The History of the World in One Video: Every Year from 200,000 BCE to Today

“Where are you from?” a char­ac­ter at one point asks Babe, the hap­less pro­tag­o­nist of the Fire­sign The­atre’s clas­sic com­e­dy album How Can You Be in Two Places at Once When You’re Not Any­where at All. “Nairo­bi, ma’am,” Babe replies. “Isn’t every­body?” Like most of that psy­che­del­ic radio troupe’s pieces of appar­ent non­sense, that mem­o­rable line con­tains a truth: trace human his­to­ry back far enough and you inevitably end up in east Africa, a point illus­trat­ed in reverse by the video above, “A His­to­ry of the World: Every Year,” which traces the march of human­i­ty between 200,000 BCE and the mod­ern day.

To a dra­mat­ic sound­track which opens and clos­es with the music of Hans Zim­mer, video cre­ator Ollie Bye charts mankind’s progress out of Africa and, ulti­mate­ly, into every cor­ner of all the con­ti­nents of the world.

Real, doc­u­ment­ed set­tle­ments, cities, empires, and entire civ­i­liza­tions rise and fall as they would in a com­put­er game, with a con­stant­ly updat­ed glob­al pop­u­la­tion count and list of the civ­i­liza­tions active in the cur­rent year as well as occa­sion­al notes about pol­i­tics and diplo­ma­cy, soci­ety and cul­ture, and inven­tions and dis­cov­er­ies.

All that hap­pens in under 20 min­utes, a pret­ty swift clip, though not until the very end does the world take the polit­i­cal shape we know today, includ­ing even the late late­com­er to civ­i­liza­tion that is the Unit­ed States of Amer­i­ca. Bye’s many oth­er videos tend to focus on the his­to­ry of oth­er parts of the world, such as India, the British Isles, and that cra­dle of our species, the African con­ti­nent, all of which we can now devel­op first-hand famil­iar­i­ty with in this age of unprece­dent­ed human mobil­i­ty. Though the con­di­tion itself takes the ques­tion “Where are you from?” to a degree of com­pli­ca­tion unknown not only mil­len­nia but also cen­turies and even decades ago, at least now you have a snap­py answer at the ready.

Relat­ed Con­tent:

The His­to­ry of Civ­i­liza­tion Mapped in 13 Min­utes: 5000 BC to 2014 AD

Take Big His­to­ry: A Free Short Course on 13.8 Bil­lion Years of His­to­ry, Fund­ed by Bill Gates

The His­to­ry of the World in 46 Lec­tures From Colum­bia Uni­ver­si­ty

The His­to­ry of the World in 20 Odd Min­utes

A Crash Course in World His­to­ry

5‑Minute Ani­ma­tion Maps 2,600 Years of West­ern Cul­tur­al His­to­ry

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The “True” Story Of How Brian Eno Invented Ambient Music

Or maybe it did­n’t actu­al­ly hap­pen that way…

To learn more about Eno’s Oblique Strate­gies, see our archived post: Jump Start Your Cre­ative Process with Bri­an Eno’s “Oblique Strate­gies” Deck of Cards (1975).

Relat­ed Con­tent:

The Vel­vet Under­ground as Peanuts Char­ac­ters: Snoopy Morphs Into Lou Reed, Char­lie Brown Into Andy Warhol

Charles Schulz Draws Char­lie Brown in 45 Sec­onds and Exor­cis­es His Demons

Umber­to Eco Explains the Poet­ic Pow­er of Charles Schulz’s Peanuts

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Take a Virtual Tour of The Uffizi Gallery in Florence, the World-Famous Collection of Renaissance Art

The Uffizi Gallery in Flo­rence does­n’t par­tic­u­lar­ly need an intro­duc­tion, see­ing that it’s one of the most wide­ly-vis­it­ed muse­ums in Italy, the home of great artis­tic works from the Renais­sance. If you pay the Uffizi a vis­it, you can see Bot­ti­cel­li’s The Birth of Venus, Dür­er’s Ado­ra­tion of the Magi, Car­avag­gio’s Bac­chus, Michelan­gelo’s The Holy Fam­i­ly, and Rem­brandt’s Self-Por­trait as a Young Man. Or you could do the same by dial­ing up the Uffiz­i’s Vir­tu­al Tour, embed­ded above, or avail­able here. It’s essen­tial­ly a Google Street View tour of the entire muse­um. It’s admit­ted­ly a lit­tle tedious. But if you have a lot of time and a handy floor plan, you can still immerse your­self in a col­lec­tion that’s been enchant­i­ng vis­i­tors since the 18th cen­tu­ry.

