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.

Marina Abramović Brings Back Her Iconic Performance Art Piece, The Artist Is Present, to Raise Money for Ukraine

For a cou­ple of months in 2010, Mari­na Abramović spent her days word­less­ly and motion­less­ly sit­ting at a table in the atri­um of the Muse­um of Mod­ern Art. Any vis­i­tor could sit in the chair oppo­site her, for as long as they liked. In response, Abramović said noth­ing and did almost noth­ing (even dur­ing vis­its from Lou Reed, Bjork, or her long-ago lover and col­lab­o­ra­tor, the late Ulay). The whole expe­ri­ence con­sti­tut­ed a piece of per­for­mance art, titled The Artist Is Present. As with many works of that form, to ask why Abramović did it is to miss the point. Noth­ing like it had been done before, and it thus promised to enter unchart­ed artis­tic, social, and emo­tion­al ter­ri­to­ry.

A dozen years lat­er, the artist will be present again, but this time with a high­ly spe­cif­ic motive in mind: to raise mon­ey for the besieged nation of Ukraine. “Abramović has part­nered with New York’s Sean Kel­ly Gallery and Art­sy to offer a per­for­mance art meet-and-greet… or at least meet-and-silent­ly-stare,” writes Hyper­al­ler­gic’s Sarah Rose Sharp.

“Through March 25, inter­est­ed par­ties can bid on one of two oppor­tu­ni­ties for a lim­it­ed restag­ing of Abramović’s epic per­for­mance The Artist Is Present.” These meet-and-silent­ly-stares “will be cap­tured by pho­tog­ra­ph­er Mar­co Anel­li, who doc­u­ment­ed almost all of the 1,500 par­tic­i­pants in the orig­i­nal per­for­mance.”

Pro­ceeds “will go to Direct Relief, which is work­ing with Ukraine’s Min­istry of Health to pro­vide urgent med­ical assis­tance as well as long-term aid to the many lives dev­as­tat­ed by the war.” Last month, when Rus­sia launched its inva­sion, Abramović released the video state­ment above. In it she explains hav­ing done some work in Ukraine last year, which afford­ed her an oppor­tu­ni­ty to get to know some of its peo­ple. “They’re proud, they’re strong, and they’re dig­ni­fied,” she says, and an attack on their coun­try “is an attack to all of us,” an “attack to human­i­ty.” If you feel the same way, have some mon­ey to spend, and missed out on the first The Artist Is Present — and if you think you can hold your own across from the for­mi­da­ble pres­ence glimpsed in the video — con­sid­er mak­ing a bid of your own.

via Hyper­al­ler­gic

Relat­ed con­tent:

In Touch­ing Video, Artist Mari­na Abramović & For­mer Lover Ulay Reunite After 22 Years Apart

Mari­na Abramović and Ulay’s Adven­tur­ous 1970s Per­for­mance Art Pieces

Mari­na Abramović’s Method for Over­com­ing Trau­ma: Go to a Park, Hug a Tree Tight, and Tell It Your Com­plaints for 15 Min­utes

Per­for­mance Artist Mari­na Abramović Describes Her “Real­ly Good Plan” to Lose Her Vir­gin­i­ty

Advice to Young Aspir­ing Artists from Pat­ti Smith, David Byrne & Mari­na Abramović

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

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.

Hear Aldous Huxley Narrate His Dystopian Masterpiece, Brave New World

The CBS Radio Work­shop was an “exper­i­men­tal dra­mat­ic radio anthol­o­gy series” that aired between 1956 and 1957. And it start­ed with style–with a dra­ma­tized adap­ta­tion of Brave New World, nar­rat­ed by Aldous Hux­ley him­self. The broad­cast aired on Jan­u­ary 27 and Feb­ru­ary 3 1956.  The remain­ing 84 pro­grams in the CBS Radio Work­shop series drew on the work of Antoine de Saint-Exupéry, James Thurber, H.L. Menck­en, Mark Twain, Robert Hein­lein, Eugene O’Neil, Balzac, Carl Sand­burg, and so many more. You can hear many of those episodes online here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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

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

When Aldous Hux­ley, Dying of Can­cer, Left This World Trip­ping on LSD, Expe­ri­enc­ing “the Most Serene, the Most Beau­ti­ful Death” (1963)

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

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

 

