way?

Mer­ci­ful­ly, the nar­ra­tor steps in to remind pas­sen­gers that smok­ing is pro­hib­it­ed, before the dig­i­tal­ly pro­ject­ed dark waters can swal­low the writhing soloist up.

There’s also some ques­tion as to whether the video ade­quate­ly address­es the ques­tion of tray table oper­a­tion.

Read­ers, what do you think? Does this new video make you feel secure about tak­ing flight?

Relat­ed Con­tent:

Sta­tis­tics Explained Through Mod­ern Dance: A New Way of Teach­ing a Tough Sub­ject

Artist Nina Katchadouri­an Cre­ates Flem­ish Style Self-Por­traits in Air­plane Lava­to­ry

NASA Puts 400+ His­toric Exper­i­men­tal Flight Videos on YouTube

Col­or­ful Maps from 1914 and 2016 Show How Planes & Trains Have Made the World Small­er and Trav­el Times Quick­er

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

Bertrand Russell’s Advice to People Living 1,000 Years in the Future: “Love is Wise, Hatred is Foolish”

In these times of high anx­i­ety, bat­tles over “free speech”—on col­lege cam­pus­es, in cor­po­rate offices, on air­waves and the internet—can seem extreme­ly myopic from a cer­tain per­spec­tive. The per­spec­tive I mean is one in which a dis­turb­ing num­ber of mes­sages broad­cast per­pet­u­al­ly to mil­lions of peo­ple bear lit­tle rela­tion­ship to sci­en­tif­ic, his­tor­i­cal, or social facts, so that it becomes increas­ing­ly dif­fi­cult for many peo­ple to tell fact from fic­tion. Debat­ing whether or not such speech is “free” out­side of any con­sid­er­a­tion for what pur­pose it serves, who it harms, and why it should drown out oth­er speech because it appeals to wide­spread prej­u­dices or pow­er­ful, monied inter­ests seems gross­ly irre­spon­si­ble at best.

Most philoso­phers who have con­sid­ered these mat­ters have stressed the impor­tant rela­tion­ship between rea­son and ethics. In the clas­si­cal for­mu­la, per­sua­sive speech was con­sid­ered to have three dimen­sions: logos—the use of facts and log­i­cal argu­ments; ethos—the appeal to com­mon stan­dards of val­ue; and pathos—a con­sid­er­a­tion for the emo­tion­al res­o­nance of lan­guage. While the force­ful dialec­ti­cal rea­son­ing of Pla­to and his con­tem­po­raries val­ued par­rhe­sia—which Michel Fou­cault trans­lates as “free speech,” but which can also means “bold” or “can­did” speech—classical thinkers also val­ued social har­mo­ny and did not intend that philo­soph­i­cal debate be a scorched-earth war with the inten­tion to win at all costs.

Bertrand Rus­sell, the bril­liant math­e­mati­cian, philoso­pher, and anti-war activist, invoked this tra­di­tion often (as in his let­ter declin­ing a debate with British fas­cist Oswald Mosley). In the video above he answers the ques­tion, “what would you think it’s worth telling future gen­er­a­tions about the life you’ve lived and the lessons you’ve learned from it.” His answer may not val­i­date the prej­u­dices of cer­tain par­ti­sans, but nei­ther does it evince any kind of spe­cial par­ti­san­ship itself. Rus­sell breaks his advice into two, inter­de­pen­dent cat­e­gories, “intel­lec­tu­al and moral.”

When you are study­ing any mat­ter or con­sid­er­ing any phi­los­o­phy, ask your­self only what are the facts and what is the truth that the facts bear out. Nev­er let your­self be divert­ed either by what you wish to believe, or by what you think would have benef­i­cent social effects if it were believed. But look only, and sole­ly, at what are the facts.

The moral thing I should wish to say to them is very sim­ple. I should say love is wise, hatred is fool­ish. In this world, which is get­ting more and more inter­con­nect­ed, we have to learn to tol­er­ate each oth­er, we have to learn to put up with the fact that some peo­ple say things that we don’t like. We can only live togeth­er in that way. And if we are to live togeth­er and not die togeth­er, we should learn the kind of tol­er­ance which is absolute­ly vital to the con­tin­u­a­tion of human life on this plan­et.

The gist: our speech should con­form to the facts of the mat­ter; rather than wish­ful think­ing, we should accept that peo­ple will say things we don’t like, but if we can­not love but only hate each oth­er, we’ll prob­a­bly end up destroy­ing our­selves.

The video above, from the BBC pro­gram Face-to-Face, was record­ed in 1959.

Relat­ed Con­tent:

Bertrand Rus­sell Writes an Art­ful Let­ter, Stat­ing His Refusal to Debate British Fas­cist Leader Oswald Mosley (1962)

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

Bertrand Rus­sell: The Every­day Ben­e­fit of Phi­los­o­phy Is That It Helps You Live with Uncer­tain­ty

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

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