You Could Soon Be Able to Text with 2,000 Ancient Egyptian Hieroglyphs

Grow­ing up, I had a box set of Egypt­ian hiero­glyph­ic stamps from the Met­ro­pol­i­tan Muse­um of Art. For a few weeks I used it to write cod­ed let­ters to a friend, pos­sessed of the same box set, who lived else­where in the neigh­bor­hood. Today’s smart­phone-tot­ing kids, of course, pre­fer text mes­sag­ing, a medi­um which to date has offered lit­tle in the way of hiero­glyph­ics, espe­cial­ly com­pared to the vast and ever-grow­ing qua­si-logo­graph­ic library of emo­ji, all of them approved by the offi­cial emo­ji sub­com­mit­tee of the Uni­code Con­sor­tium. But Uni­code itself, the indus­try-stan­dard sys­tem for dig­i­tal­ly encod­ing, rep­re­sent­ing, and han­dling text in the var­i­ous writ­ing sys­tems of the world, may soon expand to include more than 2,000 hiero­glyph­ics.

“Between 750 and 1,000 Hiero­glyphs were used by Egypt­ian authors dur­ing the peri­ods of the Old, Mid­dle, and then New King­dom (2687 BCE–1081 BCE),” writes Hyper­al­ler­gic’s Sarah E. Bond. “That num­ber lat­er great­ly increased dur­ing the Gre­co-Roman peri­od, like­ly to around 7,000.”

Dur­ing that time under Alexan­der the Great, the Ptolemies, and the Roman Empire, “the lan­guage grew, changed, and diver­si­fied over the course of thou­sands of years, a fact which can now be reflect­ed through its dig­i­tal encod­ing. Although Egypt­ian Hiero­glyphs have been defined with­in Uni­code since ver­sion 5.2, released in 2009, the glyphs were high­ly lim­it­ed in num­ber and did not stretch into the Gre­co-Roman peri­od.”

That sit­u­a­tion could great­ly improve if the Uni­code Con­sor­tium approves its revised draft of stan­dards for encod­ing Egypt­ian Hiero­glyphs cur­rent­ly on the table, a scroll through which reveals how much more of the visu­al (not to men­tion seman­tic) rich­ness of this ancient writ­ing sys­tem that could soon come avail­able to any­one with a dig­i­tal device. Its rich vari­ety of tools, ani­mals, icons (in both the old and mod­ern sens­es), humans, and ele­ments of human anato­my could do much for the Egyp­tol­o­gists of the world need­ing to effi­cient­ly send the con­tent of the texts they study to one anoth­er. And though I recall get­ting plen­ty com­mu­ni­cat­ed with those 24 rub­ber stamps, who dares pre­dict to what use those tex­ting kids will put these thou­sands of dig­i­tal hiero­glyph­ics when they get them at their fin­ger­tips?

via Hyper­al­ler­gic

Relat­ed Con­tent:

How the Egypt­ian Pyra­mids Were Built: A New The­o­ry in 3D Ani­ma­tion

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

The Met Dig­i­tal­ly Restores the Col­ors of an Ancient Egypt­ian Tem­ple, Using Pro­jec­tion Map­ping Tech­nol­o­gy

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.

The Cutting-Edge Science That Can Turn Everyday Objects, Like a Bag of Chips, Into a Listening Device

For decades we’ve laughed at the per­sis­tent movie and tele­vi­sion cliche of “image enhance,” where­by char­ac­ters — usu­al­ly detec­tives of one kind or anoth­er in pur­suit of a yet-unknown vil­lain — dis­cov­er just the clue they need by way of tech­no­log­i­cal mag­ic that some­how increas­es the amount of detail in a piece of found footage. But now, of course, our age of rapid­ly improv­ing arti­fi­cial intel­li­gence has brought an algo­rithm for that. And not only can such tech­nolo­gies find visu­al data we nev­er thought an image con­tained, they can find son­ic data as well: recov­er­ing the sound, in oth­er words, “record­ed” in osten­si­bly silent video.

