How a Dutch “Dementia Village” Improves Quality of Life with Intentional Design

Peo­ple suf­fer­ing from demen­tia lose their abil­i­ty to take an active part in con­ver­sa­tions, every­day activ­i­ties, and their own phys­i­cal upkeep.

They are prone to sud­den mood swings, irri­tabil­i­ty, depres­sion, and anx­i­ety.

They may be strick­en with delu­sions and wild hal­lu­ci­na­tions.

All of these things can be under­stand­ably upset­ting to friends and fam­i­lies. There’s a lot of stig­ma sur­round­ing this sit­u­a­tion.

Tak­ing care of a spouse or par­ent with demen­tia can be an over­whelm­ing­ly iso­lat­ing expe­ri­ence, though no one is more iso­lat­ed than the per­son expe­ri­enc­ing severe cog­ni­tive decline first­hand.

While many of us would do any­thing to stay out of them, the sad fact is res­i­den­tial mem­o­ry care facil­i­ties are often the end-of-the-line real­i­ty for those liv­ing with extreme demen­tia.

The Hogeweyk, a planned vil­lage just out­side of Ams­ter­dam, offers a dif­fer­ent sort of future for those with severe demen­tia.

The above episode of By Design, Vox’s series about the inter­sec­tion of design and tech­nol­o­gy, explores the inno­va­tions that con­tribute to the Hogeweyk’s res­i­dents’ over­all hap­pi­ness and well­be­ing.

Rather than group­ing res­i­dents togeth­er in a sin­gle insti­tu­tion­al set­ting, they are placed in groups of six, with every­one inhab­it­ing a pri­vate room and shar­ing com­mon spaces as they see fit.

The com­mon spaces open onto out­door areas that can be freely enjoyed by all housed in that “neigh­bor­hood”. No need to wait until a staff mem­ber grants per­mis­sion or fin­ish­es some task.

Those wish­ing to ven­ture fur­ther afield can avail them­selves of such pleas­ant quo­tid­i­an des­ti­na­tions as a gro­cery, a restau­rant, a bar­ber­shop, or a the­ater.

These loca­tions are designed in accor­dance with cer­tain things proven to work well in insti­tu­tion­al set­tings —  for instance, avoid­ing dark floor tiles, which some peo­ple with demen­tia per­ceive as holes.

But oth­er design ele­ments reflect the choice to err on the side of qual­i­ty of life. Hand rails may help in pre­vent­ing falls, but so do rol­la­tors and walk­ers, which the res­i­dents use on their jaunts to the town squares, gar­dens and pub­lic ameni­ties.

The design­ers believe that equip­ping res­i­dents with a high lev­el of free­dom not only pro­motes phys­i­cal activ­i­ty, it min­i­mizes issues asso­ci­at­ed with demen­tia like aggres­sion, con­fu­sion, and wan­der­ing.

Co-founders Eloy van Hal and Jan­nette Spier­ing write that the Hogeweyk’s crit­ics com­pare it to the Tru­man Show, the 1998 film in which Jim Car­rey’s title char­ac­ter real­izes that his whole­some small town life, and his every inter­ac­tion with his pur­port­ed friends, neigh­bors, and loved ones, have been a set up for a high­ly rat­ed, hid­den cam­era real­i­ty TV show.

They describe The Hogeweyk as a stage for, “the rem­i­nis­cence world”, in which actors help the res­i­dents live in a fic­ti­tious world. Many Alzheimer’s experts have, how­ev­er, val­ued The Hogeweyk for what it real­ly is: a famil­iar and safe envi­ron­ment in which peo­ple with demen­tia live while retain­ing their own iden­ti­ty and auton­o­my as much as pos­si­ble. They live in a social com­mu­ni­ty with real streets and squares, a real restau­rant with real cus­tomers, a super­mar­ket for gro­ceries and a the­atre that hosts real per­for­mances. There is no fake bus stop or post office, there are no fake façades and sets. The restau­rant employ­ee, the handy­man, the care­tak­er, the nurse, the hair­dress­er, etc.—in short: every­one who works at The Hogeweyk uses their pro­fes­sion­al skills to actu­al­ly sup­port the res­i­dents and are, there­fore, cer­tain­ly not actors.

Pro­fes­sion­al care and sup­port goes on around the clock, but rarely takes cen­ter­stage. Nor­mal life is pri­or­i­tized.

A vis­i­tor describes a stroll through some of the Hogeweyk’s pub­lic areas:

In the shade of one of the large trees, a mar­ried cou­ple gazes hap­pi­ly at the activ­i­ty in the the­atre square. An elder­ly gen­tle­man, togeth­er with a young lady, intent­ly study the large chess board and take turns mov­ing the pieces. At the foun­tain, a group of women chat loud­ly on colour­ful gar­den chairs. The sto­ry is clear­ly audible—it is about a mem­o­ry of a vis­it to a park in Paris which had the same chairs. Passers-by, old and young, greet the women enthu­si­as­ti­cal­ly. A lit­tle fur­ther on, a woman is talk­ing to a man oppo­site her. She is ges­tur­ing wild­ly. After a while, anoth­er woman joins the con­ver­sa­tion. The two women then walk through the open front door of Boule­vard 15.

The cov­ered pas­sage smells of fresh­ly-baked cook­ies. The scent is com­ing from De Bonte Hof. Amus­ing con­ver­sa­tions can be heard that pause for a moment when the oven beeps in the kitchen that has been dec­o­rat­ed in an old-fash­ioned style. A tray of fresh cook­ies is removed from the oven. Two women, one in a wheel­chair, enter the venue, obvi­ous­ly seduced by the smell. They sam­ple the cook­ies.

