Behold Illustrations of Every Shakespeare Play Created by Artificial Intelligence

in Art, Technology, Theatre | November 11th, 2022

William Shakespeare’s plays have endured not just because of their inherent dramatic and linguistic qualities, but also because each era has found its own way of envisioning and re-envisioning them. The technology involved in stage productions has changed over the past four centuries, of course, but so has the technology involved in art itself. A few years ago, we featured here on Open Culture an archive of 3,000 illustrations of Shakespeare’s complete works going back to the mid-nineteenth century. That site was the PhD project of Cardiff University’s Michael Goodman, who has recently completed another digital Shakespeare project, this time using artificial intelligence: Paint the Picture to the Word.

“Every image collected here has been generated by Stable Diffusion, a powerful text-to-image AI,” writes Goodman on this new project’s About page. “To create an image using this technology a user simply types a description of what they want to see into a text box and the AI will then produce several images corresponding to that initial textual prompt,” much as with the also-new AI-based art generator DALL-E.

Each of the many images Goodman created is inspired by a Shakespeare play. “Some of the illustrations are expressionistic (King John, Julius Caesar), while some are more literal (Merry Wives of Windsor).” All “offer a visual idea or a gloss on the plays: Henry VIII, with the central characters represented in fuzzy felt, is grimly ironic, while in Pericles both Mariana and her father are seen through a watery prism, echoing that play’s concern with sea imagery.”

Selecting one of his many generated images per play, Goodman has created an entire digital exhibition whose works never repeat a style or a sensibility, whether with a dog-centric nineteen-eighties collage representing Two Gentlemen of Verona, a starkly near-abstract vision of Macbeth‘s Weird Sisters or Much Ado About Nothing rendered as a modern-day rom-com. Theater companies could hardly fail to take notice of these images’ potential as promotional posters, but Paint the Picture to the Word also demonstrates something larger: Shakespeare’s plays have long stimulated human intelligence, but they turn out to work on artificial intelligence as well. Visit Paint the Picture to the Word here.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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.

The Rise and Fall of Concorde, the Midcentury Supersonic Jetliner That Still Inspires Awe Today

in History, Technology, Travel | November 10th, 2022

The popularity of the phrase “style over substance” has encouraged us to assume an inherent and absolute divide between those concepts. But as the most ambitious works of man remind us, style pushed to its limits its substance, and vice versa. This truth has been expressed in various specialized ways: architect Louis Sullivan’s maxim “form follows function,” for example, which went on to attain something like scriptural status among modernists of the mid-twentieth century. It was in that same era that aerospace engineering produced one of the most glorious proofs of the unity of style and substance, form and function, mechanics and aesthetics: Concorde, the supersonic jetliner that flew between 1976 and 2003.

Nobody who flew on Concorde (colloquially but not officially “the” Concorde) has forgotten it. The sharpness and length of its ascent; the thrust of the after-burner, pressing you into your seat like the acceleration of a high-performance sports car; the visible curvature of the Earth and the deep purple of the sky; the impeccable food and drink service that turned a flight between New York and London into a sumptuous French meal. A host of former passengers, crew members, and pilots reminisce vividly about all this in the BBC documentary Concorde: A Supersonic Story. That story is told more briefly in the Vox video at the top of the post, which asks the question, “This plane could cross the Atlantic in 3.5 hours. Why did it fail?”

The short answer has to do with business viability. At supersonic speeds an aircraft leaves a sonic boom in its wake, which relegated Concorde to transoceanic flights. Its inability to hold enough fuel to cross the Pacific left New York-London, operated by British Airways, as its sole viable route, with Air France also running between New York and Paris. For Concorde was an Anglo-French project, launched as a partnership between the two governments in 1962, at the height of the Space Age — and despite enormous subsequent cost overruns an effectively un-cancelable one, since one country couldn’t pull out without the other’s say-so.