“When sound hits an object, it caus­es small vibra­tions of the object’s sur­face,” explains the abstract of “The Visu­al Micro­phone: Pas­sive Recov­ery of Sound from Video,” a paper by Abe Davis, Michael Rubin­stein, Neal Wad­hwa, Gau­tham Mysore, Fre­do Durand, and William T. Free­man. “We show how, using only high-speed video of the object, we can extract those minute vibra­tions and par­tial­ly recov­er the sound that pro­duced them, allow­ing us to turn every­day objects — a glass of water, a pot­ted plant, a box of tis­sues, or a bag of chips — into visu­al micro­phones.” Or a lis­ten­ing device. You can see, and more impres­sive­ly hear, this process in action in the video at the top of the post.

The video just above mag­ni­fies the sound-caused motion of a bag of chips, to give us a sense of what their algo­rithm has to work with when it infers the sound present in the bag’s envi­ron­ment. In a way this all holds up to com­mon sense, giv­en that sound, as we all learn, comes from waves that make oth­er things vibrate, be they our eardrums, our speak­ers — or, as this research reveals, pret­ty much every­thing else as well. Though the bag of chips turned out to work quite well as a record­ing medi­um, some of their oth­er test sub­jects, includ­ing a brick cho­sen specif­i­cal­ly for its lack of sound-cap­tur­ing poten­tial, also did bet­ter than expect­ed.

The hid­den infor­ma­tion poten­tial­ly recov­er­able from video hard­ly stops there, as sug­gest­ed by Rubin­stein’s TED Talk just above. “Of course, sur­veil­lance is the first appli­ca­tion that comes to mind,” he says, to slight­ly ner­vous laugh­ter from the crowd. But “maybe in the future we’ll be able to use it, for exam­ple, to recov­er sound across space, because sound can’t trav­el in space, but light can.” Just one of many sci­en­tif­i­cal­ly noble pos­si­bil­i­ties, for which watch­ing what we say next time we open up a bag of Dori­tos would be, per­haps, a small price to pay.

via Kot­tke

Relat­ed Con­tent:

What Does Sound Look Like?: The Audi­ble Ren­dered Vis­i­ble Through Clever Tech­nol­o­gy

The Geom­e­try of Sound Waves Visu­al­ized

Hear What Music Sounds Like When It’s Cre­at­ed by Syn­the­siz­ers Made with Arti­fi­cial Intel­li­gence

Radiooooo: Dis­cov­er the Musi­cal Time Machine That Lets You Hear What Played on the Radio in Dif­fer­ent Times & Places

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.

What Is Blockchain? Three Videos Explain the New Technology That Promises to Change Our World

You’ve heard the word “blockchain” many times now, but prob­a­bly not quite as many as you’ve heard the word “bit­coin.” Yet you sure­ly have a sense that the ref­er­ents of those two words have a con­nec­tion, and even if you haven’t yet been inter­est­ed in either, you may well know that blockchain, a tech­nol­o­gy, makes Bit­coin, a cur­ren­cy, pos­si­ble in the first place. Their sheer nov­el­ty has already giv­en rise to a mini-indus­try of explain­er videos, more of them deal­ing direct­ly with bit­coin than blockchain, but in time the lat­ter could poten­tial­ly over­take the for­mer in impor­tance, to the degree that it becomes as vital to soci­ety as the pro­to­cols that under­gird the inter­net itself.

Or at least you could come away con­vinced of that after watch­ing the blockchain explain­er videos fea­tured here. The short­est of the three, the one by the Insti­tute for the Future at the top of the post, attempts to break down, in just two min­utes, the prin­ci­ples behind this tech­nol­o­gy, still in its infan­cy, in which so many see such rev­o­lu­tion­ary poten­tial.

“Blockchains store infor­ma­tion across a net­work of per­son­al com­put­ers, mak­ing them not just decen­tral­ized but dis­trib­uted,” says the video’s nar­ra­tor. “This means no cen­tral com­pa­ny or per­son owns the sys­tem, yet every­one can use it and help run it.” And accord­ing to blockchain’s boost­ers, that very decen­tral­iza­tion and dis­tri­b­u­tion makes it that much more trustable and less hack­able.