The super­mar­ket across the street is very busy. Shop­ping trol­leys loaded with gro­ceries are pushed out of the shop. The rat­tle of a shop­ping trol­ley dis­si­pates into the dis­tance as it dis­ap­pears from view towards Grote Plein. A man reluc­tant­ly push­es the full trol­ley while two women fol­low behind him arm in arm. The trio dis­ap­pear behind the front door of Grote Plein 5.


A staffer’s account of a typ­i­cal morn­ing in one of Hogeweyk’s hous­es reveals more about the hands-on care that allows res­i­dents to con­tin­ue enjoy­ing their care­ful­ly designed home, and the autonomous lifestyle it makes pos­si­ble:

Mr Hen­dricks wakes up on the sofa. He unzips his fly. I jump up and escort him to the toi­let just in time. I grab a roll of med­ica­tion for him from the med­ica­tion trol­ley. He is now walk­ing to his room. We pick out clothes togeth­er and I lay them out on his bed. He wash­es him­self at the sink. I watch briefly before leav­ing. Fif­teen min­utes lat­er, I poke my head through the door. That’s not how elec­tric shav­ing works! I offer to help, but Mr. Hen­dricks is clear­ly a bit irri­tat­ed and grum­bles. He’ll be a lit­tle less shaven today. We’ll try again after break­fast…

We help Mrs Sti­j­nen into the show­er chair with the hoist. She is clear­ly not used to it. Dis­cussing her exten­sive Swarovs­ki col­lec­tion, dis­played in the glass case in her room, turns out to be an excel­lent dis­trac­tion. She proud­ly talks about the lat­est piece she acquired this year. On to the show­er. The two oth­er res­i­dents are still sleep­ing. Great, that gives me the chance to devote some extra time to Mrs Sti­j­nen today.

The door­bell rings again and my col­league, Yas­min, walks in. She’s the famil­iar face that every­one can rely on. Always present at 8 a.m., 5 days a week. What a relief for res­i­dents and fam­i­ly. She, too, puts her coat and bag in the lock­er. The wash­ing machine is ready, and Yas­min loads up the dry­er. The table in the din­ing room is then set. Yas­min puts a flo­ral table­cloth from the cup­board on the table. Mr Hen­dricks lends a hand and, with some guid­ance, puts two plates in their place, but then walks away to the sofa and sits down. A Dutch break­fast with bread, cheese, cold cuts, jam, cof­fee, tea and milk is served. Yas­min is mak­ing por­ridge for Mrs Smit. As always, she has break­fast in bed. Yas­min helps Mrs Smit. It is now 08:45 and Mr Hen­dricks and Mrs Sti­j­nen are sit­ting at the din­ing table. Yas­min push­es the chairs in and sits down her­self. They chat about the weath­er, and Yas­min lends a help­ing hand when need­ed.

Mr Hen­dricks is real­ly grumpy today and is cur­rent­ly grum­bling at Mrs Jansen. I’m won­der­ing if we’re over­look­ing some­thing?

Learn more about the Hogeweyk, the world’s first demen­tia vil­lage here.

Watch a playlist of Vox By Design episodes here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent 

The Restau­rant of Mis­tak­en Orders: A Tokyo Restau­rant Where All the Servers Are Peo­ple Liv­ing with Demen­tia

How Music Can Awak­en Patients with Alzheimer’s and Demen­tia

Demen­tia Patients Find Some Eter­nal Youth in the Sounds of AC/DC

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

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Why Overconfidence Is Our Most Dangerous Cognitive Bias

In the two-thou­sands, the magi­cian-come­di­ans Penn and Teller host­ed a tele­vi­sion series called Bull­shit! In it, they took on a vari­ety of cul­tur­al phe­nom­e­na they regard­ed as wor­thy of the tit­u­lar epi­thet, from ESP to Area 51, exor­cism to cre­ation­ism, feng shui to haute cui­sine. Their sar­don­ic argu­ments were enriched by clips of assort­ed inter­vie­wees —speak­ing in defense of the top­ic of the day. Penn once addressed the view­ers, say­ing that we might won­der why any­one agrees to come on the show, giv­en how they must know it will make them come off. But every­one, he explained, con­fi­dent­ly believes that their own ideas are the cor­rect ones.

That episode came right to mind while watch­ing the new Ver­i­ta­si­um video above, which deals with the phe­nom­e­non of over­con­fi­dence. Like the oft-cit­ed 93 per­cent of Amer­i­cans who believe them­selves bet­ter dri­vers than the medi­an, we all fall vic­tim to that afflic­tion at one time or anoth­er, to one degree or anoth­er; the more inter­est­ing mat­ter under inves­ti­ga­tion is why that should be so.

One can always point to what T. S. Eliot called “the end­less strug­gle to think well of them­selves”: want­i­ng to believe that we know it all, we take pains to present our­selves as if we do. But as explained by the pro­fes­sors inter­viewed here, Carnegie Mel­lon’s Baruch Fis­chhoff and Berke­ley’s Don A. Moore (author of Per­fect­ly Con­fi­dent: How to Cal­i­brate Your Deci­sions Wise­ly), the research has also revealed oth­er poten­tial fac­tors in play.

One impor­tant can­di­date is, as ever, stu­pid­i­ty. Much has been made of the Dun­ning-Kruger effect, pre­vi­ous­ly fea­tured here on Open Cul­ture, which holds that the less com­pe­tent peo­ple are at a task, the more con­fi­dent they tend to be about their abil­i­ty to per­form it. That would seem to accord with much of our every­day expe­ri­ence, but we should also con­sid­er the role played by the basic cog­ni­tive lim­i­ta­tions that apply to us all. Our brains can only process so much at once, and when they come up against capac­i­ty, they default to sim­pli­fied, and often too-sim­pli­fied, ver­sions of the prob­lem before them. It all becomes more dif­fi­cult if we’re insu­lat­ed from direct, objec­tive feed­back, a con­di­tion that often results from the kind of suc­cess and esteem that can be achieved by pro­ject­ing — you guessed it — con­fi­dence.

