How Previous Decades Predicted the Future: The 21st Century as Imagined in the 1900s, 1950s, 1980s, and Other Eras

All of us alive today per­ceive recent his­to­ry as a series of decades. There exists, as far as we know, no qual­i­ty of real­i­ty dic­tat­ing that every­thing must rec­og­niz­ably change every ten years. But through­out the 21st cen­tu­ry, it seems to have been thus: even if we weren’t alive at the time, we can tell at a glance the cul­tur­al arti­facts of the nine­teen-thir­ties from the nine­teen-for­ties, for exam­ple, or those of the nine­teen-eight­ies from the nine­teen-nineties. Each decade has its own dis­tinct fash­ions, which arose from its dis­tinct world­view; that world­view arose from a vision of the future; and that vision of the future arose from changes in tech­nol­o­gy.

Back in the nine­teen-tens, says his­to­ry Youtu­ber Hochela­ga in the video above, “the inven­tion of the first air­plane opened mas­sive poten­tial in trans­porta­tion, and sparked the imag­i­na­tion of the pub­lic.” The devel­op­ment of avi­a­tion encour­aged pre­dic­tions that one day “the world would go air­borne; peo­ple would take to the skies in their very own per­son­al air­ships and glid­ers.” Pop­u­lar artists dreamed of  a kind of “steam­punk genre: a future vision and aes­thet­ic, but stuck in vic­to­ri­an tech­nolo­gies like steam pow­er and indus­tri­al machin­ery, as well as gog­gles and top hats.” By the twen­ties, this opti­mistic vision would be dis­placed by dark­er but more styl­ish ones, such as the Art-Deco dystopia of Fritz Lang’s Metrop­o­lis.

It was the nine­teen-fifties, specif­i­cal­ly the tri­umphant and abun­dant Amer­i­can nine­teen-fifties, that intro­duced the idea that “the future will be one of con­ve­nience and lux­u­ry.” As the Space Race pro­gressed, this notion­al world of pic­ture-phones and fly­ing cars evolved into the one of inter­stel­lar free­ways, robot maids, and Goo­gie archi­tec­ture exem­pli­fied by The Jet­sons. But as far as per­son­al tech­nol­o­gy was con­cerned, the real world had seen noth­ing yet. The rapid pop­u­lar­iza­tion of the per­son­al com­put­er in the eight­ies brought with it a vast expan­sion of ideas of what com­put­ers could do. Accord­ing to the Ter­mi­na­tor films, we were sup­posed to have an arti­fi­cial­ly intel­li­gent defense net­work that attained self-aware­ness by 1997 — though our hav­ing blown past the dead­line is prob­a­bly for the best.

Here in the twen­ty-first cen­tu­ry — an impos­si­bly dis­tant future in most of the decades dis­cussed here — very few ele­ments of these futures have been ful­ly real­ized. For that mat­ter, few of the tech­nolo­gies we actu­al­ly do use in our every­day lives were accu­rate­ly pre­dict­ed in the twen­ti­eth cen­tu­ry. (Imag­ine how social media would have looked on a col­or post­card from 1915.) “Each present moment imag­ines a future with them­selves clear­ly in it, tak­ing advan­tage of the newest tech­nol­o­gy of the day to its fur­thest lim­its,” says Hochela­ga. In oth­er words, each of these decades regards the future as an extreme ver­sion of itself. In this view, how many of us today think of the future as dull, grim, and even nonex­is­tent tells us noth­ing about what will actu­al­ly hap­pen in decades ahead. It does, how­ev­er, tell us a great deal about the twen­ty-twen­ties.

Relat­ed con­tent:

Jules Verne Accu­rate­ly Pre­dicts What the 20th Cen­tu­ry Will Look Like in His Lost Nov­el, Paris in the Twen­ti­eth Cen­tu­ry (1863)

How French Artists in 1899 Envi­sioned Life in the Year 2000: Draw­ing the Future

In 1900, Ladies’ Home Jour­nal Pub­lish­es 28 Pre­dic­tions for the Year 2000

1930s Fash­ion Design­ers Pre­dict How Peo­ple Would Dress in the Year 2000

Arthur C. Clarke Pre­dicts the Future in 1964 … and Kind of Nails It

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

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.