In the Wired video just above, blockchain researcher Bet­ti­na War­burg explains her sub­ject in five dif­fer­ent ways to peo­ple at five dif­fer­ent stages of life, from a five-year-old girl to a ful­ly grown aca­d­e­m­ic. Actu­al­ly, that last inter­locu­tor, an NYU his­to­ri­an named Finn Brun­ton, does much of the explain­ing him­self, and right at the begin­ning of his seg­ment (at 9:48) rolls out one of the clear­er and more intrigu­ing run­down of the nature of blockchain cur­rent­ly float­ing around on the inter­net:

A tech­ni­cal def­i­n­i­tion of blockchain is that it is a per­sis­tent, trans­par­ent, pub­lic, append-only ledger. So it is a sys­tem that you can add data to, and not change pre­vi­ous data with­in. It does this through a mech­a­nism for cre­at­ing con­sen­sus between scat­tered, or dis­trib­uted, par­ties that do not need to trust each oth­er. They just need to trust the mech­a­nism by which their con­sen­sus is arrived at. In the case of blockchain, it relies on some form of chal­lenge such that no one actor on the net­work is able to solve this chal­lenge more con­sis­tent­ly than any­one else on the net­work. It ran­dom­izes the process, and in the­o­ry ensures that no one can force the blockchain to accept a par­tic­u­lar entry onto the ledger that oth­ers dis­agree with.

Brun­ton also empha­sizes that “almost every aspect of it that is con­nect­ed with the con­cept of mon­ey” — includ­ing but not lim­it­ed to Bit­coin — “is wild­ly over-hyped.” Those who can look past the Gold Rush-style bal­ly­hoo­ing of those ear­ly appli­ca­tions of blockchain can bet­ter grasp what role the tech­nol­o­gy, which essen­tial­ly enables the build­ing of sys­tems to secure­ly exchange infor­ma­tion over the inter­net that no one per­son or com­pa­ny owns, might one day play in many parts of our lives, from finance to ener­gy to health care. “Cred­it scores that aren’t con­trolled by a hand­ful of high-risk, data-breach-prone com­pa­nies,” promis­es Caris­sa Carter of Stan­ford’s d.school, “cred­i­ble news sys­tems that resist cen­sor­ship; effi­cient pow­er grids that could low­er your pow­er bills.”

Before it can bring those won­ders, Bit­coin must first over­come for­mi­da­ble tech­ni­cal lim­i­ta­tions: as Com­put­er­world’s Lucas Mear­i­an writes, for instance,” the Bit­coin blockchain har­ness­es any­where between 10 and 100 times as much com­put­ing pow­er com­pared to all of Google’s serv­ing farms put togeth­er.”  But then, few of the first devel­op­ers of the tech­nolo­gies that dri­ve the inter­net could have imag­ined all we do with them across the world today, and those who did must have had a sol­id under­stand­ing of its most basic ele­ments. How do you know when you’ve attained that under­stand­ing? “If you can’t explain it sim­ply, you don’t under­stand it well enough,” as Albert Ein­stein once said, and as Citi Inno­va­tion Lab CTO Shai Rubin quotes him as say­ing at the begin­ning of his own blockchain explain­er, per­formed in less than fif­teen min­utes using no pieces of tech­nol­o­gy more rev­o­lu­tion­ary than a white­board and mark­er.

Relat­ed Con­tent:

What Actu­al­ly Is Bit­coin? Princeton’s Free Course “Bit­coin and Cur­ren­cy Tech­nolo­gies” Pro­vides Much-Need­ed Answers

Bit­coin, the New Decen­tral­ized Dig­i­tal Cur­ren­cy, Demys­ti­fied in a Three Minute Video

Bit­coin and Cryp­tocur­ren­cy Tech­nolo­gies: A Free Course from Prince­ton

The Prince­ton Bit­coin Text­book Is Now Free Online

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.

Radiooooo: Discover the Musical Time Machine That Lets You Hear What Played on the Radio in Different Times & Places

Radio has always been a fair­ly trans­portive medi­um.

Dur­ing the Great Depres­sion, entire fam­i­lies clus­tered round the elec­tron­ic hearth to enjoy a vari­ety of enter­tain­ments, includ­ing live remote broad­casts from the glam­orous night­clubs and hotels where celebri­ty band­lead­ers like Count Basie and Duke Elling­ton held sway.

1950s teens’ tran­sis­tors took them to a head space less square than the white bread sub­urbs their par­ents inhab­it­ed.