Relat­ed con­tent:

Why Incom­pe­tent Peo­ple Think They’re Com­pe­tent: The Dun­ning-Kruger Effect, Explained

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

AC/DC Plays a Short Gig at CBGB in 1977: Hear Metal Being Played on Punk’s Hallowed Grounds

Punk rock and heavy met­al were two gen­res that evolved over the ‘70s, but seemed to run par­al­lel to each oth­er, despite shar­ing com­mon fash­ion, sounds, and atti­tudes. But then there are moments in his­to­ry, where every­body plays togeth­er in the same sand­box. For exam­ple, the above remas­tered audio, which cap­tures the Aus­tralian band AC/DC on their first Amer­i­can tour, play­ing New York’s CBGB, syn­ony­mous now with punk and new wave music.

The date is August 24, 1977, and AC/DC were on a cross-coun­try trip that had tak­en in both club dates and are­nas, where they supported—yes, hard to believe, I know—REO Speed­wag­on. Their album Let There Be Rock had just dropped in June. The band would be in the States until the win­ter.

This CBGB gig finds them on the same bill as Talk­ing Heads and the Dead Boys, accord­ing to a poster from the time. And while there’s no video for this show, you can find a few pho­tos that doc­u­ment the con­cert here. You can feel the mug­gy New York sum­mer in these pho­tos, but also the excite­ment of an unfor­get­table gig.

At 15 min­utes, the set is short, but still three min­utes longer than the Ramones’ first set at the same club three years ear­li­er. That’s pret­ty met­al, man.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

Relat­ed Con­tent:

NYC’s Icon­ic Punk Club CBG­Bs Comes Alive in a Bril­liant Short Ani­ma­tion, Using David Godlis’ Pho­tos of Pat­ti Smith, The Ramones & More

CBGB’s Hey­day: Watch The Ramones, The Dead Boys, Bad Brains, Talk­ing Heads & Blondie Per­form Live (1974–1982)

Lis­ten to Pat­ti Smith’s Glo­ri­ous Three Hour Farewell to CBGB’s on Its Final Night

The Talk­ing Heads Play CBGB, the New York Club That Shaped Their Sound (1975)

Watch an Episode of TV-CBGB, the First Rock ‘n’ Roll Sit­com Ever Aired on Cable TV (1981)

Ted Mills is a free­lance writer on the arts.

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Why Your Vision of Ancient Rome Is All Wrong, According to Historian Mary Beard

Every­one in ancient Rome wore togas, sur­round­ed them­selves with pure-white mar­ble stat­ues, bayed for blood as glad­i­a­tors fought to the death in the Colos­se­um, pro­gram­mat­i­cal­ly imi­tat­ed the Greeks, and, after each and every debauch­er­ous feast, excused them­selves to the vom­i­to­ria, where they rit­u­al­ly vacat­ed their stom­achs. Or at least that’s the pic­ture any of us here in the twen­ty-first cen­tu­ry might piece togeth­er out of the impres­sions we hap­pen to receive from a steady flow of sword-and-san­dals movies and TV shows — not to men­tion the count­less ref­er­ences that pop­u­lar cul­ture makes to the Roman Empire, which inevitably make their way into the con­scious­ness even of those of us who don’t think about it every day.

In the new, almost 80-minute Big Think inter­view above, Mary Beard explains some of the ways in which we’ve been “pic­tur­ing ancient Rome all wrong.” The ancient Romans lived in a world in which men kissed each oth­er as a stan­dard greet­ing (at least until a mas­sive out­break of her­pes put a stop to it it), stat­u­ary was paint­ed in all man­ner of gar­ish col­ors (though just how gar­ish remains a mat­ter of schol­ar­ly inquiry), cit­i­zens rich enough to wear togas need­ed the assis­tance of slaves even to get dressed in the morn­ing, and Greece took cul­tur­al influ­ence as well as gave it. These may not yet be fea­tures of the Rome we imag­ine, but they could be if we make a habit of lis­ten­ing to Beard’s new pod­cast Instant Clas­sics.

What­ev­er lib­er­ties they take, the depic­tions of the Roman Empire that enter­tain us today also remind us that, as Beard puts it, “Rome has nev­er gone away in the mod­ern world.” Nowhere is that clear­er than in ever-more-fre­quent dis­cus­sions about the fate of mod­ern glob­al pow­ers. If we look at our sur­round­ings and see Rome, per­haps that’s because the Eter­nal City has “giv­en us an image of what it is to be pow­er­ful, what it is to be larg­er than life, what it is to be fun­ny, what it is to be an empire, so it’s pro­vid­ed many of the build­ing blocks we need to think about our­selves.” Even if we’re not the mod­ern equiv­a­lents of Augus­tus, Vir­gil, Cicero, or even Nero — to name a few of the Romans Beard name as, for bet­ter or worse, the most impor­tant — we could all stand to make our image of Roman life a lit­tle more real­is­tic.

Relat­ed Con­tent:

Empire With­out Lim­it: Watch Mary Beard’s TV Series on Ancient Rome

Mythol­o­gy Expert Reviews Depic­tions of Greek & Roman Myths in Pop­u­lar Movies and TV Shows

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How Paris Became Paris: The Story Behind Its Iconic Squares, Bridges, Monuments & Boulevards

Even today, the Paris of the pop­u­lar imag­i­na­tion is, for the most part, the Paris envi­sioned by Baron Georges-Eugène Hauss­mann and made a real­i­ty in the eigh­teen-fifties and six­ties. Not that he could order the city built whole: as explained by Manuel Bra­vo in the new video above, Paris had already exist­ed for about two mil­len­nia, grow­ing larg­er, denser, and more intri­cate all the while. But as the pre­fect under Emper­or Napoleon III, Hauss­mann was empow­ered to carve it up by force, open­ing “dozens of wide, long avenues that con­nect­ed impor­tant parts of the city,” a lay­out that “mir­rored the street sys­tem in Rome cre­at­ed 300 years ear­li­er by Pope Six­tus V, but on a much grander scale.”

