How Photos Were Transmitted by Wire in 1937: The Innovative Technology of a Century Ago

When did you last send some­one a pho­to? That ques­tion may sound odd, owing to the sheer com­mon­ness of the act in ques­tion; in the twen­ty-twen­ties, we take pho­tographs and share them world­wide with­out giv­ing it a sec­ond thought. But in the nine­teen-thir­ties, almost every­one who sent a pho­to did so through the mail, if they did it at all. Not that there weren’t more effi­cient means of trans­mis­sion, at least to pro­fes­sion­als in the cut­ting-edge news­pa­per indus­try: as dra­ma­tized in the short 1937 doc­u­men­tary above, the visu­al accom­pa­ni­ment to a suf­fi­cient­ly impor­tant scoop could also be sent in mere min­utes through the mir­a­cle of wire.

“Trav­el­ing almost as fast as the tele­phone sto­ry, wired pho­tos now go across the con­ti­nent with the speed of light,” declares the nar­ra­tor in breath­less news­reel-announc­er style. “It’s not a mat­ter of send­ing the whole pic­ture at once, but of sep­a­rat­ing the pic­ture into fine lines, send­ing those lines over a wire, and assem­bling them at the oth­er end.”

Illus­trat­ing this process is a clever mechan­i­cal prop involv­ing two spin­dles on a hand crank, and a length of rope print­ed with the image of a car that unwinds from one spin­dle onto the oth­er. To ensure the view­er’s com­plete under­stand­ing, ani­mat­ed dia­grams also reveal the inner work­ings of the actu­al scan­ning, send­ing, and receiv­ing appa­ra­tus.

This process may now seem impos­si­bly cum­ber­some, but at the time it rep­re­sent­ed a leap for­ward for mass visu­al media. In the decades after the Sec­ond World War, the same basic prin­ci­ple — that of dis­as­sem­bling an image into lines at one point in order to reassem­ble it at anoth­er — would be employed in the homes and offices of ordi­nary Amer­i­cans by devices such as the tele­vi­sion set and fax machine. We know, as the view­ers of 1937 did­n’t, just how those ana­log tech­nolo­gies would change the char­ac­ter of life and work in the twen­ti­eth cen­tu­ry. As for what their dig­i­tal descen­dants will do to the twen­ty-first cen­tu­ry, as they con­tin­ue to break down all exis­tence into not lines but bits, we’ve only just begun to find out.

via Kids Should See This

Relat­ed con­tent:

The His­to­ry of Pho­tog­ra­phy in Five Ani­mat­ed Min­utes: From Cam­era Obscu­ra to Cam­era Phone

Watch a Local TV Sta­tion Switch From Black & White to Col­or for First Time (1967)

Cre­ative Uses of the Fax Machine: From Iggy Pop’s Bile to Stephen Hawking’s Snark

The His­to­ry of Amer­i­can News­pa­pers Has Been Dig­i­tized: Explore 114 Years of Edi­tor & Pub­lish­er, “the Bible of the News­pa­per Indus­try”

From the Annals of Opti­mism: The News­pa­per Indus­try in 1981 Imag­ines its Dig­i­tal Future

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, Dying of Cancer, Left This World Tripping on LSD (1963)

Aldous Hux­ley put him­self for­ev­er on the intel­lec­tu­al map when he wrote the dystopi­an sci-fi nov­el Brave New World in 1931. (Lis­ten to Hux­ley nar­rat­ing a dra­ma­tized ver­sion here.) The British-born writer was liv­ing in Italy at the time, a con­ti­nen­tal intel­lec­tu­al par excel­lence.

Then, six years lat­er, Hux­ley turned all of this upside down. He head­ed West, to Hol­ly­wood, the newest of the New World, where he took a stab at writ­ing screen­plays (with not much luck) and start­ed exper­i­ment­ing with mys­ti­cism and psy­che­delics — first mesca­line in 1953, then LSD in 1955. This put Hux­ley at the fore­front of the coun­ter­cul­ture’s exper­i­men­ta­tion with psy­che­del­ic drugs, some­thing he doc­u­ment­ed in his 1954 book, The Doors of Per­cep­tion.