Explore Rarely-Seen Art by J. R. R. Tolkien in a New Web Site Created by the Tolkien Estate

J. R. R. Tolkien man­aged to write the Lord of the Rings tril­o­gy, which ought to be accom­plish­ment enough for one mor­tal. But he also wrote the The Hob­bit, the gate­way for gen­er­a­tions of chil­dren into his major work, as well as a host of oth­er works of fic­tion, poet­ry, and schol­ar­ship, many of them not pub­lished until after his death in 1973. And those are only his writ­ings: a life­long artist, Tolkien also pro­duced a great many draw­ings and paint­ingsbook-cov­er designs, and pic­tures meant to delight his own chil­dren as well as the chil­dren of oth­ers.

Yet some­how more mate­r­i­al has remained in the vault, and only now brought out for prop­er pub­lic con­sid­er­a­tion. As report­ed ear­li­er this month by Art­net’s Sarah Cas­cone, Tolkien’s estate “has released a new web­site fea­tur­ing art­works, some pre­vi­ous­ly unseen,” all cre­at­ed by the man him­self.

“In addi­tion to a num­ber of detailed maps, the estate has released illus­tra­tions Tolkien cre­at­ed for The Hob­bitThe Lord of the Rings, and The Sil­mar­il­lion, as well as draw­ings he made for his chil­dren, land­scapes drawn from real life, and imag­ined abstrac­tions.”

Tolkie­nol­o­gists will also thrill to the new site’s “pre­vi­ous­ly unpub­lished pho­tographs of Tolkien and his fam­i­ly, includ­ing his son Christo­pher, who drew the final ver­sions of the Lord of the Rings maps for pub­li­ca­tion.” (Christo­pher died in 2020, and Tolkien’s last sur­viv­ing child Priscil­la died just last month.) Divid­ed into sec­tions ded­i­cat­ed to his writ­ing, his paint­ing, his schol­ar­ship, his let­ters, his life, and relat­ed audio-visu­al mate­r­i­al, this online exhi­bi­tion presents Tolkien as not just a world-builder but a man in full. In his life and work, he estab­lished the mod­el for the mod­ern fan­ta­sy nov­el­ist, but also — as under­scored by a jour­ney across his full nar­ra­tive, intel­lec­tu­al, and artis­tic range — an ide­al unlike­ly to be equaled any time soon. Vis­it the site here.

via Smith­son­ian Mag­a­zine

Relat­ed con­tent

110 Draw­ings and Paint­ings by J. R. R. Tolkien: Of Mid­dle-Earth and Beyond

Dis­cov­er J. R. R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

Map of Mid­dle-Earth Anno­tat­ed by Tolkien Found in a Copy of Lord of the Rings

The Largest J. R. R. Tolkien Exhib­it in Gen­er­a­tions Is Com­ing to the U.S.: Orig­i­nal Draw­ings, Man­u­scripts, Maps & More

Dis­cov­er J. R. R. Tolkien’s Lit­tle-Known and Hand-Illus­trat­ed Children’s Book, Mr. Bliss

J. R. R. Tolkien Sent Illus­trat­ed Let­ters from Father Christ­mas to His Kids Every Year (1920–1943)

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.

What Was Actually Lost When the Library of Alexandria Burned?

The Library of Alexan­dria has been phys­i­cal­ly gone for about eigh­teen cen­turies now, but the insti­tu­tion endures as a pow­er­ful sym­bol. Today we have the inter­net, which none can deny is at least well on its way to becom­ing a dig­i­tal store of all human knowl­edge. But despite hav­ing emerged from an ever more enor­mous­ly com­plex tech­no­log­i­cal infra­struc­ture, the inter­net is dif­fi­cult to cap­ture in a leg­i­ble men­tal pic­ture. The Library of Alexan­dria, by con­trast, actu­al­ly stood in Egypt for some 300 years after its com­mis­sion­ing by Ptole­my I and II, and ear­ly in the sec­ond cen­tu­ry B.C. it bid fair to hold prac­ti­cal­ly all writ­ten knowl­edge in exis­tence with­in its walls (and those of its “daugh­ter library” the Ser­apeum, con­struct­ed when the main build­ing ran out of space).