Explore MoMA’s Collection of Modern & Contemporary Art Every Time You Open a New Browser Tab

There are brows­er exten­sions designed to increase your pro­duc­tiv­i­ty every time you open a new tab.

Oth­ers use pos­i­tive affir­ma­tions, inspir­ing quotes, and nature pho­tog­ra­phy to put your day on the right track.

We here­by announce that we’re switch­ing our set­tings and alle­giance to New Tab with MoMA.

After installing this exten­sion, you’ll be treat­ed to a new work of mod­ern and con­tem­po­rary art from The Muse­um of Mod­ern Art’s col­lec­tion when­ev­er you open a new tab in Chrome.

If you can steal a few min­utes, click what­ev­er image comes up to explore the work in greater depth with a cura­tor’s descrip­tion, links to oth­er works in the col­lec­tion by the same artist, and in some cas­es instal­la­tion views, inter­views and/or audio seg­ments.

Expect a few gift shop heavy hit­ters like Vin­cent Van Gogh’s The Star­ry Night, but also less­er known works not cur­rent­ly on view, like Yay­oi Kusama’s Vio­let Obses­sion, a row­boat slip­cov­ered in elec­tric pur­ple “phal­lic pro­tru­sions.”

Vio­let Obses­sion’s New Tab with MoMA link not only shows you how it was dis­played in the 2010 exhi­bi­tion Mind and Mat­ter: Alter­na­tive Abstrac­tions, 1940s to Now, you can also tog­gle around the instal­la­tion view to explore oth­er works in the same gallery.

You can hear audio of Kusama describ­ing how she “encrust­ed” the boat in soft sculp­ture pro­tu­ber­ances in her favorite pink­ish-pur­ple hue “to con­quer my fear of sex:”

Boats can come and go lim­it­less­ly and move ahead on the water. The boat, hav­ing over­come my obses­sion would move on for­ev­er, car­ry­ing me onboard

A link to a 1999 inter­view with Grady T. Turn­er in BOMB allows Kusama to give fur­ther con­text for the work, part of a sculp­ture series she con­ceives of as Com­pul­sion Fur­ni­ture:

My sofas, couch­es, dress­es, and row­boats bris­tle with phal­lus­es. … As an obses­sion­al artist I fear every­thing I see. At one time, I dread­ed every­thing I was mak­ing.

That’s a pret­ty robust art his­to­ry les­son for the price of open­ing a new tab, though such deep dives can def­i­nite­ly come at the expense of pro­duc­tiv­i­ty.

We weren’t expect­ing the 3‑dimensional nature of some of the works our tabs yield­ed up.

Stop, Repair, Pre­pare: Vari­a­tions on Ode to Joy for a Pre­pared Piano, No.12008 by Jen­nifer Allo­ra and Guiller­mo Calzadil­la required a live musi­cian to play Ode to Joy from Lud­wig van Beethoven’s Ninth Sym­pho­ny upside down and back­wards, from a hole carved into the cen­ter of a grand piano.

Frances Ben­jamin John­ston’s plat­inum print, Stair­way of the Trea­sur­er’s Res­i­dence: Stu­dents at Work from the Hamp­ton Album 1899–1900, is per­haps more eas­i­ly grasped if you can’t go too far down the rab­bit hole with the art­work appear­ing in your new tab.

An excerpt from the 2019 pub­li­ca­tion, MoMA High­lights: 375 Works from The Muse­um of Mod­ern Art, New York pro­vides a brief bio of both John­ston, “a pro­fes­sion­al pho­tog­ra­ph­er, not­ed for her por­traits of Wash­ing­ton politi­cians and her images of coal min­ers, iron­work­ers, and women labor­ers in New Eng­land tex­tile mills” and the Hamp­ton Insti­tute, Book­er T Washington’s alma mater.