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:

Free Course: An Intro­duc­tion to the Art of the Ital­ian Renais­sance

The His­to­ry of West­ern Archi­tec­ture: From Ancient Greece to Roco­co (A Free Online Course)

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

Walk Inside a Sur­re­al­ist Sal­vador Dalí Paint­ing with This 360º Vir­tu­al Real­i­ty Video

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

For a good long while, or at least a few decades, the best things on TV in the U.S. hap­pened out­side the major broad­cast and nation­al cable net­works. And like a great many oth­er cul­tur­al hap­pen­ings of the pre­vi­ous cen­tu­ry, you would have to live in New York to expe­ri­ence them. I mean, of course, the weird, won­der­ful world of Man­hat­tan pub­lic access cable TV. Here you could watch, for exam­ple, Glenn O’Brien’s TV Par­ty, cre­at­ed by the tit­u­lar host as “a drug-fueled re-inter­pre­ta­tion of Hugh Hefner’s Play­boy After Dark”—as we not­ed in a recent post—and fea­tur­ing the most cut­ting-edge artists and musi­cians of the day.

Around the same time, Andy Warhol con­duct­ed his ver­sion of a celebri­ty inter­view show on local cable, and as the banal info­tain­ment of day­time talk show and 24-hour-cable news devel­oped on main­stream TV, a dozen bizarre, hilar­i­ous, raunchy, and ridicu­lous inter­view and call-in shows took hold on New York cable access in the years to fol­low (some of them still exist).

I hap­pened to catch the tail end of this gold­en era, which tapered off in the nineties as the inter­net took over for the com­mu­ni­ties these shows served. But oh, what it must have been like to watch the thriv­ing down­town scene doc­u­ment itself on TV from week-to-week, along­side the leg­en­dar­i­ly flam­boy­ant Man­hat­tan sub­cul­tures that found their voic­es on cable access?

Quite a few peo­ple remem­ber it well, and were thrilled when the video at the top emerged from obscu­ri­ty: an episode of TV-CBGB shot in 1981, “an odd glimpse,” writes Mar­tin Schnei­der at Dan­ger­ous Minds, “of a CBGB iden­ti­ty that nev­er took shape, as a cable access main­stay.” It is unclear how many episodes of the show were shot, or aired, or still exist in some form, but what we do have above seems rep­re­sen­ta­tive, accord­ing to two Bill­board arti­cles describ­ing the show. The first, from July 11, 1981, called the project “the first rock’n’roll sit­u­a­tion com­e­dy on cable tele­vi­sion.”

Cre­at­ed by CBG­Bs own­er, Hilly Kristal, the show aimed to give view­ers slices of life from the Bow­ery insti­tu­tion, which was already famous, accord­ing to Bill­board, as “the club that pio­neered new music.” Kristal told the trade mag­a­zine, “There will always be a plot, though a sim­ple plot. It will be about what hap­pens in the club, or what could hap­pen.” He then goes on to describe a series of plot ideas which, thank­ful­ly, didn’t dom­i­nate the show—or at least what we see of it above. The episode is “90% per­for­mance,” though “not true con­cert footage,” Schnei­der writes.

After an odd open­ing intro, we’re thrown into a song from Idiot Savant. Oth­er acts include The Roustabouts, The Hard, Jo Mar­shall, Shrap­nel, and Sic Fucks. While not among the best or most well-known to play at the club, these bands put on some excel­lent per­for­mances. By Novem­ber of the fol­low­ing year, it seems the first episode had still not yet aired. Bill­board quotes Kristal as call­ing TV-CBGB “one step fur­ther in expos­ing new tal­ent. Radio and reg­u­lar tv aren’t doing it. MTV is good, but it’s show­ing most­ly top 40.”