How­ev­er con­sid­er­able the vio­lence it did to medieval Paris, this process of “Hauss­m­an­niza­tion” showed a cer­tain his­tor­i­cal con­scious­ness. After all, the French cap­i­tal was once a Roman city: Lute­tia Pariso­rum, named for the Parisii, the Gal­lic tribe that had inhab­it­ed the island in the mid­dle of the Seine that Parisians now call Île de la Cité.

As was their usu­al modus operan­di, the con­quer­ing Romans laid a car­do max­imus run­ning from north to south, today known as Rue Saint-Jacques. There­after, “the rest of the orig­i­nal lay­out was lost to organ­ic growth.” In the form Paris even­tu­al­ly took in the Mid­dle Ages, “there were no pub­lic urban spaces of major sig­nif­i­cance”: no Place Dauphine, no Place des Vos­ges, no Place Vendôme.

Those very same Parisian squares now enjoyed by locals and tourists alike did much to devel­op the expec­ta­tion of “aes­thet­ic uni­ty” in the city’s built envi­ron­ment, and a cou­ple of cen­turies before Hauss­mann at that. It may not be a com­plete exag­ger­a­tion to call Paris frozen in the Baron’s mid-nine­teenth cen­tu­ry, but as Bra­vo explains, a close exam­i­na­tion of both the city’s cel­e­brat­ed spaces and over­all form reveals the ways in which a much deep­er past has done its part to shape or inspire them. An enthu­si­ast of urban his­to­ry can spend weeks, months, or even years appre­ci­at­ing the details that remind us that the palimpsest of Paris has nev­er quite been over­writ­ten, even in a place as unre­lent­ing­ly exam­ined — if sel­dom tru­ly seen — as the Lou­vre.

Relat­ed Con­tent:

A 3D Ani­ma­tion Reveals What Paris Looked Like When It Was a Roman Town

Take an Aer­i­al Tour of Medieval Paris

The Archi­tec­tur­al His­to­ry of the Lou­vre: 800 Years in Three Min­utes

A 5‑Hour Walk­ing Tour of Paris and Its Famous Streets, Mon­u­ments & Parks

A Cin­e­mat­ic Jour­ney Through Paris, As Seen Through the Lens of Leg­endary Film­mak­er Éric Rohmer: Watch Rohmer in Paris

Venice Explained: Its Archi­tec­ture, Its Streets, Its Canals, and How Best to Expe­ri­ence Them All

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Aleister Crowley Reads Occult Poetry in the Only Known Recordings of His Voice (1920)

Image by Jules Jacot Guil­lar­mod, via Wiki­me­dia Com­mons

In 2016, we brought you a rather strange sto­ry about the rival­ry between poet William But­ler Yeats and magi­cian Aleis­ter Crow­ley. Theirs was a feud over the prac­tices of occult soci­ety the Her­met­ic Order of the Gold­en Dawn; but it was also—at least for Crowley—over poet­ry. Crow­ley envied Yeats’ lit­er­ary skill; Yeats could not say the same about Crow­ley. But while he did not nec­es­sar­i­ly respect his ene­my, Yeats feared him, as did near­ly every­one else. As Yeats’ biog­ra­ph­er wrote a few months after Crowley’s death in 1947, “in the old days men and women lived in ter­ror of his evil eye.”

The press called Crow­ley “the wickedest man in the world,” a rep­u­ta­tion he did more than enough to cul­ti­vate, iden­ti­fy­ing him­self as the Anti-Christ and dub­bing him­self “The Beast 666.” (Crow­ley may have inspired the “rough beast” of Yeats’ “The Sec­ond Com­ing.”) Crow­ley did not achieve the lit­er­ary recog­ni­tion he desired, but he con­tin­ued to write pro­lif­i­cal­ly after Yeats and oth­ers eject­ed him from the Gold­en Dawn in 1900: poet­ry, fic­tion, crit­i­cism, and man­u­als of sex mag­ic, rit­u­al, and symbolism—some penned dur­ing famed moun­taineer­ing expe­di­tions.

Through­out his life, Crow­ley was var­i­ous­ly a moun­taineer, chess prodi­gy, schol­ar, painter, yogi, and founder of a reli­gion he called Thele­ma. He was also a hero­in addict and by many accounts an extreme­ly abu­sive cult leader. How­ev­er one comes down on Crowley’s lega­cy, his influ­ence on the occult and the coun­ter­cul­ture is unde­ni­able. To delve into the his­to­ry of either is to meet him, the mys­te­ri­ous, bizarre, bald fig­ure whose the­o­ries inspired every­one from L. Ron Hub­bard and Anton LaVey to Jim­my Page and Ozzy Osbourne.

With­out Crow­ley, it’s hard to imag­ine much of the dark weird­ness of the six­ties and its result­ing flood of cults and eso­teric art. For some occult his­to­ri­ans, the Age of Aquar­ius real­ly began six­ty years ear­li­er, in what Crow­ley called the “Aeon of Horus.” For many oth­ers, Crowley’s influ­ence is inex­plic­a­ble, his books inco­her­ent, and his pres­ence in polite con­ver­sa­tion offen­sive. These are under­stand­able atti­tudes. If you’re a Crow­ley enthu­si­ast, how­ev­er, or sim­ply curi­ous about this leg­endary occultist, you have here a rare oppor­tu­ni­ty to hear the man him­self intone his poems and incan­ta­tions.