Book­mark such bite-sized cul­tur­al his­to­ry breaks, and cir­cle back when you have more time.

Speak­ing of which, allow us to leave you with this thought from artist Felix Gon­za­lez-Tor­res, cre­ator of 1991’s time-based instal­la­tion Unti­tled (Per­fect Lovers), a par­tic­u­lar­ly con­cep­tu­al offer­ing from New Tab with MoMA:

Time is some­thing that scares me… or used to. This piece I made with the two clocks was the scari­est thing I have ever done. I want­ed to face it. I want­ed those two clocks right in front of me, tick­ing.

Set your Chrome Brows­er up to use New Tab with MoMA here

Relat­ed Con­tent 

MoMA’s Online Cours­es Let You Study Mod­ern & Con­tem­po­rary Art and Earn a Cer­tifi­cate

How to Make Comics: A Four-Part Series from the Muse­um of Mod­ern Art

The Muse­um of Mod­ern Art (MoMA) Puts Online 90,000 Works of Mod­ern Art

- 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.

Watch David Hockney Paint with Light, Using the Quantel Paintbox Graphics System (1986)

Think of the tele­vi­sion graph­ics you remem­ber from the nine­teen-eight­ies — or, per­haps more like­ly, the nine­teen-eight­ies tele­vi­sion graph­ics you’ve seen late­ly on Youtube. Much of it looks cheesy today, but some exam­ples have become appeal­ing­ly retro over the decades, and cer­tain works remain gen­uine­ly impres­sive as pieces of dig­i­tal art. Nowa­days we can, in the­o­ry, repli­cate and even out­do the finest TV imagery of the eight­ies on our com­put­ers, or even our phones. But in the days before high-pow­ered per­son­al com­put­ing, let alone smart­phones, how did such bril­liant­ly col­ored, ener­get­i­cal­ly ani­mat­ed, and some­times gen­uine­ly artis­tic graph­ics get made? The answer, nine times out of ten, was on the Quan­tel Paint­box.

Intro­duced in 1981, the Paint­box was a cus­tom-designed dig­i­tal graph­ic work­sta­tion that cost about $250,000 USD, or more than $623,000 today. To major tele­vi­sion sta­tions and net­works that mon­ey was well spent, buy­ing as it did the unprece­dent­ed­ly fast pro­duc­tion of images and ani­ma­tions for broad­cast. ”It used to be that we had a staff of artists who drew and drew,” the New York Times quotes ABC’s direc­tor of pro­duc­tion devel­op­ment as say­ing in an arti­cle on graph­ics for the 1984 Olympics.

“But with the Paint­box an artist can come up with a graph­ic in fif­teen min­utes that used to take two days.” Its capa­bil­i­ties did much to influ­ence the look and feel of that decade, for bet­ter or for worse: look­ing back, design­er Steven Heller rues its prop­a­ga­tion of “shad­ow-rid­den, faux-hand­made eight­ies aes­thet­ics.”

As a cut­ting-edge piece of hard­ware, the Paint­box was beyond the reach of most artists, due not just to its cost but also the con­sid­er­able kn0w-how required to use it. (Skilled “oper­a­tors,” as they were called, could in the eight­ies com­mand a wage of $500 per hour.) But for David Hock­ney, who was already famous, suc­cess­ful, and known for his inter­est in bright col­ors as well as new tech­nol­o­gy, the chance came in 1986 when the BBC invit­ed him to par­tic­i­pate in a tele­vi­sion series called Paint­ing with Light.  A show­case for the cre­ative poten­tial of the Paint­box, it also brought on such lumi­nar­ies as col­lage artist Richard Hamil­ton and “grand­fa­ther of Pop Art” Lar­ry Rivers, sit­ting them down at the work­sta­tion and film­ing as they exper­i­ment­ed with its pos­si­bil­i­ties.