Had the show migrat­ed to MTV, Schnei­der spec­u­lates, it might have become a “nation­al TV icon,” ful­fill­ing Kristal’s vision for a new means of bring­ing obscure down­town New York musi­cians to the world at large. It might have worked. Though the sketch­es are lack­lus­ter, notable as his­tor­i­cal curiosi­ties, the music is what makes it worth­while, and there’s some real­ly fun stuff here—vital and dra­mat­ic. While these bands may not have had the mass appeal of, say, Blondie or the Ramones, they were stal­warts of the ear­ly 80s CBGB scene.

The awk­ward, strange­ly earnest, and often down­right goofy skits por­tray­ing the goings-on in the lives of club reg­u­lars and employ­ees are both some­how touch­ing and tedious, but with a lit­tle pol­ish and bet­ter direc­tion, the whole thing might have played like a punk rock ver­sion of Fame—which maybe no one need­ed. As it stands, giv­en the enthu­si­asm of sev­er­al YouTube com­menters who claim to have watched it at the time or been in the club them­selves, the episode con­sti­tutes a strange and rare doc­u­ment of what was, if not what could have been.

via Dan­ger­ous Minds

Relat­ed Con­tent:  

Take a Vir­tu­al Tour of CBGB, the Ear­ly Home of Punk and New Wave

Pat­ti Smith Plays at CBGB In One of Her First Record­ed Con­certs, Joined by Sem­i­nal Punk Band Tele­vi­sion (1975)

CBGB is Reborn … As a Restau­rant in Newark Air­port

When Glenn O’Brien’s TV Par­ty Brought Klaus Nomi, Blondie & Basquiat to Pub­lic Access TV (1978–82)

Ian McK­ellen Recites Shakespeare’s Son­net 20, Backed by Garage Rock Band, the Flesh­tones, on Andy Warhol’s MTV Vari­ety Show (1987)

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

Speaking in Whistles: The Whistled Language of Oaxaca, Mexico

Whis­tled lan­guage is a rare form of com­mu­ni­ca­tion that can be most­ly found in loca­tions with iso­lat­ing fea­tures such as scat­tered set­tle­ments or moun­tain­ous ter­rain. This doc­u­men­tary above shows how Dr. Mark Sicoli, Assis­tant Pro­fes­sor of Lin­guis­tics at George­town Uni­ver­si­ty, con­ducts field stud­ies among speak­ers of a Chi­nan­tec lan­guage, who live in the moun­tain­ous region of north­ern Oax­a­ca in Mex­i­co. The Sum­mer Insti­tute of Lin­guis­tics in Mex­i­co has record­ed and tran­scribed a whis­tled con­ver­sa­tion in Sochi­a­pam Chi­nan­tec between two men in dif­fer­ent fields. The result can be seen and heard here.

The most thor­ough­ly-researched whis­tled lan­guage how­ev­er is Sil­bo Gomero, the lan­guage of the island of La Gomera (Canary Islands). In 2009, it was inscribed on the Rep­re­sen­ta­tive List of the Intan­gi­ble Cul­tur­al Her­itage of Human­i­ty. The UNESCO web­site has a good descrip­tion of this whis­tled lan­guage with pho­tos and a video. Hav­ing almost died out, the lan­guage is now taught once more in schools.

Note: This post first appeared on our site back in 2013.

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!

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

Relat­ed Con­tent:

Learn 40+ Lan­guages for Free: Span­ish, Eng­lish, Chi­nese & More

A Col­or­ful Map Visu­al­izes the Lex­i­cal Dis­tances Between Europe’s Lan­guages: 54 Lan­guages Spo­ken by 670 Mil­lion Peo­ple

The Tree of Lan­guages Illus­trat­ed in a Big, Beau­ti­ful Info­graph­ic

How Lan­guages Evolve: Explained in a Win­ning TED-Ed Ani­ma­tion

Notations: John Cage Publishes a Book of Graphic Musical Scores, Featuring Visualizations of Works by Leonard Bernstein, Igor Stravinsky, The Beatles & More (1969)

If you know just one piece by avant-garde com­pos­er and all-around ora­cle of inde­ter­mi­na­cy John Cage, you know 1952’s 4′33″, which con­sists, for that length of time, of no delib­er­ate­ly played sounds at all. You’d think that if any piece could be played with­out a score, Cage’s sig­na­ture com­po­si­tion could, but he did make sure to write one, and we fea­tured it here on Open Cul­ture a few years ago. Look at that score, of sorts, and you’ll sense that Cage had an inter­est not just in uncon­ven­tion­al music, but in equal­ly uncon­ven­tion­al ways of notat­ing that music. Hence the Nota­tions project, Cage’s 1969 book col­lect­ing pieces of scores by 269 dif­fer­ent com­posers and accom­pa­ny­ing them with short texts.