Inter­est­ing enough as a lost work of ancient archi­tec­ture, the Library of Alexan­dria is remem­bered for its con­tents — not that his­to­ry has been able to remem­ber in much detail what those con­tents actu­al­ly were. “Some ancient authors claimed that it con­tained 700,000 books,” says ancient-his­to­ry schol­ar Gar­ret Ryan in the video above.

“Books, in this con­text, mean­ing papyrus scrolls,” and their actu­al num­ber was almost cer­tain­ly small­er. By the time the Library itself — or at least part of it — was burned down by Julius Cae­sar in 48 B.C., it had been falling into dis­use for quite some time. “It is some­times said that the destruc­tion of the Library of Alexan­dria set civ­i­liza­tion back by cen­turies,” Ryan tells us. “This is a wild exag­ger­a­tion.”

The Library of Alexan­dria might have been the most impres­sive intel­lec­tu­al repos­i­to­ry in the ancient world, but it was hard­ly the only one. Most of the works in its col­lec­tion, Ryan explains, would also have been held by oth­er libraries, though they would also decline along with the gen­er­al inter­est in clas­si­cal cul­ture. “Although there were cer­tain­ly many works of math­e­mat­ics and physics, the most impor­tant of these were wide­ly dis­sem­i­nat­ed else­where. What per­ished with the Library were, over­whelm­ing­ly, less­er-known works of lit­er­a­ture and phi­los­o­phy, com­men­taries and mono­graphs: all the residue and intro­spec­tion of an extreme­ly sophis­ti­cat­ed lit­er­ary cul­ture.” To schol­ars of ancient lit­er­a­ture, of course, such a loss is incal­cu­la­ble. And in our own cul­ture today, we’ll still do well to hold up the Library of Alexan­dria as an image of what it is to amass human knowl­edge — as well as what it is to let that knowl­edge decay.

Relat­ed con­tent:

The Rise and Fall of the Great Library of Alexan­dria: An Ani­mat­ed Intro­duc­tion

Behold 3,000 Dig­i­tized Man­u­scripts from the Bib­lio­the­ca Palati­na: The Moth­er of All Medieval Libraries Is Get­ting Recon­struct­ed Online

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

A 16th Cen­tu­ry “Data­base” of Every Book in the World Gets Unearthed: Dis­cov­er the Libro de los Epí­tomes Assem­bled by Christo­pher Colum­bus’ Son

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 “sees 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 IslandHuxley’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

 

‘Kyiv Calling:’ Ukrainian Punk Band Rerecords The Clash’s Anthem as a Call to Arms

Accord­ing to The Guardian, the sur­viv­ing mem­bers of The Clash have giv­en their bless­ing to the Ukrain­ian punk band, Beton, to record a new ver­sion of their 1979 clas­sic Lon­don Call­ing. Record­ed near the front­line of the bat­tle in Ukraine, Kyiv Call­ing (above) “has lyrics that call upon the rest of the world to sup­port the defence of the coun­try from Russ­ian invaders. All pro­ceeds of what is now billed as a ‘war anthem’ will go to the Free Ukraine Resis­tance Move­ment (FURM) to help fund a shared com­mu­ni­ca­tions sys­tem that will alert the pop­u­la­tion to threats and lob­by for inter­na­tion­al sup­port.”

You can donate to the Free Ukraine Resis­tance Move­ment here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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

via Boing­Bo­ing

Relat­ed Con­tent

The Sto­ry Behind the Icon­ic Bass-Smash­ing Pho­to on the Clash’s Lon­don Call­ing

“Joe Strummer’s Lon­don Call­ing”: All 8 Episodes of Strummer’s UK Radio Show Free Online

Mick Jones Plays Three Clas­sics by The Clash at the Pub­lic Library

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When James Brown Played Rikers Island Prison 50 Years Ago (1972)

Though not as well known as John­ny Cash’s con­certs at Fol­som and San Quentin pris­ons, James Brown’s 1972 con­cert at Rik­ers Island equal­ly quelled ris­ing ten­sions, and dis­played the humil­i­ty of the artist at the top of his game. Fifty years ago on March 16, Brown and his full band played two sets in front of a crowd of around 550. And until a bet­ter source is found, the above video is the only mov­ing record of that event, a shot from a tele­vi­sion news broad­cast. How did this con­cert come about? Accord­ing to the research of New York Times writer Bil­ly Heller, a lot comes down to the tenac­i­ty of Glo­ria Bond, who worked at the New York Board of Cor­rec­tions.

