The Art of Making Old-Fashioned, Hand-Printed Books

Reports of tra­di­tion­al books’ death are great­ly exag­ger­at­ed, thanks in part to the suc­cess of print-on-demand pub­lish­ing and oth­er dig­i­tal inno­va­tions.

As thrilled as we are about the sur­vival of the print­ed page—it’s a relief to have some­thing to read after Wi-Fi fails dur­ing the zom­bie invasion—the crafts­man­ship that goes into hand-print­ed, hand-bound vol­umes is an almost-lost art.

The Vic­to­ria and Albert Museum’s video, above, doc­u­ments the painstak­ing process, begin­ning with the arrang­ing of met­al type that will result in an octa­vo, the most com­mon type of book.

It’s a qui­et endeav­or, though sure­ly a bit loud­er than the V&A’s silent doc­u­men­ta­tion, an unusu­al choice giv­en a cer­tain seg­ment of the mil­len­ni­al pop­u­lace’s appetite for well-edit­ed arti­sanal craft videos in which music plays a big part.

A well-deployed tune could ele­vate these love­ly visu­als to the realms of the advanced ele­gy.

YouTube user, Krafts­man Sheng, attempts to rem­e­dy the sit­u­a­tion by repro­duc­ing the video (sans attri­bu­tion) with a sound­track of his own choos­ing—pianist Roger Williams’ syrupy 1965 ren­di­tion of “Soft­ly As I Leave You,” below.

An uncon­ven­tion­al choice, to be sure. I should think some­thing baroque would go bet­ter with all of this metic­u­lous fold­ing, cut­ting, and bind­ing.

Though per­haps some­thing a lit­tle more robust could high­light the hard­core hero­ism of the arti­sans toil­ing to keep this ancient art alive. Elec­tric Lit has a round up of great book-inspired punk songs, of which “Time” by Richard Hell and the Voidoids seems par­tic­u­lar­ly apt.

Print­’s not dead!

via Atlas Obscu­ra

Relat­ed Con­tent:

Brazil Gives Out Books That Dou­ble as Sub­way Tick­ets, Pro­mot­ing Lit­er­a­cy & Mass Tran­sit at Once

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Oxford Uni­ver­si­ty Presents the 550-Year-Old Guten­berg Bible in Spec­tac­u­lar, High-Res Detail

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

The New York Public Library Unveils a Cutting-Edge Train That Delivers Books

In ear­ly Octo­ber, The New York Pub­lic Library will unveil a new book deliv­ery sys­tem that fea­tures 24 cars, run­ning on 950-feet of ver­ti­cal and hor­i­zon­tal track, mov­ing mil­lions of books through 11 dif­fer­ent lev­els of the library, at a rate of 75 feet per minute. This new $2.6 mil­lion book trans­port sys­tem replaces a clunki­er old one where “box­es of research mate­ri­als were placed on a series of con­vey­or belts.”

book-train-at-nypl

Image by Jonathan Blanc/NYPL

Says Matt Knutzen, direc­tor of the Human­i­ties and Social Sci­ences Research Divi­sions with­in the Stephen A. Schwarz­man Build­ing, “This new depend­able and effi­cient sys­tem will ensure a seam­less deliv­ery of research items from our stor­age facil­i­ty to the researchers who need them.”  “Our pri­or­i­ties include pre­serv­ing our mate­ri­als and mak­ing them increas­ing­ly acces­si­ble to the pub­lic in an inspir­ing space for research – our recent stor­age expan­sion, our restora­tion of the Read­ing Room, and the instal­la­tion of this sys­tem are all ele­ments of that work.”

Above, you can watch the new sys­tem at work, chug­ging away, climb­ing to new heights, and deliv­er­ing books to hap­py read­ers.

via Boing­Bo­ing/NYPL

Relat­ed Con­tent:

The New York Pub­lic Library Lets You Down­load 180,000 Images in High Res­o­lu­tion: His­toric Pho­tographs, Maps, Let­ters & More

New York Pub­lic Library Puts 20,000 Hi-Res Maps Online & Makes Them Free to Down­load and Use

100,000+ Won­der­ful Pieces of The­ater Ephemera Dig­i­tized by The New York Pub­lic Library

 

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

20 years after Aldous Hux­ley pub­lished Brave New World (1931), he was still the medi­a’s go-to futur­ist. Let me cite two exam­ples:

In 1950, Red­book Mag­a­zine asked four experts (includ­ing Hux­ley) “what the world may look like fifty years hence?,” to which the author respond­ed:

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.

Then, in 1958, a young reporter named Mike Wal­lace had Hux­ley play prophet on a 30-minute TV show. Over­pop­u­la­tion gets dis­cussed again. But then Hux­ley returns to some famil­iar dystopi­an themes, iden­ti­fy­ing some emerg­ing threats to our free­doms. 