Assem­bling the book from mate­ri­als archived at the Foun­da­tion for Con­tem­po­rary Arts, Cage did include a page of one of his own scores, though not that of 4′33″ but of Music of Changes, a piano piece he’d com­posed the year before it for his friend David Tudor.

Tudor, a pianist as well as a com­pos­er of exper­i­men­tal music in his own right, also gets a page in Nota­tions from his 1958 work Solo for Piano (Cage) for Inde­ter­mi­na­cy. Lest this sound like a too-neat struc­ture of reci­procity, rest assured that in the com­po­si­tion of the book’s text, as Cage explains in the book’s intro­duc­tion, inde­ter­mi­na­cy ruled, with “a process employ­ing I‑Ching chance oper­a­tions” dic­tat­ing the num­ber of words to be writ­ten, about which scores, and in what size and type­face as well.

Nota­tions, which also includes scores from the Bea­t­les, Leonard Bern­stein, Paul Bowles, Charles Ives (from whose archive Cage picked a blank piece of song paper), Gyor­gy Ligeti, Yoko Ono, Nam June Paik, Steve Reich, Igor Stravin­sky, Toru Takemit­su, and many oth­ers, inspired a more recent fol­low-up project called Nota­tions 21, which you can learn about in the video just below. A col­lab­o­ra­tion between musi­col­o­gist and com­pos­er There­sa Sauer and design­er Mike Per­ry, that 2009 book col­lects more than a hun­dred pieces of cre­ative nota­tion from some of the com­posers fea­tured in Cage’s orig­i­nal, but also many who weren’t com­pos­ing or indeed even alive in his day.

Nota­tions 21 stands as a tes­ta­ment to Cage’s endur­ing influ­ence as not just a com­pos­er but as the pro­mot­er of a world­view all about har­ness­ing the forces of chance to enrich our lives, and to put us in a clear­er frame of mind to see what comes next. “Musi­cal nota­tion is one of the most amaz­ing pic­ture-lan­guage inven­tions of the human ani­mal,” Ross Lee Finney writes in the text of the orig­i­nal Nota­tions. “It didn’t come into being of a moment but is the result of cen­turies of exper­i­men­ta­tion. It has nev­er been quite sat­is­fac­to­ry for the composer’s pur­pos­es and there­fore the exper­i­ment con­tin­ues.”

Relat­ed Con­tent:

The Curi­ous Score for John Cage’s “Silent” Zen Com­po­si­tion 4’33”

Watch Gyor­gy Ligeti’s Elec­tron­ic Mas­ter­piece Artiku­la­tion Get Brought to Life by Rain­er Wehinger’s Bril­liant Visu­al Score

Watch Clas­si­cal Music Come to Life in Art­ful­ly Ani­mat­ed Scores: Stravin­sky, Debussy, Bach, Beethoven, Mozart & More

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

Dis­cov­er the 1126 Books in John Cage’s Per­son­al Library: Fou­cault, Joyce, Wittgen­stein, Vir­ginia Woolf, Buck­min­ster Fuller & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

David Bowie: The Last Five Years Is Now Airing/Streaming on HBO


FYI: David Bowie died two years ago today. And to com­mem­o­rate the anniver­sary, HBO has just start­ed air­ing David Bowie: The Last Five Years, a 90-minute BBC doc­u­men­tary that revis­its Bowie’s less pub­lic final years. If you don’t already have HBO, you could always watch the doc by sign­ing up for a free tri­al for HBO Now (HBO’s stream­ing ser­vice). Here’s a quick summary/overview of the film:

In the last years of his life, David Bowie end­ed near­ly a decade of silence to engage in an extra­or­di­nary burst of activ­i­ty, pro­duc­ing two ground­break­ing albums and a musi­cal. David Bowie: The Last Five Years explores this unex­pect­ed end to a remark­able career.