Dur­ing the Viet­nam War, South Viet­namese sta­tions played home­grown ren­di­tions of the rock and soul sounds dom­i­nat­ing Amer­i­can air­waves.

The Radiooooo.com site (there’s also a ver­sion avail­able for the iPhone and Android) allows mod­ern lis­ten­ers to expe­ri­ence a bit of that mag­i­cal time trav­el­ing sen­sa­tion, via an inter­ac­tive map that allows you to tune in to spe­cif­ic coun­tries and decades.

The con­tent here is user-gen­er­at­ed. Reg­is­ter for a free account, and you too can begin shar­ing eccen­tric faves.

Find a user whose tastes mir­ror your own? Click their pro­file for a stat card of tracks they’ve favor­it­ed and uploaded, as well as any oth­er sundry details they may feel like shar­ing, such as coun­try of ori­gin and age.

There are fun awards to be earned here, with the most sought after pelts going to the first to upload a song to an emp­ty coun­try, or upload a track from 1910–1920. (Cameroon, 1940 … go!)

As with an actu­al radio, you are not select­ing the actu­al playlist, though you can nudge the nee­dle a bit by tog­gling to your desired mood—slow, fast and/or weird.

And you need not lim­it your­self to a sin­gle des­ti­na­tion. Embark on a strange musi­cal trip by using Radiooooo’s taxi func­tion to car­ry you to mul­ti­ple coun­tries and decades. (I closed my eyes and wound up shut­tling between Ukraine and Mau­ri­ta­nia in the 60s and 80s.)

Dot­ted around the map are island icons, where the ever-grow­ing col­lec­tion is sort­ed accord­ing to themes like Hawaii, Nev­er­land (“for chil­dren big and small”), and 8‑Bit video game music. Le Club, float­ing mid­way between Europe and North Amer­i­ca, con­tains brand new releas­es from con­tem­po­rary labels.

The Now Play­ing win­dow includes an option to buy, when pos­si­ble, as well as the artist’s name and album art­work. Share, like, get your groove on…

And stay tuned for Radiooooo’s lat­est baby, Le Globe, an inter­ac­tive 3‑D map of the world and a decade selec­tor dial mount­ed on a “beau­ti­ful con­nect­ed object.”

The bound­aries are extreme­ly per­me­able here.

Have a browse through Radiooooo’s Insta­gram feed for a feast of cov­er art or head to France for one of their in-per­son lis­ten­ing par­ties. (There’s one next week in the secret lis­ten­ing room of Paris’ Grand Hotel Amour.)

Read­ers, if your explo­rations unearth an excep­tion­al track, please share it in the com­ments, below.

Down­load the Radioooo app for Mac or Android here, or lis­ten on the web­site. (You may need to fool around with var­i­ous browsers to find the one that works best for you.)

Relat­ed Con­tent:

Hear 1,500+ Gen­res of Music, All Mapped Out on an Insane­ly Thor­ough Inter­ac­tive Graph

Behold the MusicMap: The Ulti­mate Inter­ac­tive Geneal­o­gy of Music Cre­at­ed Between 1870 and 2016

Google’s Music Time­line: A Visu­al­iza­tion of 60 Years of Chang­ing Musi­cal Tastes

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her radio dial is set to Roma­nia 1910 in antic­i­pa­tion of the third install­ment of her lit­er­ary-themed vari­ety show, Necro­mancers of the Pub­lic Domain , Mon­day, April 23 at the New York Soci­ety Library. Fol­low her @AyunHalliday.

A Young Steve Jobs Teaches a Class at MIT (1992)

Ask­ing whether there will ever be anoth­er Steve Jobs seems to me like ask­ing whether there’ll ever be anoth­er Muham­mad Ali. While there may be lit­tle com­par­i­son between their respec­tive domains, both unique indi­vid­u­als mas­tered their cho­sen pur­suits, fought like hell to keep their titles, and “thought dif­fer­ent” than every­one around them. Also Jobs, like Ali, didn’t hes­i­tate to speak his mind, as in the clip above, in which he declares Microsoft’s Win­dows “the worst devel­op­ment envi­ron­ment that’s ever been invent­ed.” It ain’t politic, but it’s maybe… kin­da true? I don’t know…