“You’re not draw­ing on a piece of paper,” Hock­ney explains in his episode. “You’re draw­ing, actu­al­ly, direct­ly onto this TV screen where you’re see­ing it now.” By now we’ve all done the same in one way or anoth­er, but in the eight­ies the con­cept was nov­el enough to be hard to artic­u­late. Hock­ney empha­sizes that the Paint­box pro­duces “hon­est” images, in that the elec­tron­ic medi­um in which the artist works is the very same medi­um through which the view­er per­ceives that work. The eager­ness with which he takes up its ground­break­ing pres­sure-sen­si­tive sty­lus (“a bit like a kind of old-fash­ioned ball­point pen”), some­times with a cig­a­rette in the oth­er hand, shows that Hock­ney’s pen­chant for draw­ing on the iPhone and iPad over the past decade or so is hard­ly an iso­lat­ed late-career lark. Even in 1986 he under­stood what you could do with dig­i­tal tech­nol­o­gy, and could also sense one of its prime dan­gers: you’re nev­er sure when to stop doing it.

Relat­ed con­tent:

David Hockney’s iPad Art Goes on Dis­play

David Hock­ney Shows Us His Sketch Book, Page by Page

Andy Warhol Dig­i­tal­ly Paints Deb­bie Har­ry with the Ami­ga 1000 Com­put­er (1985)

Time Trav­el Back to 1926 and Watch Wass­i­ly Kandin­sky Make Art in Some Rare Vin­tage Video

Watch Every Episode of Bob Ross’ The Joy Of Paint­ing Free Online: 403 Episodes Span­ning 31 Sea­sons

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.

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 â€śsees 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 Island—Huxley’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

 

Saving Ukrainian Cultural Heritage Online: 1,000+ Librarians Digitally Preserve Artifacts of Ukrainian Civilization Before Russia Can Destroy Them

Before becom­ing a film­mak­er, Jean-Pierre Grum­bach par­tic­i­pat­ed in the French Resis­tance dur­ing World War II. It was then that he took the nom de guerre of Jean-Pierre Melville, under which he would lat­er inspire the French New Wave. Just as he nev­er made a film under anoth­er name, his work nev­er quite aban­doned the themes pro­vid­ed by his wartime expe­ri­ence in Nazi-occu­pied France, which comes through most clear­ly in his fea­ture debut Le Silence de la mer. Released just four years after V‑E Day, it tells the sto­ry of a Ger­man lieu­tenant bil­let­ed in a French house­hold, an admir­er of French cul­ture who holds forth night­ly of his antic­i­pa­tion of the “mar­riage” of the Ger­man and French civ­i­liza­tions.

The day comes for the Ger­man to make a much-antic­i­pat­ed trip to Paris. After wor­ship­ful­ly tak­ing in the sights of the cap­i­tal — the Arc de Tri­om­phe, Notre-Dame de Paris, the Mon­u­ment à Jeanne d’Arc — he meets with his Nazi supe­ri­ors. And so he dis­cov­ers, to his great shock, that what the occu­piers have planned is not a mar­riage but a demo­li­tion. “Do you think we’re so stu­pid as to allow France ever to rise again?” asks one of the oth­er offi­cers. “We have the oppor­tu­ni­ty to destroy France and we will do so,” says anoth­er. “Not only its might, but also its spir­it,” which requires the com­plete extir­pa­tion of all “works of cul­ture” — for “to con­quer, vio­lence is suf­fi­cient, but not to rule.”

81 years lat­er, the events of Le Silence de la mer have returned to mind. “Russia’s war on Ukraine has been an all-round dis­as­ter,” writes the Guardian’s Luke Hard­ing and Har­ri­et Sher­wood. “Its army has shelled dense­ly pop­u­lat­ed cities, killing hun­dreds. More than 2 mil­lion refugees have fled abroad in Europe’s biggest exo­dus since the sec­ond world war.” Ukrain­ian cities have set about hid­ing what pieces they can of their cul­tur­al her­itage: in Lviv, for exam­ple, these includ­ed “a pre­cious wood­en alter-piece show­ing Jesus, Mary and Mary Mag­da­lene. It was removed from Lviv’s 14th cen­tu­ry Armen­ian church and trans­port­ed to a bunker. The sculp­ture was last removed from its court­yard spot short­ly before the Nazis swept into the city in 1941.”