On the 2003–2004 “Real­i­ty” tour, David Bowie had a fright­en­ing brush with mor­tal­i­ty, suf­fer­ing a heart attack dur­ing what was to be his final full con­cert. He then dis­ap­peared from pub­lic view, only re-emerg­ing in the last five years of his life to make some of the most impor­tant music of his career. Made with remark­able access, Fran­cis Whately’s doc­u­men­tary is a rev­e­la­to­ry fol­low-up to his acclaimed 2013 doc­u­men­tary David Bowie: Five Years, which chron­i­cled Bowie’s gold­en ‘70s and early-‘80s peri­od.

While illu­mi­nat­ing icon­ic moments of his extra­or­di­nary and pro­lif­ic career, David Bowie: The Last Five Years focus­es on three major projects: the albums The Next Day and the jazz-infused Black­star (released on Bowie’s 69th birth­day, two days before his death in 2016), and the musi­cal Lazarus, which was inspired by the char­ac­ter he played in the 1976 film The Man Who Fell to Earth.

Dis­pelling the sim­plis­tic view that his career was sim­ply pred­i­cat­ed on change, the film includes reveal­ing inter­views with many of Bowie’s clos­est cre­ative col­lab­o­ra­tors, includ­ing: Tony Vis­con­ti, Bowie’s long-time pro­duc­er; musi­cians who con­tributed to The Next Day and Black­star; Jonathan Barn­brook, the graph­ic design­er of both albums; Robert Fox, pro­duc­er of Lazarus, along with cast mem­bers from the show, pro­vid­ing a unique behind-the-scenes look at Bowie’s cre­ative process; and Johan Renck, direc­tor of Bowie’s final music video, “Lazarus,” which was wide­ly dis­cussed as fore­shad­ow­ing his death.

You can watch a trail­er for the new film up above.

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:

Pro­duc­er Tony Vis­con­ti Breaks Down the Mak­ing of David Bowie’s Clas­sic “Heroes,” Track by Track

The David Bowie Book Club Gets Launched by His Son: Read One of Bowie’s 100 Favorite Books Every Month

David Bowie’s Top 100 Books

David Bowie Urges Kids to READ in a 1987 Poster Spon­sored by the Amer­i­can Library Asso­ci­a­tion

Watch Gyorgy Ligeti’s Electronic Masterpiece Artikulation Get Brought to Life by Rainer Wehinger’s Brilliant Visual Score

Even if you don’t know the name Györ­gy Ligeti, you prob­a­bly already asso­ciate his music with a set of mes­mer­iz­ing visions. The work of that Hun­gar­i­an com­pos­er of 20th-cen­tu­ry clas­si­cal music appealed might­i­ly to Stan­ley Kubrick, so much so that he used four of Ligeti’s pieces to score 2001: A Space Odyssey. One of them, 1962’s Aven­tures, plays over the final scenes in an elec­tron­i­cal­ly altered form, which drew a law­suit from the com­pos­er who’d been unaware of the mod­i­fi­ca­tion. But he did­n’t do it out of purism: though he wrote, over his long career, almost entire­ly for tra­di­tion­al instru­ments, he’d made a cou­ple for­ays into elec­tron­ic music him­self a decade ear­li­er.

Ligeti fled Hun­gary for Vien­na in 1956, soon after­ward mak­ing his way to Cologne, where he met the elec­tron­i­cal­ly inno­v­a­tive likes of Karl­heinz Stock­hausen and Got­tfried Michael Koenig and worked in West Ger­man Radio’s Stu­dio for Elec­tron­ic Music.

There he pro­duced 1957’s Glis­san­di and 1958’s Artiku­la­tion, the lat­ter of which lasts just under four min­utes, but, in the words of The Guardian’s Tom Ser­vice, “packs a lot of dra­ma in its diminu­tive elec­tron­ic frame.” Ligeti him­self “imag­ined the sounds of Artiku­la­tion con­jur­ing up images and ideas of labyrinths, texts, dia­logues, insects, cat­a­stro­phes, trans­for­ma­tions, dis­ap­pear­ances,” which you can see visu­al­ized in shape and col­or in the “lis­ten­ing score” in the video above.