Ear­li­er in 1972, Rik­ers Island had seen major unrest. Inhu­mane con­di­tions and over­crowd­ing had led to a riot that injured 75 inmates and 20 guards. The post-riot atmos­phere was a “pres­sure cook­er”. The Board had pre­vi­ous­ly brought in Coret­ta Scott King to speak to pris­on­ers, and Har­ry Bela­fonte to per­form. But James Brown was some­body dif­fer­ent, with music that was rev­o­lu­tion­ary, and lyrics that were influ­enced by, and an influ­ence on, the Black Pow­er move­ment.

Brown’s man­ag­er Charles Bob­bit told Glo­ria Bond that the God­fa­ther of Soul was a hard man to get a hold of and rarely came to the office. Accord­ing to Bond’s daugh­ter Anna, Glo­ria replied:

“She says to him: ‘Well, Mr. Bob­bit, I’ll tell you what I’ll do. I’ll bring my knit­ting and I’ll sit in that cor­ner over there,’” Anna Bond said. “‘I won’t both­er any­body. I’ll just wait till he comes.’”
Glo­ria Bond did just that. “Every­body in the office got to know her, and they’d bring her cof­fee,” Anna Bond said. “She became part of the entourage by sit­ting in her lit­tle cor­ner, knit­ting.” Even­tu­al­ly, Brown arrived at the office and came face to face with Glo­ria Bond. “And the rest is his­to­ry,” Anna Bond said.

It helped that Brown was on a musi­cal cru­sade to save kids from drugs and a fast track to prison. Hav­ing once served time in his younger days, Brown saw too many Black youth going to jail for drug-relat­ed crimes. He had record­ed a song, a spo­ken poem in the style of “It’s a Man’s, Man’s, Man’s World” called “King Hero­in.” The drug was dec­i­mat­ing com­mu­ni­ties by the turn of the decade.

At Rik­ers he told the most­ly young audi­ence: “When you leave here, you can have a good life or you can have a bad life. How­ev­er you do it when you get out is up to you.” Brown used his own life as a mod­el of ris­ing above adver­si­ty. He also brought his full game (and his full ensem­ble to the show), treat­ing this gig as impor­tant as a show at the Apol­lo, maybe more so.

The pho­tog­ra­ph­er Diana Mara Hen­ry shot sev­er­al rolls of film that day and doc­u­ment­ed in black and white Brown and his band. Her quote from the short video below (note the incor­rect year) serves as a vibe for the whole expe­ri­ence:

“As an artist, you put every­thing you can into a per­for­mance and at some point you turn it over to the audi­ence.”

Relat­ed Con­tent:

James Brown Gives You Danc­ing Lessons: From The Funky Chick­en to The Booga­loo

The Best Com­mer­cial Ever? James Brown Sells Miso Soup (1992)

James Brown Saves Boston After Mar­tin Luther King’s Assas­si­na­tion, Calls for Peace Across Amer­i­ca (1968)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

Meet Anita Berber, the Cabaret Star Who Scandalized Weimar-Era Berlin

Ani­ta Berber, the taboo-bust­ing, sex­u­al­ly omniv­o­rous, fash­ion for­ward, fre­quent­ly naked star of the Weimar Repub­lic cabaret scene, tops our list of per­form­ers we real­ly wish we’d been able to see live.

While Berber act­ed in 27 films, includ­ing Pros­ti­tu­tion, direc­tor Fritz Lang’s Dr. Mabuse: The Gam­bler, and Dif­fer­ent from the Oth­ers, which film crit­ic Den­nis Har­vey describes as “the first movie to por­tray homo­sex­u­al char­ac­ters beyond the usu­al innu­en­do and ridicule,” we have a strong hunch that none of these appear­ances can com­pete with the sheer audac­i­ty of her stage work.

Audi­ences at Berlin’s White Mouse cabaret (some wear­ing black or white masks to con­ceal their iden­ti­ties) were tit­il­lat­ed by her Expres­sion­is­tic nude solo chore­og­ra­phy, as well as the troupe of six teenaged dancers under her com­mand.