Hux­ley’s exper­i­men­ta­tion con­tin­ued until his death in Novem­ber 1963. When can­cer brought him to his deathbed, he asked his wife to inject him with “LSD, 100 µg, intra­mus­cu­lar.” He died trip­ping lat­er that day, just hours after Kennedy’s assas­si­na­tion. Three years lat­er, LSD was offi­cial­ly banned in Cal­i­for­nia.

By way of foot­note, it’s worth men­tion­ing that the Amer­i­can med­ical estab­lish­ment is now giv­ing hal­lu­cino­gens a sec­ond look, con­duct­ing con­trolled stud­ies of how psilo­cy­bin and oth­er psy­che­delics can help treat patients deal­ing with can­cer, obses­sive-com­pul­sive dis­or­der, post-trau­mat­ic stress dis­or­der, drug/alcohol addic­tion and end-of-life anx­i­ety.

For a look at the his­to­ry of LSD, we rec­om­mend the 2002 film Hofmann’s Potion by Cana­di­an film­mak­er Con­nie Lit­tle­field. You can watch it 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:

Ken Kesey’s First LSD Trip Ani­mat­ed

Hear Aldous Hux­ley Nar­rate His Dystopi­an Mas­ter­piece, Brave New World

Every­thing You Want­ed to Ask About Psy­che­delics: A Johns Hop­kins Psy­che­delics Researcher Answers 24 Ques­tions in 2 Hours

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

How Was the Great Pyramid Built?; What Did the Ancient Egyptian Language Sound Like?; Were There Bars in Ancient Egypt?: An Egyptologist Answers These Questions & More from Internet Users

What did ancient Egyp­tians sound like? What did they eat and drink? What ancient Egypt­ian med­i­cine and tools do we still use in mod­ern times? Why did they prac­tice mum­mi­fi­ca­tion? Above, Lau­rel Bestock, a pro­fes­sor from Brown Uni­ver­si­ty, dis­cuss­es every­thing you ever want­ed to know about Ancient Egypt. Not a stranger to pop­u­lar media productions—Bestock appears in a recent Nation­al Geo­graph­ic pro­duc­tion, Egyp­t’s Lost Won­ders—the pro­fes­sor fields every ques­tion that comes her way, no mat­ter how big or small. All along, she gives “out­stand­ing and very down-to-earth expla­na­tions,” notes a fel­low pro­fes­sor in the YouTube com­ments. For my mon­ey, the best part comes at the 10:40 mark when she deci­phers and reads hiero­glyphs. Enjoy.

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 

How to Read Ancient Egypt­ian Hiero­glyphs: A British Muse­um Cura­tor Explains

An Ani­mat­ed Intro­duc­tion to the Roset­ta Stone, and How It Unlocked Our Under­stand­ing of Egypt­ian Hiero­glyphs

What the Great Pyra­mid of Giza Would’ve Looked Like When First Built: It Was Gleam­ing, Reflec­tive White

Who Built the Egypt­ian Pyra­mids & How Did They Do It?: New Arche­o­log­i­cal Evi­dence Busts Ancient Myths

When a Medieval Monk Crowdsourced the Most Accurate Map of the World, Creating “the Google Earth of the 1450s”

If we want to know the pre­cise geo­graph­i­cal loca­tion of, say, a par­tic­u­lar church in Madrid, video arcade in Tokyo or cof­fee shop in Addis Aba­ba, we can fig­ure it out in a mat­ter of sec­onds. This is, in his­tor­i­cal terms, a recent devel­op­ment indeed: many of us remem­ber when the most detailed car­to­graph­i­cal infor­ma­tion we could get about dis­tant lands (or for that mat­ter, most of our own land) revealed to us only its cities and major roads — assum­ing we even had a world atlas at hand. Now, younger peo­ple take for grant­ed the knowl­edge of not just where every place in the world is, but what it looks like, what its prices are, and what its vis­i­tors have said about it.