Cre­at­ed in 1970 by graph­ic design­er Rain­er Wehinger of the State Uni­ver­si­ty of Music and Per­form­ing Arts Stuttgart, and approved by Ligeti him­self, the score’s “visu­als are beau­ti­ful to watch in tan­dem with Ligeti’s music; there’s an espe­cial­ly arrest­ing son­ic and visu­al pile-up, about 3 mins 15 secs into the piece. This isn’t elec­tron­ic music as post­war utopia, a la Stock­hausen, it’s elec­tron­ics as human, humor­ous dra­ma,” writes Ser­vice. Have a watch and a lis­ten, or a cou­ple of them, and you’ll get a feel for how Wehinger’s visu­al choic­es reflect the nature of Ligeti’s sounds. Just as 2001 still launch­es sci-fi buffs into an expe­ri­ence like noth­ing else in the genre, those sounds will still strike a fair few self-described elec­tron­ic music fans of the 21st cen­tu­ry as strange and new — espe­cial­ly when they can see them at the same time.

Relat­ed Con­tent:

Watch What Hap­pens When 100 Metronomes Per­form Györ­gy Ligeti’s Con­tro­ver­sial Poème Sym­phonique

Watch Clas­si­cal Music Come to Life in Art­ful­ly Ani­mat­ed Scores: Stravin­sky, Debussy, Bach, Beethoven, Mozart & More

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

The Clas­si­cal Music in Stan­ley Kubrick’s Films: Lis­ten to a Free, 4 Hour Playlist

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Spheres Dance to the Music of Bach, Performed by Glenn Gould: An Animation from 1969

From Nor­man McLaren and René Jodoin comes a 1969 short ani­ma­tion called “Spheres.” Here, you can watch “spheres of translu­cent pearl float weight­less­ly in the unlim­it­ed panora­ma of the sky, group­ing, regroup­ing or col­lid­ing like the styl­ized burst of some atom­ic chain reac­tion.” All the while, “the dance is set to the musi­cal cadences of Bach, played by pianist Glenn Gould.” A per­fect com­bi­na­tion.

This film par­tic­i­pates in a long tra­di­tion of ani­ma­tions explor­ing geom­e­try, some of which you can find in the Relat­eds right below.

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Relat­ed Con­tent:

The First Avant Garde Ani­ma­tion: Watch Wal­ter Ruttmann’s Licht­spiel Opus 1 (1921)

Chuck Jones’ The Dot and the Line Cel­e­brates Geom­e­try & Hard Work: An Oscar-Win­ning Ani­ma­tion (1965)

Jour­ney to the Cen­ter of a Tri­an­gle: Watch the 1977 Dig­i­tal Ani­ma­tion That Demys­ti­fies Geom­e­try

Watch “Geom­e­try of Cir­cles,” the Abstract Sesame Street Ani­ma­tion Scored by Philip Glass (1979)

 

 

A Short Animated Introduction to Karl Marx

Is Karl Marx’s cri­tique of cap­i­tal­ism still rel­e­vant to the 21st cen­tu­ry? Can we ever read him inde­pen­dent­ly of the move­ments that vio­lent­ly seized state pow­er in his name, claim­ing to rep­re­sent the work­ers through the sole will of the Par­ty? These are ques­tions Marx­ists must con­front, as must all seri­ous defend­ers of cap­i­tal­ism, who can­not afford to ignore Marx. He under­stood and artic­u­lat­ed the prob­lems of polit­i­cal econ­o­my bet­ter than any the­o­rist of his day and posed a for­mi­da­ble intel­lec­tu­al chal­lenge to the val­ues lib­er­al democ­ra­cies claim to espouse, and those they actu­al­ly prac­tice through eco­nom­ic exploita­tion, per­pet­u­al rent-seek­ing, and the alien­at­ing com­mod­i­fi­ca­tion of every­thing.

In his School of Life video explain­er above, Alain de Bot­ton sums up the received assess­ment of Com­mu­nist his­to­ry as “dis­as­trous­ly planned economies and nasty dic­ta­tor­ships.” “Nev­er­the­less,” he says, we should view Marx “as a guide, whose diag­no­sis of capitalism’s ills helps us to nav­i­gate toward a more promis­ing future”—the future of a “reformed” cap­i­tal­ism. No Marx­ist would ever make this argu­ment; de Botton’s video appeals to the skep­tic, new to Marx and not whol­ly inoc­u­lat­ed against giv­ing him a hear­ing. His ideas get boiled down to some most­ly uncon­tro­ver­sial state­ments: Mod­ern work is alien­at­ing and inse­cure. The rich get rich­er while wages fall. Such the­ses have attained the sta­tus of self-evi­dent tru­isms.