As biog­ra­ph­er Mel Gor­don writes in The Sev­en Addic­tions and Five Pro­fes­sions of Ani­ta Berber: Weimar Berlin’s Priest­ess of Deprav­i­ty, Berber, often described as a “strip­per”, dis­played the pas­sion of a seri­ous artist, “respond(ing) to the audience’s heck­ling with show-stop­ping obscen­i­ties and inde­cent provo­ca­tions:”

Berber had been known to spit brandy on them or stand naked on their tables, dous­ing her­self in wine whilst simul­ta­ne­ous­ly uri­nat­ing… It was not long before the entire cabaret one night sank into a groundswell of shout­ing, screams and laugh­ter.  Ani­ta jumped off the stage in fum­ing rage, grabbed the near­est cham­pagne bot­tle and smashed it over a businessman’s head.

Her col­lab­o­ra­tions with her sec­ond hus­band, dancer Sebas­t­ian Droste, car­ried Berber into increas­ing­ly trans­gres­sive ter­ri­to­ry, both onstage and off.

Accord­ing to trans­la­tor Mer­rill Cole, in the intro­duc­tion to the 2012 reis­sue of Dances of Vice, Hor­ror and Ecsta­sy, a book of Expres­sion­ist poems, essays, pho­tographs, and stage designs which Droste and Berber co-authored, “even the bio­graph­i­cal details seduce:”

…a bisex­u­al some­times-pros­ti­tute and a shady fig­ure from the male homo­sex­u­al under­world, unit­ed in addic­tion to cocaine and dis­dain for bour­geois respectabil­i­ty, both high­ly tal­ent­ed, Expres­sion­ist-trained dancers, both beau­ti­ful exhi­bi­tion­ists, set out to pro­vide the Baby­lon on the Spree with the ulti­mate expe­ri­ence of deprav­i­ty, using an art form they had helped to invent for this pur­pose. Their brief mar­riage and artis­tic inter­ac­tion end­ed when Droste became des­per­ate for drugs and abscond­ed with Berber’s jew­el col­lec­tion.

This, and the descrip­tion of Berber’s pen­chant for “haunt(ing) Weimar Berlin’s hotel lob­bies, night­clubs and casi­nos, radi­ant­ly naked except for an ele­gant sable wrap, a pet mon­key hang­ing from her neck, and a sil­ver brooch packed with cocaine,” do a far more evoca­tive job of res­ur­rect­ing Berber, the Weimar sen­sa­tion, than any wordy, blow-by-blow attempt to recre­ate her shock­ing per­for­mances, though we can’t fault author Karl Toepfer, Pro­fes­sor Emer­i­tus of The­ater Arts at San Jose State Uni­ver­si­ty, for try­ing.

In Empire of Ecsta­sy: Nudi­ty and Move­ment in Ger­man Body Cul­ture, 1910–1935, Toepfer draws heav­i­ly on Czech chore­o­g­ra­ph­er Joe Jenčík’s eye­wit­ness obser­va­tions, to recon­struct Berber’s most noto­ri­ous dance, Cocaine, begin­ning with the “omi­nous scenery by Har­ry Täu­ber fea­tur­ing a tall lamp on a low, cloth-cov­ered table:”

This lamp was an expres­sion­ist sculp­ture with an ambigu­ous form that one could read as a sign of the phal­lus, an abstrac­tion of the female dancer’s body, or a mon­u­men­tal image of a syringe, for a long, shiny nee­dle pro­trud­ed from the top of it…It is not clear how nude Berber was when she per­formed the dance. Jenčík, writ­ing in 1929, flat­ly stat­ed that she was nude, but the famous Vien­nese pho­tog­ra­ph­er Madame D’O­ra (Dora Kalmus) took a pic­ture enti­tled “Kokain” in which Berber appears in a long black dress that expos­es her breasts and whose lac­ing, up the front, reveals her flesh to below her navel.