With national pride at stake, French commitment did much to make Concorde what it was. “Because it went so fast, the V.I.P.s on board wouldn’t need much more, from an English point of view, than a sandwich, a cup of tea, and a glass of whiskey,” says Jonathan Glancey, author of Concorde: The Rise and Fall of the Supersonic Airliner. But the French said, “No, this a luxury aircraft,” and it was ultimately luxury — as well as a sleekly functional silhouette that never stopped looking futuristic — that kept Concorde going until its retirement in 2003. (Nor could the convenience factor be ignored, for investment bankers and international celebrities alike: “It’s always exciting to get to New York before you’ve left,” said frequent flier Sting.)

“The real flaw in Concorde was not technological but social,” writes Francis Spufford in the London Review of Books. “Those who commissioned it assumed that air travel would remain, as it was in 1962, something done by the rich: and not the mobile, hard-working managerial rich either, but the gilded upper-crust celebrity rich,” the original “jet set.” Alas, the future lay not with speed but volume: “The Boeing 747 was just as bold a leap into the unknown as Concorde, just as extreme in its departure from the norm; nothing so large had ever left the ground before. And Boeing’s gamble paid off.” Supersonic jetliners have nevertheless re-entered development in recent years, and if any come to market, they’ll surely do so with such luxuries unknown in the Space Age as personal, on-demand entertainment systems. But will anything they can show be as thrilling as Concorde’s cabin speedometer reaching mach two?

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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, on Facebook, or on Instagram.

The Fiske Reading Machine: The 1920s Precursor to the Kindle

in Books, History, Technology | November 9th, 2022

The Sony Librie, the first e-reader to use a modern electronic-paper screen, came out in 2004. Old as that is in tech years, the basic idea of a handheld device that can store large amounts of text stretches at least eight decades farther back in history. Witness the Fiske Reading Machine, an invention first profiled in a 1922 issue of Scientific American. “The instrument, consisting of a tiny lens and a small roller for operating this eyepiece up and down a vertical column of reading-matter, is a means by which ordinary typewritten copy, when photographically reduced to one-hundredth of the space originally occupied, can be read with quite the facility that the impression of conventional printing type is now revealed to the unaided eye,” writes author S. R. Winters.

Making books compatible with the Fiske Reading Machine involved not digitization, of course, but miniaturization. According to the patents filed by inventor Bradley Allen Fiske (eleven in all, between 1920 and 1935), the text of any book could be photo-engraved onto a copper block, reduced ten times in the process, and then printed onto strips of paper for use in the machine, which would make them readable again through a magnifying lens. A single magnifying lens, that is: “A blinder, attached to the machine, can be operated in obstructing the view of the unused eye.” (Winters adds that “the use of both eyes will doubtless involve the construction of a unit of the reading machine more elaborate than the present design.”)

“Fiske believed he had single-handedly revolutionized the publishing industry,” writes Engadget’s J. Rigg. “Thanks to his ingenuity, books and magazines could be produced for a fraction of their current price. The cost of materials, presses, shipping and the burden of storage could also be slashed. He imagined magazines could be distributed by post for next to nothing, and most powerfully, that publishing in his format would allow everyone access to educational material and entertainment no matter their level of income.” Considering how the relationship between readers and reading material ultimately evolved, thanks not to copper blocks and magnifiers and tiny strips of paper but to computers and the internet, it seems that Fiske was a man ahead of his time.

Alas, the Fiske Reading Machine itself was just on the wrong side of technological history. Even as Fiske was refining its design, “microfilm was beginning to catch on,” and “while it initially found its feet in the business world — for keeping record of cancelled checks, for example — by 1935 Kodak had begun publishing The New York Times on 35mm microfilm.” Despite the absolute prevalence that format soon attained in the world of archiving, “the appetite for miniaturized novels and handheld readers never materialized in the way Fiske had imagined.” Nor, surely, could he have imagined the form the digital, electronic-paper-screened, and slim yet hugely capacious form that the e-reader would have to take before finding success in the marketplace — yet somehow without quite displacing the paper book as even he knew it.

via Engadget

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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.

Discover Friedrich Nietzsche’s Typewriter, the Curious “Malling-Hansen Writing Ball” (Circa 1881)

in Philosophy, Technology | November 9th, 2022

During his final decade, Friedrich Nietzsche’s worsening constitution continued to plague the philosopher. In addition to having suffered from incapacitating indigestion, insomnia, and migraines for much of his life, the 1880s brought about a dramatic deterioration in Nietzsche’s eyesight, with a doctor noting that his “right eye could only perceive mistaken and distorted images.”