“Although this record­ing has pre­vi­ous­ly been avail­able as a ‘Boot­leg,’” say the CD lin­er notes from which this audio comes, “this is its first offi­cial release and to the label’s knowl­edge, con­tains the only known record­ing of Crow­ley.” Record­ed cir­ca 1920 on a wax cylin­der, the audio has been dig­i­tal­ly enhanced, although “sur­face noise may be evi­dent.” (Stream them above, or on this YouTube playlist here.) Indeed, it is dif­fi­cult to make out what Crow­ley is say­ing much of the time, but that’s not only to do with the record­ing qual­i­ty, but with his cryp­tic lan­guage. The first five tracks com­prise “The Call of the First Aethyr” and “The Call of the Sec­ond Aethyr.” Oth­er titles include “La Gitana,” “The Pen­ta­gram,” “The Poet,” “Hymn to the Amer­i­can Peo­ple,” and “Excerpts from the Gnos­tic Mass.”

It’s unclear under what cir­cum­stances Crow­ley made these record­ings or why, but like many of his books, they com­bine occult litur­gy, mythol­o­gy, and his own lit­er­ary utter­ances. Love him, hate him, or remain indif­fer­ent, there’s no get­ting around it: Aleis­ter Crow­ley had a tremen­dous influ­ence on the 20th cen­tu­ry and beyond, even if only a very few peo­ple have made seri­ous attempts to under­stand what he was up to with all that sex mag­ic, blood sac­ri­fice, and wicked­ly bawdy verse.

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent:

Aleis­ter Crow­ley & William But­ler Yeats Get into an Occult Bat­tle, Pit­ting White Mag­ic Against Black Mag­ic (1900)

Aleis­ter Crow­ley: The Wickedest Man in the World Doc­u­ments the Life of the Bizarre Occultist, Poet & Moun­taineer

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

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Watch 50 David Bowie Music Videos Spanning Five Decades of Reinvention: “Space Oddity,” “Life on Mars?” “ ‘Heroes’,” “Let’s Dance” & More

Each of us has a dif­fer­ent idea of when, exact­ly, the six­ties end­ed, not as a decade, but as a dis­tinct cul­tur­al peri­od. Some have a notion of the “long six­ties” that extends well into the sev­en­ties; if pressed for a spe­cif­ic final year, they could do worse than point­ing to 1972, when David Bowie made his epoch-shift­ing appear­ance as Zig­gy Star­dust, backed by the Spi­ders from Mars, on the BBC’s Top of the Pops. It was also the year he released music videos for “Space Odd­i­ty,” the sin­gle that had begun to make his name at the time of the moon land­ing in 1969, and “Jean Genie,” the first sin­gle from Aladdin Sane, an album inspired in part by the debauch­ery of the Amer­i­can Zig­gy tour he under­took after blast­ing off into star­dom.


Hav­ing strug­gled in the six­ties to find a suit­able iden­ti­ty and audi­ence, the young Bowie devel­oped an unusu­al­ly strong under­stand­ing of not just the music indus­try, but also the cul­ture itself. One era was giv­ing way to anoth­er, and nobody knew it bet­ter than he did. When all those hir­sute fig­ures in beards and den­im, singing with osten­ta­tious earnest­ness about love and free­dom, dis­ap­peared, who would replace them?

In Bowie’s vision, the next phase belonged to clean-shaven, made-up androg­y­nes in flam­boy­ant design­er cos­tumes work­ing grand, some­times sci­ence fic­tion­al, and often inscrutable themes into what would strike con­cert­go­ers as almost com­plete the­atri­cal expe­ri­ences — and he would be the first and fore­most among them.

Bowie, in oth­er words, made the sev­en­ties his own, oper­at­ing on his knowl­edge of and instincts about the media envi­ron­ment of that decade and how images would be made in it. By that time, he’d seen too many flash­es in the pan of pop music to get com­pla­cent about his own prospects for endurance. The recep­tion of “Space Odd­i­ty” as a nov­el­ty song did its part to moti­vate him to come up with his bisex­u­al space-alien rock-star alter ego — and to moti­vate him to ter­mi­nate that per­sona on stage in 1973. A cou­ple of years before that, he had already sung of the impor­tance of changes, a kind of man­i­festo that would guide his career through all the decades that remained. Nev­er would Bowie adhere to a par­tic­u­lar musi­cal or aes­thet­ic style for very long, an abid­ing ten­den­cy vivid­ly on dis­play in this playlist of 50 music videos on his offi­cial YouTube chan­nel.

The expe­ri­ence of putting out music videos in the sev­en­ties placed Bowie well, espe­cial­ly com­pared to oth­er artists of his gen­er­a­tion, to make his mark on MTV in the eight­ies with a sta­di­um-ready hit like “Let’s Dance.” The nineties found him tak­ing the form in new direc­tions, as with the cinephili­cal­ly astute video for “Jump They Say” and the dar­ing­ly action-free visu­al treat­ment of the reflec­tive “Thurs­day’s Child” (from the album Hours…, which began as the sound­track to the com­put­er game Omikron: The Nomad Soul). Apart from this playlist, his chan­nel also con­tains music videos for his lat­er songs from the two-thou­sands and twen­ty-tens, from “New Killer Star” to “The Stars (Are Out Tonight)” to “Black­star” — the nature of star­dom hav­ing been a pre­oc­cu­pa­tion since the begin­ning, even though he kept on chang­ing to the very end.