In any case, accord­ing to Jenčík, she dis­played “a sim­ple tech­nique of nat­ur­al steps and unforced pos­es.” But though the tech­nique was sim­ple, the dance itself, one of Berber’s most suc­cess­ful cre­ations, was appar­ent­ly quite com­plex. Ris­ing from an ini­tial con­di­tion of paral­y­sis on the floor (or pos­si­bly from the table, as indi­cat­ed by Täu­ber’s sceno­graph­ic notes), she adopt­ed a pri­mal move­ment involv­ing a slow, sculp­tured turn­ing of her body, a kind of slow-motion effect. The turn­ing rep­re­sent­ed the unrav­el­ing of a “knot of flesh.” But as the body uncoiled, it con­vulsed into “sep­a­rate parts,” pro­duc­ing a vari­ety of rhythms with­in itself. Berber used all parts of her body to con­struct a “trag­ic” con­flict between the healthy body and the poi­soned body: she made dis­tinct rhythms out of the move­ment of her mus­cles; she used “unex­pect­ed counter-move­ments” of her head to cre­ate an anguished sense of bal­ance; her “porce­lain-col­ored arms” made hyp­not­ic, pen­du­lum­like move­ments, like a mar­i­onet­te’s; with­in the pri­mal turn­ing of her body, there appeared con­tra­dic­to­ry turns of her wrists, tor­so, ankles; the rhythm of her breath­ing fluc­tu­at­ed with dra­mat­ic effect; her intense dark eyes fol­lowed yet anoth­er, slow­er rhythm; and she intro­duced the “most refined nuances of agili­ty” in mak­ing spasms of sen­sa­tion rip­ple through her fin­gers, nos­trils, and lips. Yet, despite all this com­plex­i­ty, she was not afraid of seem­ing “ridicu­lous” or “painful­ly swollen.” The dance con­clud­ed when the con­vulsed dancer attempt­ed to cry out (with the “blood-red open­ing of the mouth”) and could not. The dancer then hurled her­self to the floor and assumed a pose of motion­less, drugged sleep. Berber’s dance dra­ma­tized the intense ambi­gu­i­ty involved in link­ing the ecsta­t­ic lib­er­a­tion of the body to nudi­ty and rhyth­mic con­scious­ness. The dance tied ecsta­t­ic expe­ri­ence to an encounter with vice (addic­tion) and hor­ror (acute aware­ness of death).

A noble attempt, but for­give us if we can’t quite pic­ture it…

And what lit­tle evi­dence has been pre­served of her screen appear­ances exists at a sim­i­lar remove from  the dark sub­ject mat­ter she explic­it­ly ref­er­enced in her chore­o­graphed work — Mor­phine, Sui­cideThe Corpse on the Dis­sect­ing Table…

Cole opines:

There are a num­ber of nar­ra­tive accounts of her dances, some pinned by pro­fes­sion­al crit­ics, and almost all com­mend­ing her tal­ent, finesse, and mes­mer­iz­ing stage pres­ence. We also have film images from the var­i­ous silent films in which she played bit parts. There exist, too, many still pho­tographs of Berber and Droste, as well as ren­di­tions of Berber by oth­er artists, most promi­nent­ly the Dadaist Otto Dix’s famous scar­let-sat­u­rat­ed por­trait. In regard to the naked dances, unfor­tu­nate­ly, we have no mov­ing images, no way to watch direct­ly how they were per­formed.

For a dishy overview of Ani­ta Berber’s per­son­al life, includ­ing her alleged dal­liances with actress Mar­lene Diet­rich, author Lawrence Dur­rell, and the King of Yugoslavia, her influ­en­tial effect on direc­tor Leni Riefen­stahl, and her sad demise at the age of 29, a “car­rion soul that even the hye­nas ignored,” take a peek at Vic­to­ria Linchong’s bio­graph­i­cal essay for Messy Nessy Chic, or bet­ter yet, Iron Spike’s Twit­ter thread.

via Messy Nessy

- 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.

Relat­ed Con­tent 

Expe­ri­ence Footage of Roar­ing 1920s Berlin, Restored & Col­orized with Arti­fi­cial Intel­li­gence

The Nazis’ 10 Con­trol-Freak Rules for Jazz Per­form­ers: A Strange List from World War II

Down­load Hun­dreds of Issues of Jugend, Germany’s Pio­neer­ing Art Nou­veau Mag­a­zine (1896–1940)

Arnold Schwarzenegger Tells the Russian People (With Love) About Putin’s War in Ukraine

On social media chan­nels, Arnold Schwarzeneg­ger deliv­ered a mes­sage (with love) to the Russ­ian peo­ple, telling them what’s real­ly hap­pen­ing with Putin’s war in Ukraine, and expos­ing a truth that the Russ­ian gov­ern­ment has tried to cen­sor at home. You can find his video on Telegram, YouTube, Twit­ter, and Face­book. And as he says: “Please watch and share,” espe­cial­ly with any friends in Rus­sia.