More inter­est­ing and provoca­tive is Marx’s (and Engels’) notion that cap­i­tal­ism is “bad for cap­i­tal­ists,” in that it pro­duces the repres­sive, patri­ar­chal domin­ion of the nuclear fam­i­ly, “fraught with ten­sion, oppres­sion, and resent­ment.” Addi­tion­al­ly, the impo­si­tion of eco­nom­ic con­sid­er­a­tions into every aspect of life ren­ders rela­tion­ships arti­fi­cial and forms of life sharply con­strained by the demands of the labor mar­ket. Here Marx’s eco­nom­ic cri­tique takes on its sub­tly rad­i­cal fem­i­nist dimen­sion, de Bot­ton says, by claim­ing that “men and women should have the per­ma­nent option to enjoy leisure,” not sim­ply the equal oppor­tu­ni­ty to sell their labor pow­er for equal amounts of inse­cu­ri­ty.

The video won’t sway staunch­ly anti-com­mu­nist minds, but it might make some view­ers curi­ous about what exact­ly it was Marx had to say. Those who turn to his mas­ter­work, Das Kap­i­tal, are like­ly to give up before they reach the twists and turns of the argu­ments de Bot­ton out­lines in broad strokes. The first and most famous vol­ume is hard going with­out a guide, and you’ll find few­er bet­ter than David Har­vey, Pro­fes­sor of Anthro­pol­o­gy and Geog­ra­phy at the City Uni­ver­si­ty of New York’s Grad­u­ate Cen­ter.

Harvey’s Com­pan­ion to Marx’s Cap­i­tal has guid­ed read­ers through the text for years, and his lec­tures on Marx have done so for stu­dents going on four decades. In the video above, see an intro­duc­tion to Harvey’s lec­ture series on vol­ume one of Marx’s Cap­i­tal, and at our pre­vi­ous post, find com­plete videos of his full lec­ture series on Vol­umes One, Two, and part of Vol­ume Three. Har­vey doesn’t claim that a kinder, gen­tler cap­i­tal­ism can be found in Marx. But as to the ques­tion of whether Marx is still rel­e­vant to the vast­ly accel­er­at­ed, tech­no­crat­ic cap­i­tal­ism of the present, he would unequiv­o­cal­ly answer yes.

Relat­ed Con­tent:

David Harvey’s Course on Marx’s Cap­i­tal: Vol­umes 1 & 2 Now Avail­able Free Online

6 Polit­i­cal The­o­rists Intro­duced in Ani­mat­ed “School of Life” Videos: Marx, Smith, Rawls & More

What Makes Us Human?: Chom­sky, Locke & Marx Intro­duced by New Ani­mat­ed Videos from the BBC

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

A Map of George Orwell’s 1984

Many fic­tion­al loca­tions resist map­ping. Our imag­i­na­tions may thrill, but our men­tal geolo­ca­tion soft­ware recoils at the impos­si­bil­i­ties in Ita­lo Calvino’s Invis­i­ble Cities—a series of geo­graph­i­cal­ly whim­si­cal tales told by Mar­co Polo to Genghis Khan; or Chi­na Miéville’s The City and the City, in which two metropolises—Besźel and Ul Qoma—occupy much of the same phys­i­cal space, and a secre­tive police pow­er com­pels cit­i­zens to will­ful­ly “unsee” one city or the oth­er.

That’s not to say such maps can­not be made. Calvino’s strange cities have been illus­trat­ed, if not at street lev­el, in as fan­ci­ful a fash­ion as the nar­ra­tor describes them. Miéville’s weird cities have received sev­er­al lit­er­al-mind­ed map­ping treat­ments, which per­haps mis­take the novel’s care­ful con­struc­tion of metaphor for a kind of cre­ative urban plan­ning.