Such efforts are tak­ing place in not just the phys­i­cal realm, but the dig­i­tal one as well. Sav­ing Ukrain­ian Cul­tur­al Her­itage Online (SUCHO) describe them­selves as “a group of cul­tur­al her­itage pro­fes­sion­als – librar­i­ans, archivists, researchers, pro­gram­mers – work­ing togeth­er to iden­ti­fy and archive at-risk sites, dig­i­tal con­tent, and data in Ukrain­ian cul­tur­al her­itage insti­tu­tions while the coun­try is under attack.” This project involves “a com­bi­na­tion of tech­nolo­gies to crawl and archive sites and con­tent, includ­ing the Inter­net Archive’s Way­back Machine, the Browser­trix crawler and the ArchiveWeb.page brows­er exten­sion and app of the Webrecorder project,” and now has the help of more than a thou­sand vol­un­teers.

If you’re read­ing this, you may pos­sess the skill SUCHO needs. Though “we are cur­rent­ly at capac­i­ty for peo­ple to help with Way­back Machine / Inter­net Archive tasks or man­u­al Webrecorder tasks,” says their site, “you can still help by sub­mit­ting URLs” of sites con­tain­ing Ukrain­ian cul­tur­al con­tent. “If you can read Ukrain­ian or Russ­ian, or if you can run the Browser­trix crawler (check out our Browser­trix doc­u­men­ta­tion to see if it’s some­thing you’d be up for try­ing), fill out the vol­un­teer form.” (Even if not, have a look at their doc­u­men­ta­tion of their work­flow and ori­en­ta­tion for new vol­un­teers.) At some point, the vio­lence of the inva­sion of Ukraine will come to an end. When it does, the more of the coun­try’s cul­ture sur­vives, the less its invaders can rule.

Vis­it the Sav­ing Ukrain­ian Cul­tur­al Her­itage Online project here.

Relat­ed con­tent:

Ukraini­ans Play­ing Vio­lin in Bunkers as Rus­sians Bomb Them from the Sky

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

Russ­ian Inva­sion of Ukraine Teach-Out: A Free Course from the Uni­ver­si­ty of Michi­gan

Putin’s War on Ukraine Explained in 8 Min­utes

Why Rus­sia Invad­ed Ukraine: A Use­ful Primer

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.

When Movies Came on Vinyl: The Early-80s Engineering Marvel and Marketing Disaster That Was RCA’s SelectaVision

Any­one over 30 remem­bers a time when it was impos­si­ble to imag­ine home video with­out phys­i­cal media. But any­one over 50 remem­bers a time when it was dif­fi­cult to choose which kind of media to bet on. Just as the “com­put­er zoo” of the ear­ly 1980s forced home-com­put­ing enthu­si­asts to choose between Apple, IBM, Com­modore, Texas Instru­ments, and a host of oth­er brands, each with its own tech­no­log­i­cal spec­i­fi­ca­tions, the mar­ket for home-video hard­ware pre­sent­ed sev­er­al dif­fer­ent alter­na­tives. You’ve heard of Sony’s Beta­max, for exam­ple, which has been a punch­line ever since it lost out to JVC’s VHS. But that was just the realm of video tape; have you ever watched a movie on a vinyl record?

Four decades ago, it was dif­fi­cult for most con­sumers to imag­ine home video at all. “Get records that let you have John Tra­vol­ta danc­ing on your floor, Gene Hack­man dri­ving though your liv­ing room, the God­fa­ther stay­ing at your house,” booms the nar­ra­tor of the tele­vi­sion com­mer­cial above.