Relat­ed Con­tent:

Watch David Bowie Star in His First Film Role, a Short Hor­ror Flick Called The Image (1967)

Watch David Bowie Per­form “Star­man” on Top of the Pops: Vot­ed the Great­est Music Per­for­mance Ever on the BBC (1972)

David Bowie Per­forms “Life on Mars?” and “Ash­es to Ash­es” on John­ny Carson’s “Tonight Show” (1980)

David Bowie’s Music Video “Jump They Say” Pays Trib­ute to Marker’s La Jetée, Godard’s Alphav­ille, Welles’ The Tri­al & Kubrick’s 2001

Watch David Bowie’s New Video for “The Stars (Are Out Tonight)” With Til­da Swin­ton

When Bowie & Jagger’s “Danc­ing in the Street” Music Video Becomes a Silent Film

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The First Photograph of a Human Being: A Photo Taken by Louis Daguerre in 1838

You’ve like­ly heard the rea­son peo­ple nev­er smile in very old pho­tographs. Ear­ly pho­tog­ra­phy could be an excru­ci­at­ing­ly slow process. With expo­sure times of up to 15 min­utes, por­trait sub­jects found it impos­si­ble to hold a grin, which could eas­i­ly slip into a pained gri­mace and ruin the pic­ture. A few min­utes rep­re­sent­ed a marked improve­ment on the time it took to make the very first pho­to­graph, Nicéphore Niépce’s 1826 “heli­o­graph.” Cap­tur­ing the shapes of light and shad­ow out­side his win­dow, Niépce’s image “required an eight-hour expo­sure,” notes the Chris­t­ian Sci­ence Mon­i­tor, “long enough that the sun­light reflects off both sides of the build­ings.”

Niépce’s busi­ness and invent­ing part­ner is much more well-known: Louis Jacques Mandé Daguerre, who went on after Niépce’s death in 1833 to devel­op the Daguerreo­type process, patent­ing it in 1839. That same year, the first self­ie was born. And the year pri­or Daguerre him­self took what most believe to be the very first pho­to­graph of a human, in a street scene of the Boule­vard du Tem­ple in Paris. The image shows us one of Daguerre’s ear­ly suc­cess­ful attempts at image-mak­ing, in which, writes NPR’s Robert Krul­wich, “he exposed a chem­i­cal­ly treat­ed met­al plate for ten min­utes. Oth­ers were walk­ing or rid­ing in car­riages down that busy street that day, but because they moved, they didn’t show up.”

Vis­i­ble, how­ev­er, in the low­er left quad­rant is a man stand­ing with his hands behind his back, one leg perched on a plat­form. A clos­er look reveals the fuzzy out­line of the per­son shin­ing his boots. A much fin­er-grained analy­sis of the pho­to­graph shows what may be oth­er, less dis­tinct fig­ures, includ­ing what looks like two women with a cart or pram, a child’s face in a win­dow, and var­i­ous oth­er passers­by. The pho­to­graph marks a his­tor­i­cal­ly impor­tant peri­od in the devel­op­ment of the medi­um, one in which pho­tog­ra­phy passed from curios­i­ty to rev­o­lu­tion­ary tech­nol­o­gy for both artists and sci­en­tists.

Although Daguerre had been work­ing on a reli­able method since the 1820s, it wasn’t until 1838, the Met­ro­pol­i­tan Muse­um of Art explains, that his “con­tin­ued exper­i­ments pro­gressed to the point where he felt com­fort­able show­ing exam­ples of the new medi­um to select­ed artists and sci­en­tists in the hope of lin­ing up investors.” Photography’s most pop­u­lar 19th cen­tu­ry use—perhaps then as now—was as a means of cap­tur­ing faces. But Daguerre’s ear­li­est plates “were still life com­po­si­tions of plas­ter casts after antique sculp­ture,” lend­ing “the ‘aura’ of art to pic­tures made by mechan­i­cal means.” He also took pho­tographs of shells and fos­sils, demon­strat­ing the medium’s util­i­ty for sci­en­tif­ic pur­pos­es.

If por­traits were per­haps less inter­est­ing to Daguerre’s investors, they were essen­tial to his suc­ces­sors and admir­ers. Can­did shots of peo­ple mov­ing about their dai­ly lives as in this Paris street scene, how­ev­er, proved next to impos­si­ble for sev­er­al more decades. What was for­mer­ly believed to be the old­est such pho­to­graph, an 1848 image from Cincin­nati, shows what appears to be two men stand­ing at the edge of the Ohio Riv­er. It seems as though they’ve come to fetch water, but they must have been stand­ing very still to have appeared so clear­ly. Pho­tog­ra­phy seemed to stop time, freez­ing a sta­t­ic moment for­ev­er in phys­i­cal form. Blurred images of peo­ple mov­ing through the frame expose the illu­sion. Even in the stillest, stiffest of images, there is move­ment, an insight Ead­weard Muy­bridge would make cen­tral to his exper­i­ments in motion pho­tog­ra­phy just a few decades after Daguerre debuted his world-famous method.

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent:

The First Pho­to­graph Ever Tak­en (1826)

The First “Self­ie” In His­to­ry Tak­en by Robert Cor­nelius, a Philadel­phia Chemist, in 1839

Ead­weard Muybridge’s Motion Pho­tog­ra­phy Exper­i­ments from the 1870s Pre­sent­ed in 93 Ani­mat­ed Gifs

Josh Jones is a writer and musi­cian based in Durham, NC. 

 

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Beautiful, Color Photographs of Paris Taken a Century Ago—at the Beginning of World War I & the End of La Belle Époque

It may well be that the major piv­ot points of his­to­ry are only vis­i­ble to those around the bend. For those of us immersed in the present—for all of its deaf­en­ing sirens of vio­lent upheaval—the exact years future gen­er­a­tions will use to mark our epoch remain unclear. But when we look back, cer­tain years stand out above all oth­ers, those that his­to­ri­ans use as arrest­ing­ly sin­gu­lar book titles: 1066: The Year of Con­quest1492: The Year the World Began, 1776. The first such year in the 20th cen­tu­ry gets a par­tic­u­lar­ly grim sub­ti­tle in his­to­ri­an Paul Ham’s 1914: The Year the World End­ed.