Miéville him­self might dis­avow such attempts, as he dis­avows one-to-one alle­gor­i­cal read­ings of his fan­tas­tic detec­tive novel—those, for exam­ple, that reduce the phe­nom­e­non of “unsee­ing” to an Orwellian means of thought con­trol. “Orwell is a much more overt­ly alle­gor­i­cal writer,” he tells There­sa DeLuc­ci at Tor, “although it’s always sort of unsta­ble, there’s a cer­tain kind of map­ping where­by x means y, a means b.”

Orwell’s spec­u­la­tive worlds are eas­i­ly decod­ed, in oth­er words, an opin­ion shared by many read­ers of Orwell. But Miéville’s com­ments aside, there’s an argu­ment to be made that The City and the City’s “unsee­ing” is the most vivid­ly Orwellian device in recent fic­tion. And that the fic­tion­al world of 1984 does not, per­haps, yield to such sim­ple map­ping as we imag­ine.

Of course it’s easy to draw a map (see above, or in a larg­er for­mat here) of the three impe­r­i­al pow­ers the nov­el tells us rule the world. Frank Jacobs at Big Think tidi­ly sums them up:

Ocea­nia cov­ers the entire con­ti­nents of Amer­i­ca and Ocea­nia and the British Isles, the main loca­tion for the nov­el, in which they are referred to as ‘Airstrip One’.
Eura­sia cov­ers Europe and (more or less) the entire Sovi­et Union.
Eas­t­a­sia cov­ers Japan, Korea, Chi­na and north­ern India.

These three super­states are per­pet­u­al­ly at war with each oth­er, though who’s at war with whom is unclear. “And yet… the war might just not even be real at all”—for all we know it might be a fab­ri­ca­tion of the Min­istry of Truth, to man­u­fac­ture con­sent for aus­ter­i­ty, mass sur­veil­lance, forced nation­al­ism, etc. It’s also pos­si­ble that the entire­ty of the novel’s geo-pol­i­tics have been invent­ed out of whole cloth, that “Airstrip One is not an out­post of a greater empire,” Jacobs writes, “but the sole ter­ri­to­ry under the com­mand of Ing­soc.”

One com­menter on the map—which was post­ed to Red­dit last year—points out that “there isn’t any evi­dence in the book that this is actu­al­ly how the world is struc­tured.” We must look at the map as dou­bly fic­tion­al, an illus­tra­tion, Lau­ren Davis notes at io9, of “how the cred­u­lous inhab­i­tant of Airstrip One, armed with only maps dis­trib­uted by the Min­istry of Truth, might view the world, how vast the realm of Ocea­nia seems and how close the sup­posed ene­mies in Eura­sia.” It is the world as the minds of the nov­el­’s char­ac­ters con­ceive it.

All maps, we know, are dis­tor­tions, shaped by ide­ol­o­gy, belief, per­spec­ti­val bias. 1984’s lim­it­ed third-per­son nar­ra­tion enacts the lim­it­ed views of cit­i­zens in a total­i­tar­i­an state. Such a state nec­es­sar­i­ly uses force to pre­vent the peo­ple from inde­pen­dent­ly ver­i­fy­ing con­stant­ly shift­ing, con­tra­dic­to­ry pieces of infor­ma­tion. But the nov­el itself states that force is large­ly irrel­e­vant. “The patrols did not mat­ter… Only the Thought Police mat­tered.”

In Orwell’s fic­tion “sim­i­lar out­comes” as those in total­i­tar­i­an states, as Noam Chom­sky remarks, “can be achieved in free soci­eties like Eng­land” through edu­ca­tion and mass media con­trol. The most unset­tling thing about the seem­ing sim­plic­i­ty of 1984’s map of the world is that it might look like almost any­thing else for all the aver­age per­son knows. Its ele­men­tary-school rudi­ments metaphor­i­cal­ly point to fright­en­ing­ly vast areas of igno­rance, and pos­si­bil­i­ties we can only imag­ine, since Win­ston Smith and his com­pa­tri­ots no longer have the abil­i­ty, even if they had the means.

Relat­ed Con­tent:

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

A Com­plete Read­ing of George Orwell’s 1984: Aired on Paci­fi­ca Radio, 1975

A Map Shows What Every Coun­try in the World Calls Itself in its Own Lan­guage: Explore the “Endonyms of the World” Map

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


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