We live today, in oth­er words, in the dream of Fra Mau­ro, the Venet­ian car­tog­ra­ph­er-monk of the late Mid­dle Ages who cre­at­ed the most detailed and accu­rate world map to that point in human his­to­ry. “As a young man, Fra Mau­ro had been a sol­dier and mer­chant of the famed Venice Mer­chant Fleet,” says the site of New World Car­to­graph­ic. “His trav­els with the fleet around the Mediter­ranean and the Mid­dle East result­ed in his becom­ing inter­est­ed in map­ping, and he even­tu­al­ly set­tled in the monastery of San Michelle on the island of Mura­no, in the Venice Lagoon, where he became a lay broth­er.” In the ear­ly 1450s, “he was com­mis­sioned by King Afon­so V of Por­tu­gal to cre­ate a map of the world.”

Por­tu­gal’s will to dom­i­nate world trade, which required the most detailed maps pos­si­ble, was matched by Fra Mau­ro’s will to gath­er infor­ma­tion about every cor­ner of Earth, no mat­ter how far-flung. And he could do that with­out leav­ing Venice: as Atlas Obscu­ra’s Adam Kessler writes, “Arab traders and world explor­ers passed through the port, giv­ing Fra Mau­ro an incom­pa­ra­ble source of gos­sip and tall tales about the world. The fall of Con­stan­tino­ple, occur­ring a few years before the map was fin­ished, would also have pro­vid­ed a rich source of well-trav­eled refugees, pre­sum­ably will­ing to swap their sto­ries for some bread or beer.” Not only did the map’s phys­i­cal cre­ation require a team of col­lab­o­ra­tors, the gath­er­ing of its con­tents relied upon the fif­teenth-cen­tu­ry equiv­a­lent of crowd­sourc­ing.

This chap­ter of car­to­graph­i­cal his­to­ry invites such tech­no­log­i­cal analo­gies: Kessler calls Fra Mau­ro’s com­plet­ed map­pa mun­di “the Google Earth of the 1450s.” Despite his reli­gious affil­i­a­tion with the monastery of San Michele, Fra Mau­ro’s efforts pro­duced an unprece­dent­ed­ly rad­i­cal ren­di­tion of the world. Break­ing with reli­gious tra­di­tion, he did­n’t put Jerusalem in the cen­ter; “the Gar­den of Eden was rel­e­gat­ed to a side­box, not shown in a real geo­graph­ic loca­tion.” His scrupu­lous­ness made him the first car­tog­ra­ph­er “to depict Japan as an island, and the first Euro­pean to show that you could sail all the way around Africa.” While his map was “the most accu­rate ever made at the time,” its more than 3,000 anno­ta­tions do con­tain plen­ty of tall tales, often of lit­er­al giants. But are they real­ly much less trust­wor­thy than the aver­age twen­ty-first-cen­tu­ry user review?

Relat­ed Con­tent:

The World Map That Intro­duced Sci­en­tif­ic Map­mak­ing to the Medieval Islam­ic World (1154 AD)

Explore the Here­ford Map­pa Mun­di, the Largest Medieval Map Still in Exis­tence (Cir­ca 1300)

The Evo­lu­tion of the World Map: An Inven­tive Info­graph­ic Shows How Our Pic­ture of the World Changed Over 1,800 Years

Europe’s Old­est Map: Dis­cov­er the Saint-Bélec Slab (Cir­ca 2150–1600 BCE)

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.

17 Minutes of Charles Schulz Drawing Peanuts

Any­one can learn to draw the cast of Peanuts, but few can do it every day for near­ly half a cen­tu­ry. The lat­ter, as far as we know, amounts to a group of one: Charles Schulz, who not only cre­at­ed that world-famous com­ic strip but drew it sin­gle-hand­ed through­out its entire run. He was, as a nine­teen-six­ties CBS pro­file put it, “a one-man pro­duc­tion team: writer, humorist, social crit­ic.” That clip opens the video above, which com­piles footage of Schulz draw­ing Peanuts while mak­ing obser­va­tions on the nature of his craft. “When you draw a com­ic strip, if you’re going to wait for inspi­ra­tion, you’ll nev­er make it,” he says. “You have to become pro­fes­sion­al enough at this so that you can almost delib­er­ate­ly set down an idea at will.”