How, you ask? By pur­chas­ing a Selec­taVi­sion play­er and com­pat­i­ble video discs, which allow you to “see the enter­tain­ment you real­ly want, when you want, unin­ter­rupt­ed.” In our age of stream­ing-on-demand this sounds like a laugh­ably pedes­tri­an claim, but at the time it rep­re­sent­ed the cul­mi­na­tion of sev­en­teen years and $600 mil­lion of inten­sive research and devel­op­ment at the Radio Com­pa­ny of Amer­i­ca, bet­ter known as RCA.

Radio, and even more so its suc­ces­sor tele­vi­sion, made RCA an enor­mous (and enor­mous­ly prof­itable) con­glom­er­ate in the first half of the twen­ti­eth cen­tu­ry. By the 1960s, it com­mand­ed the resources to work seri­ous­ly on such projects as a vinyl record that could con­tain not just music, but full motion pic­tures in col­or and stereo. This turned out to be even hard­er than it sound­ed: after numer­ous delays, RCA could only bring Selec­taVi­sion to mar­ket in the spring of 1981, four years after the inter­nal tar­get. By that time, after the com­pa­ny had been com­mis­sion­ing con­tent for the bet­ter part of a decade (D. A. Pen­nebak­er shot David Bowie’s final Zig­gy Star­dust con­cert in 1973 on com­mis­sion from RCA, who’d intend­ed to make a Selec­taVi­sion disc out of it), the for­mat faced com­pe­ti­tion from not just VHS and Beta­max but the cut­ting-edge LaserDisc as well.

Nev­er­the­less, the Selec­taVi­sion’s ultra-dense­ly encod­ed vinyl video discs — offi­cial­ly known as capac­i­tance elec­tron­ic discs, or CEDs — were, in their way, mar­vels of engi­neer­ing. You can take a deep dive into exact­ly what makes the sys­tem so impres­sive, which involves not just a break­down of its com­po­nents but a com­plete retelling of the his­to­ry of RCA, though the five-part Tech­nol­o­gy Con­nec­tions minis­eries at the top of the post. True com­pletists can also watch RCA’s video tour of its Selec­taVi­sion pro­duc­tion facil­i­ties, as well as its live deal­er-intro­duc­tion broad­cast host­ed by Tom Brokaw and fea­tur­ing a Broad­way-style musi­cal num­ber. Selec­taVi­sion was also rolled out in the Unit­ed King­dom in 1983, thus qual­i­fy­ing for a hands-on exam­i­na­tion by British retro-tech Youtu­ber Tech­moan.

Selec­taVi­sion last­ed just three years. Its fail­ure was per­haps overde­ter­mined, and not just by the bad tim­ing result­ing from its trou­bled devel­op­ment. In the ear­ly 1980s, the idea of buy­ing pre-record­ed video media lacked the imme­di­ate appeal of “time-shift­ing” tele­vi­sion, which had become pos­si­ble only with video tape. Nor did RCA, whose mar­ket­ing cen­tered on the pos­si­bil­i­ty of build­ing a per­ma­nent home-video library in the man­ner of one’s music library, fore­see the pos­si­bil­i­ty of rental. And though CEDs were ulti­mate­ly made func­tion­al, they remained cum­ber­some, able to hold just one hour of video per side and noto­ri­ous­ly sub­ject to jit­ters even on the first play. Yet as RCA’s ad cam­paigns empha­sized, there real­ly was a “mag­ic” in being able to watch the movies you want­ed at home, when­ev­er you want­ed to. In that sense, at least, we now live in a mag­i­cal world indeed.

Relat­ed con­tent:

The Sto­ry of the Mini­Disc, Sony’s 1990s Audio For­mat That’s Gone But Not For­got­ten

A Cel­e­bra­tion of Retro Media: Vinyl, Cas­settes, VHS, and Polaroid Too

The Beau­ty of Degrad­ed Art: Why We Like Scratchy Vinyl, Grainy Film, Wob­bly VHS & Oth­er Ana­log-Media Imper­fec­tion

The Muse­um of Fail­ure: A New Swedish Muse­um Show­cas­es Harley-David­son Per­fume, Col­gate Beef Lasagne, Google Glass & Oth­er Failed Prod­ucts

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.