It sounds like hyper­bol­ic mar­ket­ing, but that apoc­a­lyp­tic descrip­tion of the effects of World War I comes from some of the most elo­quent voic­es of the age, whether those of Amer­i­can expa­tri­ates like Gertrude Stein or T.S. Eliot, or of Euro­pean sol­dier-poets like Wil­fred Owen or Siegfried Sas­soon.

In France, the hor­rors of the war prompt­ed its sur­vivors to remem­ber the years before it as La Belle Epoque, a phrase—wrote the BBC’s Hugh Schofield in the cen­te­nary essay “La Belle Eqoque: Paris 1914,”—that appeared “much lat­er in the cen­tu­ry, when peo­ple who’d lived their gild­ed youths in the pre-war years start­ed look­ing back and rem­i­nisc­ing.”

Moulin Rouge

We’re used to see­ing the peri­od of 1914 in grainy, drea­ry black-and-white, and to see­ing nos­tal­gic cel­e­bra­tions of La Belle Epoque rep­re­sent­ed graph­i­cal­ly by the live­ly full-col­or posters and adver­tise­ments one finds in décor stores. But thanks to the full col­or pho­tos you see here, we can see pho­tographs of World War I‑era Paris in full and vibrant color—images of the city 110 years ago almost just as Parisians saw it at the time. Icons like the Moulin Rouge come to life in bright day­light, above, and light­ing up the night, below.

Moulin Rouge Night

Ear­ly cin­e­ma Aubert Palace, below, in the Grands Boule­vards, shim­mers beau­ti­ful­ly, as does the art-deco light­ing of the Eif­fel Tow­er, fur­ther down.

Aubert Palace

Deco Eiffel

Below, hot air bal­loons hov­er in the enor­mous Grand Palais, and fur­ther down, a pho­to­graph of Notre Dame on a hazy day almost looks like a water­col­or.

Grand Palais

The pho­tographs were made, writes Messy N Chic, “using Autochrome Lumière tech­nol­o­gy between 1914 and 1918 [a tech­nique devel­oped in 1903 by the Lumière broth­ers, cred­it­ed as the first film­mak­ers]…. [T]here are around 72,000 Autochromes from the time peri­od of places all over the world, includ­ing Paris in its true col­ors.”

Paris Street

Paris Soldiers

Not all of the pho­tographs are of famous archi­tec­tur­al mon­u­ments or nightlife des­ti­na­tions. Very many show ordi­nary street scenes, like those above, one depict­ing a num­ber of bored French sol­diers, pre­sum­ably await­ing deploy­ment.

Paris Street 2

The Paris of 1914 was a Euro­pean cap­i­tal in major tran­si­tion, in more ways than one. “Moder­ni­ty was the mov­ing spir­it,” writes Schofield; “It was the time of the machine. The city’s last horse-drawn omnibus made its way from Saint-Sulpice to La Vil­lette in Jan­u­ary 1913.”

Parisian Coal vendors

Paris Down and Out

Schofield also points out that, like Gild­ed Age New York, “the pub­lic image of Paris was the cre­ation of roman­tic cap­i­tal­ists. The real­i­ty for many was much more wretched… there were entire fam­i­lies liv­ing on the street, and decrepit, over­crowd­ed hous­ing with nonex­is­tent san­i­ta­tion.”

Moder­ni­ty was leav­ing many behind, class con­flict loomed in France as it erupt­ed in Rus­sia, even as the glob­al cat­a­stro­phe of World War I threat­ened French elites and pro­le­tari­at alike, who both served and who both died at very high rates.

Aeroplane

You can see many more of these aston­ish­ing­ly beau­ti­ful full-col­or pho­tographs of 1914 Paris—at the end of La Belle Epoque—at Vin­tage Every­day and Messy N Chic.

Arc de Triumph

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

Paris Had a Mov­ing Side­walk in 1900, and a Thomas Edi­son Film Cap­tured It in Action

Pris­tine Footage Lets You Revis­it Life in Paris in the 1890s: Watch Footage Shot by the Lumière Broth­ers

Paris in Beau­ti­ful Col­or Images from 1890: The Eif­fel Tow­er, Notre Dame, The Pan­théon, and More (1890)

Josh Jones is a writer and musi­cian based in Durham, NC. 

The Groundbreaking Animation That Defined Pink Floyd’s Psychedelic Visual Style: Watch “French Windows” (1972)

You could argue that, of all rock bands, that Pink Floyd had the least need for visu­al accom­pa­ni­ment. Son­i­cal­ly rich and evoca­tive­ly struc­tured, their albums evolved to offer lis­ten­ing expe­ri­ences that verge on the cin­e­mat­ic in them­selves. Yet from fair­ly ear­ly in the Floy­d’s his­to­ry, their artis­tic ambi­tions extend­ed to that which could not be heard. Can you real­ly under­stand their enter­prise, it’s fair to ask, if you remain mere­ly one of their lis­ten­ers, nev­er enter­ing the visu­al dimen­sion — not just their album cov­ers, repro­duc­tions of which still grace many a dorm room wall, but also their elab­o­rate stage shows, music videos (which they were mak­ing before that form had a name), and films? One man had more respon­si­bil­i­ty for the devel­op­ment of the Floy­d’s visu­al style than any oth­er: Ian Emes.

In 1972, Emes took it upon him­self to ani­mate their song “One of These Days” from the pre­vi­ous year’s album Med­dle. When the fin­ished work, “French Win­dows,” aired on the BBC music show The Old Grey Whis­tle Test, it caught the eye of the Floy­d’s key­board play­er Rick Wright. The group then got in touch with Emes, ask­ing to use “French Win­dows” as a pro­jec­tion behind their con­certs.