  • Overor­ga­ni­za­tion: “Well anoth­er force which I think is very strong­ly oper­a­tive in this coun­try is the force of what may be called of overor­ga­ni­za­tion. Er…As tech­nol­o­gy becomes more and more com­pli­cat­ed, it becomes nec­es­sary to have more and more elab­o­rate orga­ni­za­tions, more hier­ar­chi­cal orga­ni­za­tions, and inci­den­tal­ly the advance of tech­nol­o­gy is being accom­pa­nied by an advance in the sci­ence of orga­ni­za­tion.

    It’s now pos­si­ble to make orga­ni­za­tions on a larg­er scale than it was ever pos­si­ble before, and so that you have more and more peo­ple liv­ing their lives out as sub­or­di­nates in these hier­ar­chi­cal sys­tems con­trolled by bureau­cra­cy, either the bureau­cra­cies of big busi­ness­es or the bureau­cra­cies of big gov­ern­ment.”

  • Abuse of new tech­nolo­gies: “There are cer­tain­ly devices which can be used [to lim­it free­doms.] I mean, let us er…take after all, a piece of very recent and very painful his­to­ry is the pro­pa­gan­da used by Hitler, which was incred­i­bly effec­tive.

    I mean, what were Hitler’s meth­ods? Hitler used ter­ror on the one kind, brute force on the one hand, but he also used a very effi­cient form of pro­pa­gan­da, which er…he was using every mod­ern device at that time. He did­n’t have TV., but he had the radio which he used to the fullest extent, and was able to impose his will on an immense mass of peo­ple. I mean, the Ger­mans were a high­ly edu­cat­ed peo­ple.

  • Drugs: I mean, in this book that you men­tioned, this book of mine, “Brave New World,” er…I pos­tu­lat­ed it a sub­stance called ‘soma,’ which was a very ver­sa­tile drug. It would make peo­ple feel hap­py in small dos­es, it would make them see visions in medi­um dos­es, and it would send them to sleep in large dos­es.…

    If you want to pre­serve your pow­er indef­i­nite­ly, you have to get the con­sent of the ruled, and this they will do part­ly by drugs as I fore­saw in “Brave New World,” part­ly by these new tech­niques of pro­pa­gan­da. They will do it by 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.

Above, you can watch ani­mat­ed excerpts from Wal­lace’s inter­view with Hux­ley, cour­tesy of Blank on Blank. Find the com­plete orig­i­nal inter­view below, along with a tran­script here

Relat­ed Con­tent:

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

Hear Aldous Hux­ley Read Brave New World

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

Pizza Box Becomes a Playable DJ Turntable Through the Magic of Conductive Ink

Turns out Piz­za Hut is good for some­thing…

They’ve teamed up with the print­ed elec­tron­ics com­pa­ny Novalia to turn card­board piz­za box­es into playable turnta­bles. Spe­cial­iz­ing in tech­nol­o­gy that adds touch and con­nec­tiv­i­ty to every­day sur­faces, Novalia has cre­at­ed two scratch­able decks, each with con­trols that let you fine-tune the vol­ume, pitch, play­back, and cross­fad­ing. And it’s all done with the mag­ic of con­duc­tive ink.

Accord­ing to Live for Music, “the bat­tery-pow­ered box can be hooked up to a com­put­er or phone through Blue­tooth, then con­nect­ed to any DJ soft­ware like Ser­a­to or DJ Pro.” Right now, the playable piz­za box is only avail­able at a few Piz­za Hut loca­tions in the UK. Above, DJ Vec­tra offers a primer on using the new gad­get.

via Live for Music

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Lis­ten to Tree Rings Get­ting Played on a Turntable and Turned into Music

How to Clean Your Vinyl Records with Wood Glue

Postage Stamps from Bhutan That Dou­ble as Playable Vinyl Records

The “Amen Break”: The Most Famous 6‑Second Drum Loop & How It Spawned a Sam­pling Rev­o­lu­tion

Take a Virtual Reality Tour of the World’s Stolen Art

A muse­um which con­tains only works of art that nobody can find sounds like some­thing Jorge Luis Borges would’ve dreamed up, but it has twice become a real­i­ty in the 21st cen­tu­ry — or twice become a vir­tu­al real­i­ty, any­way. “The Con­cert by Johannes Ver­meer. Pop­py Flow­ers by Vin­cent van Gogh. Rembrandt’s The Storm on the Sea of Galilee. These are some of the world’s most famous and expen­sive paint­ings ever stolen,” writes Fast Com­pa­ny’s Mark Wil­son. And though their where­abouts remain unknown, you can see them at The Muse­um of Stolen Art, “a vir­tu­al real­i­ty exhi­bi­tion cre­at­ed by Ziv Schnei­der, a grad­u­ate stu­dent at Tisch ITP, that puts stolen works back on dis­play.”