How Insulated Glass Changed Architecture: An Introduction to the Technological Breakthrough That Changed How We Live and How Our Buildings Work

When we think of a “mid­cen­tu­ry mod­ern” home, we think of glass walls. In part, this has to do with the post-World War II decades’ pro­mo­tion of the south­ern Cal­i­for­nia-style indoor-out­door sub­ur­ban lifestyle. But busi­ness and cul­ture are down­stream of tech­nol­o­gy, and, in this spe­cif­ic case, the tech­nol­o­gy known as insu­lat­ed glass. Its devel­op­ment solved the prob­lem of glass win­dows that had dogged archi­tec­ture since at least the sec­ond cen­tu­ry: they let in light, but even more so cold and heat. Only in the 1930s did a refrig­er­a­tion engi­neer fig­ure out how to make win­dows with not one but two panes of glass and an insu­lat­ing lay­er of air between them. Its trade name: Ther­mopane.

First man­u­fac­tured by the Libbey-Owens-Ford glass com­pa­ny, “Ther­mopane changed the pos­si­bil­i­ties for archi­tects,” says Vox’s Phil Edwards in the video above, “How Insu­lat­ed Glass Changed Archi­tec­ture.” In it he speaks with archi­tec­tur­al his­to­ri­an Thomas Leslie, who says that “by the 1960s, if you’re putting a big win­dow into any res­i­den­tial or office build­ing” in all but the most tem­per­ate cli­mates, you were using insu­lat­ed glass “almost by default.”

Com­pet­ing glass man­u­fac­tur­ers intro­duced a host of vari­a­tions on and inno­va­tions in not just the tech­nol­o­gy but the mar­ket­ing as well: “No home is tru­ly mod­ern with­out TWINDOW,” declared one brand’s mag­a­zine adver­tise­ment.

The asso­ci­at­ed imagery, says Leslie, was “always a slid­ing glass door look­ing out onto a very ver­dant land­scape,” which promised “a way of con­nect­ing your inside world and your out­side world” (as well as “being able to see all of your stuff”). But the new pos­si­bil­i­ty of “walls of glass” made for an even more vis­i­ble change in com­mer­cial archi­tec­ture, being the sine qua non of the smooth­ly reflec­tive sky­scrap­ers that rise from every Amer­i­can down­town. Today, of course, we can see 80, 900, 100 floors of sheer glass stacked up in cities all over the world, shim­mer­ing dec­la­ra­tions of mem­ber­ship among the devel­oped nations. Those slid­ing glass doors, by the same token, once announced an Amer­i­can fam­i­ly’s arrival into the pros­per­ous mid­dle class — and now, more than half a cen­tu­ry lat­er, still look like the height of moder­ni­ty.

Relat­ed con­tent:

Why Do Peo­ple Hate Mod­ern Archi­tec­ture?: A Video Essay

How the Rad­i­cal Build­ings of the Bauhaus Rev­o­lu­tion­ized Archi­tec­ture: A Short Intro­duc­tion

The Sur­pris­ing Rea­son Why Chi­na­towns World­wide Share the Same Aes­thet­ic, and How It All Start­ed with the 1906 San Fran­cis­co Earth­quake

Tony Hawk & Archi­tec­tur­al His­to­ri­an Iain Bor­den Tell the Sto­ry of How Skate­board­ing Found a New Use for Cities & Archi­tec­ture

Why Europe Has So Few Sky­scrap­ers

A Glass Floor in a Dublin Gro­cery Store Lets Shop­pers Look Down & Explore Medieval Ruins

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.