Nietzsche himself declared that writing and reading for more than twenty minutes had grown excessively painful. With his intellectual output reaching its peak during this period, the philosopher required a device that would let him write while making minimal demands on his vision.

So he sought to buy a typewriter in 1881. Although he was aware of Remington typewriters, the ailing philosopher looked for a model that would be fairly portable, allowing him to travel, when necessary, to more salubrious climates. The Malling-Hansen Writing Ball seemed to fit the bill:

In Dieter Eberwein’s free Nietzches Screibkugel e-book, the vice president of the Malling-Hansen Society explains that the writing ball was the closest thing to a 19^th century laptop. The first commercially-produced typewriter, the writing ball was the 1865 creation of Danish inventor Rasmus Malling-Hansen, and was shown at the 1878 Paris Universal Exhibition to journalistic acclaim:

“In the year 1875, a quick writing apparatus, designed by Mr. L. Sholes in America, and manufactured by Mr. Remington, was introduced in London. This machine was superior to the Malling-Hansen writing apparatus; but the writing ball in its present form far excels the Remington machine. It secures greater rapidity, and its writing is clearer and more precise than that of the American instrument. The Danish apparatus has more keys, is much less complicated, built with greater precision, more solid, and much smaller and lighter than the Remington, and moreover, is cheaper.”

Despite his initial excitement, Nietzsche quickly grew tired of the intricate contraption. According to Eberwein, the philosopher struggled with the device after it was damaged during a trip to Genoa; an inept mechanic trying to make the necessary repairs may have broken the writing ball even further. Still, Nietzsche typed some 60 manuscripts on his writing ball, including what may be the most poignant poetic treatment of typewriters to date:

“THE WRITING BALL IS A THING LIKE ME:

MADE OF IRON YET EASILY TWISTED ON JOURNEYS.

PATIENCE AND TACT ARE REQUIRED IN ABUNDANCE

AS WELL AS FINE FINGERS TO USE US.”

In addition to viewing several of Nietzsche’s original typescripts at the Malling-Hansen Society website, those wanting a closer look at Nietzsche’s model can view it in the video below.

Note: This post originally appeared on our site in December 2013.

Ilia Blinderman is a Montreal-based culture and science writer. Follow him at @iliablinderman.

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When Medieval Manuscripts Were Recycled & Used to Make the First Printed Books

in Books, History, Technology | November 4th, 2022

“Old paint on a canvas, as it ages, sometimes becomes transparent,” playwright Lillian Hellman observed in Pentimento, the second volume of her memoirs. “When that happens it is possible, in some pictures, to see the original lines: a tree will show through a woman’s dress, a child makes way for a dog, a large boat is no longer on an open sea.”

Seven years ago, something similar started happening with thousands of old books, dating from the 15th to 19th century.

Age, however, didn’t force these volumes to spill their secrets…at least not directly.

That honor goes to macro X-ray fluorescence spectrometry (MA-XRF) and Erik Kwakkel, a book historian who theorized that this technology might reveal medieval manuscript fragments hidden in the bindings of newer texts, much as it had earlier revealed hidden layers of paint on Old Master canvases.

How did this strange “hidden library” come to be?

Books were highly prized objects when manuscripts were copied by hand, but as Kwakkel notes on his medievalbooks blog, “thousands and thousands of medieval manuscripts were torn apart, ripped to pieces, boiled, burned, and stripped for parts” upon the advent of the printing press.

Their pages were pressed into service as toilet paper, bukram-like clothing stiffeners, bookmarks, and, most tantalizing to a medieval book specialist, binding support for printed books.

This practice was so common that the bindings of nearly 150 early printed books in the Yale Law Library are known to contain pieces of medieval manuscripts.