My opin­ions on the mat­ter aren’t worth much—I wouldn’t know the back­end of an oper­at­ing sys­tem from the back­end of a trac­tor-trail­er. But Jobs didn’t attain tech guru sta­tus just for the sleek­ness and sim­plic­i­ty of Apple’s designs, but for his keen insights into the refine­ment of con­sumer com­put­ing tech­nol­o­gy and his abil­i­ty to con­vey them with the unpre­ten­tious direct­ness of a black turtle­neck and dad jeans. The clips here are of a young-ish Jobs teach­ing at MIT cir­ca 1992, when he was 37 and run­ning his com­pa­ny NeXT, found­ed in 1985 after he was orig­i­nal­ly forced out of Apple.

He stayed plen­ty busy dur­ing his Apple inter­reg­num, help­ing to launch a lit­tle com­put­er graph­ics divi­sion that would become Pixar and devel­op­ing the tech­nol­o­gy and designs that rev­o­lu­tion­ized Apple when it bought NeXT in 1997—and when Jobs retook his empire through pro­pri­etary ruth­less­ness.

Here, five years away from that fate­ful event, we see him explain­ing his phi­los­o­phy of inno­va­tion to stu­dents who may or may not have fore­seen the break­throughs to come. Just above, he describes how “you can use the con­cept of tech­nol­o­gy of win­dows open­ing, and then even­tu­al­ly clos­ing,” refer­ring not, this time, to Bill Gates’ hat­ed OS.

Rather, Jobs talks of a sit­u­a­tion in which “enough tech­nol­o­gy, usu­al­ly from fair­ly diverse places, comes togeth­er, and makes some­thing that’s a quan­tum leap for­ward pos­si­ble.” One of Jobs’ many leaps for­ward in con­sumer tech­nol­o­gy might rea­son­ably be summed up in one word: porta­bil­i­ty, as in, the abil­i­ty to car­ry an entire library of music or a cell phone/music player/personal com­put­er in your pock­et.  Just above, he dis­cuss­es “the ene­my of porta­bil­i­ty,” name­ly such mar­ket demands as pro­cess­ing speed, stor­age space, and high-speed net­work­ing. And in the clip below, he talks about a sub­ject near and dear to every tech exec­u­tive’s heart—poaching tal­ent from com­peti­tors such as, well, Microsoft.

The uni­form of turtle­neck tucked into jeans, the delib­er­ate pac­ing back and forth, the expres­sive hand ges­tures and gen­uine com­fort and con­fi­dence in front of a crowd: all of the man­ner­isms we remem­ber from those hot­ly antic­i­pat­ed launch events are there in a shag­gi­er form.

Through the var­i­ous appli­ca­tions of his tech­no­log­i­cal acu­men, Jobs remained always him­self. The “next Steve Jobs,” or rather those aspir­ing to his lev­el of rel­e­vance should take note—he did it by insist­ing on doing it his way.

 

Relat­ed Con­tent:

The 20 CDs Curat­ed by Steve Jobs and Placed on Pro­to­type iPods (2001)

Steve Jobs Mus­es on What’s Wrong with Amer­i­can Edu­ca­tion, 1995

Steve Jobs on the Rise of the Per­son­al Com­put­er: A Rare 1990 Inter­view

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

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.

How to Use the Rotary Dial Phone: A Primer from 1927

Most every piece of tech­nol­o­gy, no mat­ter how sim­ple, comes with a user man­u­al of some sort. Even the seem­ing­ly straight­for­ward rotary dial phone.

Although Alexan­der Gra­ham Bell patent­ed the first tele­phone in 1876, the first rotary dial phones did­n’t make their way into Amer­i­can homes until 1919. Then came the oblig­a­tory tuto­r­i­al. Cre­at­ed by AT&T in 1927 and orig­i­nal­ly shown in the­atres in Fres­no, Cal­i­for­nia, the silent film above breaks down the process of dial­ing a call–from using a phone direc­to­ry and find­ing a num­ber, to pick­ing up the receiv­er and lis­ten­ing for that steady hum­ming sound called the “dial tone,” to turn­ing and releas­ing the rotary dial mul­ti­ple times, and so on. This primer would car­ry Amer­i­cans through 1963 when the first push-but­ton phones start­ed to pop up. That advent of the push-but­ton phone also came with a video, of course.