They went on to com­mis­sion fur­ther work from him, for songs like “Speak to Me,” Time,” and “On the Run” from The Dark Side of the Moon. This pro­fes­sion­al con­nec­tion endured for decades. When Roger Waters put on his own per­for­mances of The Wall — includ­ing the enor­mous­ly scaled show in Berlin in 1990 — he had Emes direct its ani­mat­ed sequences. The post-Waters ver­sion of Pink Floyd even called up Emes in 2015 to ask him to make a film to accom­pa­ny their final album The End­less Riv­er.

It was, in a way, the com­ple­tion of a cir­cle: “One of These Days” is a most­ly instru­men­tal song, and The End­less Riv­er is a most­ly instru­men­tal album; “French Win­dows” uses roto­scop­ing, which involves trac­ing over live action footage to make more real­is­ti­cal­ly smooth ani­ma­tion, and the End­less Riv­er film presents its own live action footage in a man­ner that some­times verges on the abstract. Both works cre­ate their own visu­al envi­ron­ments, which dove­tails with what Emes, who died two years ago, once described as the appeal for him of the Floyd: “They went to archi­tec­ture col­lege and so I think their music cre­ates spaces. It cre­ates envi­ron­ments of sound and I was so stim­u­lat­ed that my mind would soar, and so I would see images that were stim­u­lat­ed by the music.” Their music takes a dif­fer­ent form before the mind’s eye of each fan, but it was Emes who made his visions a part of their lega­cy.

Relat­ed Con­tent:

Psy­che­del­ic Scenes of Pink Floyd’s Ear­ly Days with Syd Bar­rett, 1967

Pink Floyd Films a Con­cert in an Emp­ty Audi­to­ri­um, Still Try­ing to Break Into the U.S. Charts (1970)

Pink Floyd’s First Mas­ter­piece: An Audio/Video Explo­ration of the 23-Minute Track, “Echoes” (1971)

Down­load Pink Floyd’s 1975 Com­ic Book Pro­gram for The Dark Side of the Moon Tour

The First Pro­fes­sion­al Footage of Pink Floyd Gets Cap­tured in a 1967 Doc­u­men­tary (and the Band Also Pro­vides the Sound­track)

How Pink Floyd Built The Wall: The Album, Tour & Film

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Ambitious Engineering Behind the Golden Gate Bridge

As many as a mil­lion peo­ple crossed the Gold­en Gate Bridge on foot to cel­e­brate the 50th anniver­sary of its con­struc­tion in 1987. More than a few of them would have remem­bered San Fran­cis­co as it was before it had its most icon­ic struc­ture — and indeed, some would even remem­ber walk­ing across it once before, on its inau­gur­al “Pedes­tri­an Day” in 1937. Bar­ring the pos­si­bil­i­ty of unusu­al­ly vig­or­ous super­cente­nar­i­ans, that won’t be the case 12 years from now, on the Gold­en Gate Bridge’s 100th anniver­sary. But we’ll still be able to appre­ci­ate the enor­mous ambi­tion of its builders, not least its chief design engi­neer Joseph Strauss, who, along with Charles Alton Ellis, made pos­si­ble a project long assumed impos­si­ble.

The video from Sabin Civ­il Engi­neer­ing at the top of the post explains every stage of the Gold­en Gate Bridge’s design and con­struc­tion. Build­ing a sus­pen­sion bridge over the Gold­en Gate, the deep strait between San Fran­cis­co Bay and the Pacif­ic Ocean, posed for­mi­da­ble chal­lenges. The dis­tinc­tive shape we know from so many pho­tographs emerged in part from the need to anchor the bridge in such a way as to bal­ance out the mas­sive forces that would oth­er­wise bend its tow­ers inward, and the steel-on-steel con­struc­tion of its sus­penders and deck was nec­es­sary to pre­vent cat­a­stroph­ic crack for­ma­tion.

The deck hangs from 250 pairs of cables, and each of the main cables that run the length of the bridge actu­al­ly con­sists of 27,000 steel wires wound togeth­er. A sys­tem of ther­mal expan­sion joints accom­mo­dates reg­u­lar elon­ga­tion and shrink­age of near­ly four feet.

And we haven’t even got into the under­wa­ter blast­ing and ter­ri­fy­ing-look­ing drilling work required to put up the tow­ers in the first place. In any case, the painstak­ing efforts of the engi­neers and labor­ers alike have sure­ly been vin­di­cat­ed by the Gold­en Gate Bridge’s func­tion­al­i­ty and pop­u­lar­i­ty over the past 88 years. Nat­u­ral­ly, it’s had to under­go con­sid­er­able main­te­nance and retro­fitting in that time, and it would take a true roman­tic to ignore its lim­i­ta­tions entire­ly. (Take its lack of rail capac­i­ty, which was nei­ther tech­ni­cal­ly nor eco­nom­i­cal­ly fea­si­ble to incor­po­rate dur­ing the Great Depres­sion.) Still, when 300,000 peo­ple jammed them­selves onto its deck at once on its 50th anniver­sary, it may have bent in the mid­dle, but it did­n’t break. That was a tes­ta­ment to the civ­il engi­neer­ing acu­men of Strauss and com­pa­ny — but let’s hope the cen­te­nary fes­tiv­i­ties are bet­ter orga­nized.

Relat­ed con­tent:

“The Bay Lights,” the World’s Largest LED Light Sculp­ture, Debuts in San Fran­cis­co

The 5 Inno­v­a­tive Bridges That Make New York City, New York City

How the Brook­lyn Bridge Was Built: The Sto­ry of One of the Great­est Engi­neer­ing Feats in His­to­ry

A Mes­mer­iz­ing Trip Across the Brook­lyn Bridge: Watch Footage from 1899

Why There Isn’t a Bridge from Italy to Sici­ly – And Why the 2,000-Year-Old Dream of Build­ing the Bridge May Soon Be Real­ized

Built to Last: How Ancient Roman Bridges Can Still With­stand the Weight of Mod­ern Cars & Trucks

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.


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