These materials may have been downgraded in the literary sense, but to Kwakkel they are “travelers in time, stowaways in leather cases with great and important stories to tell:”

Indeed, stories that may otherwise not have survived, given that classical and medieval texts frequently only come down to us in fragmentary form. The early history of the Bible as a book could not be written if we were to throw out fragment evidence. Moreover, while ancient and medieval texts survive in many handsome books from before the age of print, quite often the oldest witnesses are fragments. At the very least a fragment tells you that a certain text was available at a certain location at a certain time. Stepping out of their leather time capsules after centuries of darkness, fragments are “blips” on the map of Europe, expressing “I existed, I was used by a reader in tenth-century Italy!”

A few lines of a mutilated text can often be sufficient to identify it, as well as the location and general timing of its creation:

That said, it is not easy to make sense of the remains. Binders seem to have particularly enjoyed slicing text columns in half, as if they knew how to frustrate future researchers best. Identifying what works these unfulfilling quotes come from can be a nightmare. Dating and localizing the remains can cause insomnia.

Prior to Kwakkel’s high tech experiments at Leiden University, modern researchers had to confine themselves to accidents, as when, say, an old book’s spine cracks, revealing the contents within.

Macro X-ray fluorescence spectrometry turns out to be well equipped to detect the iron, copper and zinc of medieval inks beneath a layer of paper or parchment.

But it does so at a pace that might not knock a medieval scribe’s socks off.

Producing a legible scan of what lurks beneath a single volume’s spine can require as much as 24 hours, and expensive and time consuming proposition.

With thousands of these bindings hiding so close to the surface in collections as massive as the British Library and Oxford’s Bodleian, be prepared to remain on your tenterhooks for the foreseeable future.

If you would like to sign up for Open Culture’s free email newsletter, please find it here.

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– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto. Join her in New York City on November 11 to create a collaborative Kurt Vonnegut Centennial fanzine. Follow her @AyunHalliday.

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Futurist Makes Weirdly Accurate Predictions in 1922 About What the World Will Look Like in 2022: Wireless Telephones, 8-Hour Flights to Europe & More

in History, Technology | October 20th, 2022

Earlier this year, we revisited a set of predictions made in 1922 about what life would look like 100 years hence, in 2022. In the pages of the New York Herald, English novelist W.L. George imagined a world in which “commercial flying will have become entirely commonplace,” and “wireless telegraphy and wireless telephones will have crushed the cable system,” resulting in generations who’ll never have seen “a wire outlined against the sky.” As for the cinema, “the figures on the screen will not only move, but they will have their natural colors and speak with ordinary voices. Thus, the stage as we know it to-day may entirely disappear, which does not mean the doom of art, since the movie actress of 2022 will not only need to know how to smile but also how to talk.” Above, you can hear a reading of W.L. George’s uncanny forecasts. The reading comes courtesy of the YouTube Channel Voices of the Past. You can read the original text of the article here.

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by OC | Permalink | Make a Comment ( None ) |

DALL-E, the New AI Art Generator, Is Now Open for Everyone to Use

in Art, Technology | October 18th, 2022

If you spend any time at all on social media, you’ll have glimpsed the work of DALL-E, OpenAI’s now-famous artificial-intelligence engine that generate images from simple text descriptions. A velociraptor dressed like Travis Bickle, American Gothic starring Homer and Marge Simpson, that astronaut riding a horse on the moon: like any the-future-is-now moment, especially in recent years on the internet, DALL-E’s rise has produced a host of artifacts as impressive as they are ridiculous. Now you can try to top them in both of those dimensions yourself, since not just DALL-E but the new, improved, higher-resolution DALL-E 2 has just opened for public use.

“How do you use DALL-E 2?” You might well ask, and Creative Bloq has a guide for you. “The tool generates art based on text prompts,” it explains. “On the face of it, that couldn’t be more simple. Once you’ve completed the DALL-E 2 sign up to open an account, you use the program in your browser on the DALL-E 2 website. You type in a description of what you want, and DALL-E will create the image.”

Of course, some prompts produce more visually interesting results than others. The guide recommends that you consult the DALL-E 2 prompt book, which gets into how best to phrase your descriptions in order to inspire the richest combinations of subject, texture, style, and form.