Everything You Ever Wanted to Know about the Bialetti Moka Express: A Deep Dive Into Italy’s Most Popular Coffee Maker

Which cof­fee mak­er is most deeply embed­ded in Amer­i­can cul­ture? I would nom­i­nate the hum­ble Mr. Cof­fee, a device ref­er­enced on Cheers as well as Sein­feld, in the work of Ray­mond Carv­er as well as that of the Blood­hound Gang (to say noth­ing of the 1970s mass-media phe­nom­e­non that was its com­mer­cials star­ring Joe DiMag­gio). But I would also urge my fel­low Amer­i­cans to ask them­selves when last they actu­al­ly used one, or at least used one to sat­is­fy­ing results. Italy, by con­trast, knows what it is to take a cof­fee mak­er to heart. As one study found, nine out of ten Ital­ian house­holds pos­sess­es, in one form or anoth­er, the same basic mod­el: the Bialet­ti Moka Express.

As Ted Mills wrote here with con­fi­dence last month, “many an Open Cul­ture read­er has a Bialet­ti Moka Express in their kitchen. I know I do, but I must add that I knew lit­tle about its his­to­ry and appar­ent­ly even less about how to prop­er­ly use one.” Enter cof­fee Youtu­ber and The World Atlas of Cof­fee author James Hoff­mann, whose intro­duc­to­ry video proved pop­u­lar enough to launch a mini-series that takes a deep dive into the mechan­ics and vari­a­tions on the near­ly 90-year-old “moka pot.”

In the sec­ond episode, just above, Hoff­man per­forms a series of exper­i­ments vary­ing ele­ments of the sim­ple device — start­ing tem­per­a­ture, grind size, heat pow­er — in order to deter­mine how it makes the best cup of cof­fee.

In episode three, Hoff­man (who clear­ly knows a thing or two about not just cof­fee, but how to name a Youtube video to algo­rith­mic advan­tage) refines “the ulti­mate moka pot tech­nique.” Much depends, of course, on fac­tors like what sort of beans you buy, as well as sub­jec­tive con­sid­er­a­tions like how you want your cof­fee to taste — your pre­ferred “fla­vor pro­file,” as they now say. The long­time moka pot user will inevitably feel his/her way to his/her own idio­syn­crat­ic pro­ce­dure and set of acces­sories, and will more than like­ly also accrue a for­mi­da­ble col­lec­tion of moka pots them­selves. Here Hoff­man lines up ten of them, half of which are just dif­fer­ent sizes of the clas­sic Moka Express, its sil­hou­ette rec­og­niz­able at any scale.

Less famil­iar mod­els take cen­ter stage in the fourth episode, “The Moka Pot Vari­a­tions.” In it Hoff­man puts to the test the Bialet­ti’s dou­ble-cream espres­so-mak­ing Brik­ka; their cap­puc­ci­no-capa­ble Muk­ka; the tiny, dis­con­tin­ued Cuor di Moka, with its cor­re­spond­ing­ly avid fan base; and final­ly some­thing called the Kami­ra, which looks less like a cof­fee mak­er than a piece of recy­cled indus­tri­al art. Even apart from these, a vari­ety of com­pa­nies now make a vari­ety of moka pots, every sin­gle one of which has no doubt at least a few seri­ous cof­fee drinkers swear­ing by it. I myself have a weak­ness for Bialet­ti’s Moka Alpina; whether it makes a supe­ri­or brew I could­n’t say, but the jaun­ti­ness of that Tyrolean feath­er is hard­ly debat­able.

Relat­ed con­tent:

The Bialet­ti Moka Express: The His­to­ry of Italy’s Icon­ic Cof­fee Mak­er, and How to Use It the Right Way

Life and Death of an Espres­so Shot in Super Slow Motion

How to Make the World’s Small­est Cup of Cof­fee, from Just One Cof­fee Bean

The Birth of Espres­so: How the Cof­fee Shots The Fuel Our Mod­ern Life Were Invent­ed

An Espres­so Mak­er Made in Le Corbusier’s Bru­tal­ist Archi­tec­tur­al Style: Raw Con­crete on the Out­side, High-End Parts on the Inside

The Hertel­la Cof­fee Machine Mount­ed on a Volk­swa­gen Dash­board (1959): The Most Euro­pean Car Acces­so­ry Ever Made

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.

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