museum of stolen art

At the moment, Schnei­der’s project exists on Google’s vir­tu­al real­i­ty plat­form Card­board, and you can down­load it as a smart­phone app for iOS or Android. Its cur­rent exhibits include “a col­lec­tion of pho­tographs list­ed as stolen in the FBI’s art crime data­base”; the pri­vate col­lec­tion of Fer­di­nand and Imel­da Mar­cos, for­mer pres­i­dent and first lady of the Philip­pines, now “being searched for by the PCGG – a Philip­pine gov­ern­ment office in charge of seiz­ing the Mar­cos’ ill got­ten wealth and bring­ing it back”; and “a large col­lec­tion of paint­ings stolen in some of the world’s most famous art heists, includ­ing the Stew­art and Isabel­la Gard­ner Muse­um in Boston.”

But even before Schnei­der’s insti­tu­tion opened its vir­tu­al-real­i­ty doors, writes The Cre­ators Pro­jec­t’s Becky Chung, “halfway across the world anoth­er insti­tu­tion — also called the Muse­um of Stolen Art — was debut­ing its gallery exhi­bi­tion of works cur­rent­ly report­ed stolen or miss­ing.” This Muse­um of Stolen Art, in the Nether­lands, presents the Pop­py Flow­ers and Water­loo Bridges of the art world in not vir­tu­al but aug­ment­ed real­i­ty: its vis­i­tors raise their phones or tablets up to its mean­ing­ful­ly emp­ty walls, and on their screens see the pur­loined works restored to their right­ful frames. William Gib­son, in some sense the Bor­ge­sian vision­ary of our tech-sat­u­rat­ed time, has described aug­ment­ed real­i­ty as the nat­ur­al evo­lu­tion of vir­tu­al real­i­ty. It’s made vir­tu­al art recov­ery pos­si­ble; can vir­tu­al art theft be far behind?

museum of stolen art 3

Reminder: You can down­load The Muse­um of Stolen Art smart­phone app on iOS and AndroidThe app is ide­al­ly designed for those with a Google card­board view­er.

Relat­ed Con­tent:

1.8 Mil­lion Free Works of Art from World-Class Muse­ums: A Meta List of Great Art Avail­able Online

Vis­it The Muse­um of Online Muse­ums (MoOM): A Mega Col­lec­tion of 220 Online Exhi­bi­tions

The British Muse­um Is Now Open To Every­one: Take a Vir­tu­al Tour and See 4,634 Arti­facts, Includ­ing the Roset­ta Stone

Take a Vir­tu­al Tour of the 1913 Exhi­bi­tion That Intro­duced Avant-Garde Art to Amer­i­ca

Take a 3D Vir­tu­al Tour of the Sis­tine Chapel, St. Peter’s Basil­i­ca and Oth­er Art-Adorned Vat­i­can Spaces

Take a Vir­tu­al Tour of Hierony­mus Bosch’s Bewil­der­ing Mas­ter­piece The Gar­den of Earth­ly Delights

What Are the Most Stolen Books? Book­store Lists Fea­ture Works by Muraka­mi, Bukows­ki, Bur­roughs, Von­negut, Ker­ouac & Palah­niuk

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear Marc Maron’s Long Talk with Werner Herzog

herzog and maron

Image by Erinc Salor and The Nec­es­sary Evil, via Wiki­me­dia Com­mons

Heads up: In the lat­est episode of the WTF pod­cast, film­mak­er Wern­er Her­zog pays a vis­it to Marc Maron’s garage in Los Ange­les, and they get into a wide-rang­ing con­ver­sa­tion, talk­ing about Her­zog’s upbring­ing in war-torn Ger­many, his upcom­ing film projects and a good deal more. But inevitably they focus on Her­zog’s new film, a med­i­ta­tion on the inter­net and tech­nol­o­gy called Lo And Behold: Rever­ies Of The Con­nect­ed World, which opens in the­aters this Fri­day. You can also watch it at home.

Feel free to stream Maron and Her­zog’s con­ver­sa­tion below. It starts around the 33:30 mark. Or hear it over at Maron’s web­site.


If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Wern­er Her­zog Will Teach His First Online Course on Film­mak­ing

Wern­er Herzog’s Rogue Film School: Apply & Learn the Art of Gueril­la Film­mak­ing & Lock-Pick­ing

Wern­er Her­zog Picks His 5 Favorite Films

Watch Sunspring, the Sci-Fi Film Written with Artificial Intelligence, Starring Thomas Middleditch (Silicon Valley)

This past spring the streets of Seoul, where I live, felt more like a sci-fi movie than usu­al. Large over­head video screens kept the pop­u­la­tion post­ed on the progress of a series of Go match­es between 18-time world cham­pi­on Lee Sedol and Alpha­Go, a piece of arti­fi­cial intel­li­gence devel­oped by Google Deep­Mind. Com­put­ers have long had a spe­cial dif­fi­cul­ty mas­ter­ing that tra­di­tion­al game, but before long it became clear that this com­put­er would win most of the match­es, despite the human’s for­mer­ly unshak­able pre­dic­tion of the oppo­site out­come. What would arti­fi­cial intel­li­gence achieve next?