Jack Kerouac Reads from On the Road: The Only Known Footage of the Beat Icon Reading His Work (1959)

The video above shows us Jack Ker­ouac giv­ing a read­ing, accom­pa­nied by the jazz piano stylings of evening tele­vi­sion vari­ety-show host Steve Allen. In oth­er words, if you’ve been look­ing for the most late-nine­teen-fifties clip in exis­tence, your jour­ney may have come to an end. Ear­li­er in that decade, Allen says (sprin­kling his mono­logue with a few notes here and there), “the nation rec­og­nized in its midst a social move­ment called the Beat Gen­er­a­tion. A nov­el titled On the Road became a best­seller, and its author, Jack Ker­ouac, became a celebri­ty: part­ly because he’d writ­ten a pow­er­ful and suc­cess­ful book, but part­ly because he seemed to be the embod­i­ment of this new gen­er­a­tion.”

As the nov­el­ists and poets of the Beat Gen­er­a­tion were grad­u­al­ly gain­ing renown, Allen was fast becom­ing a nation­al celebri­ty. In 1954, his co-cre­ation The Tonight Show made him the first late-night tele­vi­sion talk show host, and con­se­quent­ly applied pres­sure to stay atop the cul­tur­al cur­rents of the day. Not only did he know of the Beats, he joined them, at least for one col­lab­o­ra­tion: “Jack and I made an album togeth­er a few months back in which I played back­ground piano for his poet­ry read­ing.” That was Poet­ry for the Beat Gen­er­a­tion, the first of Ker­ouac’s tril­o­gy of spo­ken-word albums that we pre­vi­ous­ly fea­tured here on Open Cul­ture back in 2015.

“At that time I made a note to book him on this show,” Allen says, “because I thought you would enjoy meet­ing him.” After answer­ing a few “square ques­tions” by way of intro­duc­tion — it took him three weeks to write On the Road, he spent sev­en years on the road itself, he did indeed type on a con­tin­u­ous “scroll’ of paper, and he would define “Beat” as “sym­pa­thet­ic” — Ker­ouac reads from the nov­el that made his name, accom­pa­nied by Allen’s piano. “A lot of peo­ple have asked me, why did I write that book, or any book,” he begins. “All the sto­ries I wrote were true, because I believed in what I saw.” This is, of course, not poet­ry but prose, and prac­ti­cal­ly essay­is­tic prose at that, but here it sounds like a lit­er­ary form all its own.

If you’d like to hear the music of Ker­ouac’s prose with­out actu­al musi­cal accom­pa­ni­ment, have a lis­ten to his acetate record­ing of a half-hour selec­tion from On the Road that we post­ed last week­end. The occa­sion was the 100th anniver­sary of his birth, which else­where brought forth all man­ner of trib­utes and re-eval­u­a­tions of his work and lega­cy. 65 years after On the Road’s pub­li­ca­tion, how much resem­blance does today’s Amer­i­ca bear to the one criss­crossed by Sal Par­adise and Dean Mori­ar­ty? It’s worth con­sid­er­ing why the coun­try no longer inspires writ­ers quite like Jack Ker­ouac — or for that mat­ter, giv­en the pas­sage of his own lit­tle-not­ed cen­te­nary last Decem­ber, tele­vi­sion hosts like Steve Allen.

Relat­ed con­tent:

Jack Kerouac’s Hand-Drawn Map of the Hitch­hik­ing Trip Nar­rat­ed in On the Road

Hear All Three of Jack Kerouac’s Spo­ken-World Albums: A Sub­lime Union of Beat Lit­er­a­ture and 1950s Jazz

Jack Ker­ouac Reads Amer­i­can Haikus, Backed by Jazz Sax­o­phon­ists Al Cohn & Zoot Sims (1958)

Free: Hours of Jack Ker­ouac Read­ing Beat Poems & Verse

Jack Kerouac’s Poet­ry & Prose Read/Performed by 20 Icons: Hunter S. Thomp­son, Pat­ti Smith, William S. Bur­roughs, John­ny Depp & More

Young Frank Zap­pa Plays the Bicy­cle on The Steven Allen Show (1963)

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.


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