“Even the creators of DALL-E 2 don’t know what the tool knows and doesn’t know. Instead, users have to work out what it’s capable of doing and how to get it to do what they want.” And indeed, that’s the part of the fun. DALL-E’s own interface recommends that you “start with a detailed description,” and with a little experimentation you’ll discover that specificity is key. The renderings of “an eight-bit Nintendo game designed by Hiroshige” and “a cyberpunk downtown Los Angeles scene painted by Rembrandt” strike me as credible enough for a first effort, but adding just a few more words opens up entirely new realms of surprise and incongruity.

Just above, we have two of DALL-E’s infinitely many possible attempts to visualize “the cover of an old Ernest Hemingway pulp novel about the adventures of David Bowie.” Though the designs look entirely plausible, the titles highlight the technology’s already-notorious inability to come up with intelligible text. Other limitations of the newly public DALL-E, according to Ars Technica’s Benj Edwards, include the requirement to provide your phone number and other information in order to sign up, the ownership of the generated images by OpenAI, and the necessity to purchase “credits” to generate more images after you’ve run through your initial free 50. Still, there’s nothing quite like typing in a few words and summoning up works of art no one has ever seen before to make you feel like you’re living in the twenty-first century. You can sign up here.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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.

by Colin Marshall | Permalink | Make a Comment ( 5 ) |

How to Predict What the World Will Look Like in 2122: Insights from Futurist Peter Schwartz

in Harvard, History, Technology | October 10th, 2022

“It’s very easy to imagine how things go wrong,” says futurist Peter Schwartz in the video above. “It’s much harder to imagine how things go right.” So he demonstrated a quarter-century ago with the Wired magazine cover story he co-wrote with Peter Leyden, “The Long Boom.” Made in the now techno-utopian-seeming year of 1997, its predictions of “25 years of prosperity, freedom, and a better environment for a whole world” have since become objects of ridicule. But in the piece Schwartz and Leyden also provide a set of less-desirable alternative scenarios whose details — a new Cold War between the U.S. and China, climate change-related disruptions in the food supply, an “uncontrollable plague” — look rather more prescient in retrospect.

The intelligent futurist, in Schwartz’s view, aims not to get everything right. “It’s almost impossible. But you test your decisions against multiple scenarios, so you make sure you don’t get it wrong in the scenarios that actually occur.” The art of “scenario planning,” as Schwartz calls it, requires a fairly deep rootedness in the past.

His own life is a case in point: born in a German refugee camp in 1946, he eventually made his way to a place then called Stanford Research Institute. “It was the early days that became Silicon Valley. It’s where technology was accelerating. It was one of the first thousand people online. It was the era when LSD was still being used as an exploratory tool. So everything around me was the future being born,” and he could hardly have avoided getting hooked on the future.

That addiction remains with Schwartz today: most recently, he’s been forecasting the shape of work to come for Salesforce. The key question, he realized, “was not what did I think about the future, but what did everybody else think about the future?” And among “everybody else,” he places special value on the abilities of those possessed of imagination, collaborative ability, and “ruthless curiosity.” As for the greatest threat to scenario planning, he names “fear of the future,” calling it “one of the worst problems we have today.” There will be more setbacks, more “wars and panics and pandemics and so on.” But “the great arc of human progress, and the gain of prosperity, and a better life for all, that will continue.” Despite all he’s seen – and indeed, because of all he’s seen — Peter Schwartz still believes in the long boom.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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.

Behold Illustrations of Every Shakespeare Play Created by Artificial Intelligence

The Rise and Fall of Concorde, the Midcentury Supersonic Jetliner That Still Inspires Awe Today

The Fiske Reading Machine: The 1920s Precursor to the Kindle

Discover Friedrich Nietzsche’s Typewriter, the Curious “Malling-Hansen Writing Ball” (Circa 1881)

When Medieval Manuscripts Were Recycled & Used to Make the First Printed Books

Futurist Makes Weirdly Accurate Predictions in 1922 About What the World Will Look Like in 2022: Wireless Telephones, 8-Hour Flights to Europe & More

DALL-E, the New AI Art Generator, Is Now Open for Everyone to Use

How to Predict What the World Will Look Like in 2122: Insights from Futurist Peter Schwartz

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