“In the wake of Google’s AI Go vic­to­ry, film­mak­er Oscar Sharp turned to his tech­nol­o­gist col­lab­o­ra­tor Ross Good­win to build a machine that could write screen­plays,” say the video notes for the new short film Sun­spring. They assem­bled hun­dreds of sci­ence fic­tion scripts, most­ly from 1980s and 90s tele­vi­sion shows and movies, and fed them into the arti­fi­cial intel­li­gence, which even­tu­al­ly named itself Ben­jamin, so as to teach it the mechan­ics of screen­writ­ing. “Build­ing a team includ­ing Thomas Mid­dled­itch, star of HBO’s Sil­i­con Val­ley, they gave them­selves 48 hours to shoot and edit what­ev­er Ben­jamin decid­ed to write.” Ben­jamin decid­ed to write eight min­utes’ worth of its own inter­pre­ta­tion of the tropes of a cer­tain kind of sci-fi enter­tain­ment.

It did come up with, fair to say, some dia­logue a human screen­writer could only dream of — that is to say, words with the kind of uncon­scious log­ic that, deliv­ered by liv­ing, breath­ing actors in phys­i­cal spaces, take on weight, humor, and even an askew kind of mean­ing. (Mid­dled­itch’s despon­dent “I am not a bright light” will sure­ly stay quotable for years to come.) You can learn more about the mak­ing of Sun­spring from this Ars Tech­ni­ca piece by Annalee Newitz. Ben­jamin won’t put any sci-fi scribes out of work just yet, haunt­ing though it may seem for a pro­gram to have come so close to doing some­thing clas­si­cal­ly human as telling a sto­ry about the future. But remem­ber, peo­ple had to write that pro­gram, just as peo­ple had to cre­ate Alpha­Go; every achieve­ment of arti­fi­cial intel­li­gence thus also counts as an achieve­ment of human­i­ty.

Relat­ed Con­tent:

The Soci­ety of Mind: A Free Online Course from Mar­vin Min­sky, Pio­neer of Arti­fi­cial Intel­li­gence

Two Arti­fi­cial Intel­li­gence Chat­bots Talk to Each Oth­er & Get Into a Deep Philo­soph­i­cal Con­ver­sa­tion

Noam Chom­sky Explains Where Arti­fi­cial Intel­li­gence Went Wrong

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Maya Angelou Reads Her Poem, “The Human Family,” in New iPhone Ad Released for the Olympics’ Opening Ceremony

It’s always demor­al­iz­ing when a favorite song—Iggy Pop’s “Lust for Life” or the Rolling Stones’ “Brown Sug­ar” come to mind—is co-opt­ed to sell soda or Caribbean cruis­es.

Poet­ry, how­ev­er? I’m not ungrate­ful to have some smug­gled into my day by a com­mer­cial car­ri­er whose agen­da is some­how less sus­pect. Would that we lived in a world where the poet­ry of Ted Hugh­es or Emi­ly Dick­in­son might be seen as hav­ing the pow­er to sell view­ers on a par­tic­u­lar brand of piz­za or auto­mo­bile.

It almost seems we do, giv­en the response to “The Human Fam­i­ly,” a new Apple spot show­cas­ing the iPhone’s cam­era capa­bil­i­ties with a slideshow of por­traits sub­mit­ted by users the world round. The images—already captivating—are made more so by the unmis­take­able voice of the late Maya Angelou, whose poem, “The Human Fam­i­ly,” sup­plies both title and inspi­ra­tion.

It’s very stir­ring, as befits an ad debut­ing dur­ing the Olympics’ open­ing cer­e­mo­ny. (I weep that the Super Bowl failed to make the Dr. Angelou com­mer­cial par­o­dies of yore a real­i­ty.)

The one-minute spot shaves a bit off the poem, but per­haps it is okay to leave a bit behind as a reward for view­ers moved to look it up on their own.

The com­plete text is here. Below, find a non-Apple-spon­sored video that match­es the same nar­ra­tion to a slideshow fea­tur­ing the author at var­i­ous stages of life. The read­ing will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

via Adweek

Relat­ed Con­tent:

Watch a Music Video & Hear Tracks From Maya Angelou’s Posthu­mous Hip-Hop Album, Caged Bird Songs

Maya Angelou Reads “Still I Rise” and “On the Pulse of the Morn­ing”

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her lat­est script, Fawn­book, is avail­able in a dig­i­tal edi­tion from Indie The­ater Now.  Fol­low her @AyunHalliday.

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