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via the Pub­lic Domain Review

Relat­ed Con­tent:

Hear the Voice of Alexan­der Gra­ham Bell for the First Time in a Cen­tu­ry

How Vinyl Records Are Made: A Primer from 1956

Aldous Huxley Tells Mike Wallace What Will Destroy Democracy: Overpopulation, Drugs & Insidious Technology (1958)

Over­pop­u­la­tion, manip­u­la­tive pol­i­tics, imbal­ances of soci­etal pow­er, addic­tive drugs, even more addic­tive tech­nolo­gies: these and oth­er devel­op­ments have pushed not just democ­ra­cy but civ­i­liza­tion itself to the brink. Or at least author Aldous Hux­ley saw it that way, and he told Amer­i­ca so when he appeared on The Mike Wal­lace Inter­view in 1958. (You can also read a tran­script here.) “There are a num­ber of imper­son­al forces which are push­ing in the direc­tion of less and less free­dom,” he told the new­ly famous news anchor, “and I also think that there are a num­ber of tech­no­log­i­cal devices which any­body who wish­es to use can use to accel­er­ate this process of going away from free­dom, of impos­ing con­trol.”

Hux­ley’s best-known nov­el Brave New World has remained rel­e­vant since its first pub­li­ca­tion in 1932. He appeared on Wal­lace’s show to pro­mote Brave New World Revis­it­ed (first pub­lished as Ene­mies of Free­dom), a col­lec­tion of essays on how much more rapid­ly than expect­ed the real world had come to resem­ble the dystopia he’d imag­ined a quar­ter-cen­tu­ry ear­li­er.

Some of the rea­sons behind his grim pre­dic­tions now seem over­stat­ed — he points out that “in the under­de­vel­oped coun­tries actu­al­ly the stan­dard of liv­ing is at present falling,” though the reverse has now been true for quite some time — but oth­ers, from the van­tage of the 21st cen­tu­ry, sound almost too mild.

“We must­n’t be caught by sur­prise by our own advanc­ing tech­nol­o­gy,” Hux­ley says in that time before smart­phones, before the inter­net, before per­son­al com­put­ers, before even cable tele­vi­sion. We also must­n’t be caught by sur­prise by those who seek indef­i­nite pow­er over us: to do that requires “con­sent of the ruled,” some­thing acquirable by addic­tive sub­stances — both phar­ma­co­log­i­cal and tech­no­log­i­cal — as well as “new tech­niques of pro­pa­gan­da.” All of this has the effect of “bypass­ing the sort of ratio­nal side of man and appeal­ing to his sub­con­scious and his deep­er emo­tions, and his phys­i­ol­o­gy even, and so, mak­ing him actu­al­ly love his slav­ery.”

Wal­lace’s ques­tions bring Hux­ley to a ques­tion of his own: “What does a democ­ra­cy depend on? A democ­ra­cy depends on the indi­vid­ual vot­er mak­ing an intel­li­gent and ratio­nal choice for what he regards as his enlight­ened self-inter­est, in any giv­en cir­cum­stance.” But democ­ra­cy-debil­i­tat­ing com­mer­cial and polit­i­cal pro­pa­gan­da appeals “direct­ly to these uncon­scious forces below the sur­faces so that you are, in a way, mak­ing non­sense of the whole demo­c­ra­t­ic pro­ce­dure, which is based on con­scious choice on ratio­nal ground.” Hence the impor­tance of teach­ing peo­ple “to be on their guard against the sort of ver­bal boo­by traps into which they are always being led.” The skill has arguably only grown in impor­tance since, as has his final thought in the broad­cast: “I still believe in democ­ra­cy, if we can make the best of the cre­ative activ­i­ties of the peo­ple on top plus those of the peo­ple on the bot­tom, so much the bet­ter.”

Relat­ed Con­tent:

Aldous Hux­ley Reads Dra­ma­tized Ver­sion of Brave New World

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

An Ani­mat­ed Aldous Hux­ley Iden­ti­fies the Dystopi­an Threats to Our Free­dom (1958)

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

Aldous Hux­ley, Psy­che­delics Enthu­si­ast, Lec­tures About “the Vision­ary Expe­ri­ence” at MIT (1962)

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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