Schulz’s ded­i­ca­tion to his work may have been an inborn trait, but he did­n’t find his way to that work only through his par­tic­u­lar abil­i­ties. His par­tic­u­lar inabil­i­ties also played their part: “I stud­ied art in a cor­re­spon­dence course, because I was afraid to go to art school,” he says in a lat­er BBC seg­ment.

“I could­n’t see myself sit­ting in a room where every­one else in the room could draw much bet­ter than I.” With bet­ter writ­ing skills, “per­haps I would have tried to become a nov­el­ist, and I might have become a fail­ure.” With bet­ter draw­ing skills, “I might have tried to become an illus­tra­tor or an artist. I would’ve failed there. But my entire being seems to be just right for being a car­toon­ist.”

In draw­ing, he also found a medi­um of thought. “The real­ly prac­ti­cal way of get­ting an idea, when you have noth­ing real­ly to draw, is just tak­ing a blank piece of paper and maybe draw­ing one of the char­ac­ters in a famil­iar pose, like Snoopy sleep­ing on top of the dog­house,” he says. Then, you might nat­u­ral­ly “imag­ine what would hap­pen if, say, it began to snow. And so you’d doo­dle in a few snowflakes, some­thing like that. Per­haps you would be led to won­der what would hap­pen if it snowed very hard, and the snow cov­ered him up com­plete­ly.” If you con­tin­ue on to draw, say, Snoopy­’s loy­al friend Wood­stock being sim­i­lar­ly snowed in, you’re well on your way to a com­plete strip. Now do it 17,897 times, and maybe you’ll qual­i­fy for Schulz’s league.

Relat­ed con­tent:

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

Hayao Miyazaki’s Sketch­es Show­ing How to Draw Char­ac­ters Run­ning: From 1980 Edi­tion of Ani­ma­tion Mag­a­zine

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

Hergé Draws Tintin in Vin­tage Footage (and What Explains the Character’s Endur­ing Appeal)

Car­toon­ists Draw Their Famous Car­toon Char­ac­ters While Blind­fold­ed (1947)

The Endur­ing Appeal of Schulz’s Peanuts — Pret­ty Much Pop: A Cul­ture Pod­cast #116

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.

Nobel Prize-Winning Psychologist Daniel Kahneman (RIP) Explains the Key Question Every Investor Must Ask, and Why It’s a Fool’s Errand to Pick Stocks

This past week, the influ­en­tial psy­chol­o­gist and econ­o­mist Daniel Kah­ne­man passed away at age 90. The win­ner of the 2002 Nobel Prize in Eco­nom­ic Sci­ences, Kah­ne­man wrote the best­selling book Think­ing, Fast and Slow where he explained the two sys­tems of think­ing that shape human deci­sions. These include “Sys­tem 1,” which relies on fast, auto­mat­ic and uncon­scious think­ing, and then “Sys­tem 2,” which requires atten­tion and con­cen­tra­tion and works more slow­ly. And it’s the inter­play of these two sys­tems that pro­found­ly shapes the qual­i­ty of our deci­sions in dif­fer­ent parts of our lives, includ­ing invest­ing.

In the inter­view above, Steve Forbes asks why indi­vid­ual investors per­sist in believ­ing that they can pick stocks suc­cess­ful­ly over time, despite ample evi­dence to the con­trary. Draw­ing on his research, Kah­ne­man describes the “illu­sion of skill,” where investors “get the imme­di­ate feel­ing that [they] under­stand some­thing,” which is much “more com­pelling than the knowl­edge of sta­tis­tics that tells you that you don’t know any­thing.” Here, Sys­tem 1 cre­ates the “illu­sion of skill,” and it over­whelms the slow­er ana­lyt­i­cal think­ing found in Sys­tem 2—the Sys­tem that could use data to deter­mine that stock pick­ing is a fool’s errand. When Forbes asks if investors should ulti­mate­ly opt for index funds instead of indi­vid­ual stocks, Kah­ne­man replies “I am a believ­er in index funds,” that is, unless you have very rare infor­ma­tion that allows you to pick stocks suc­cess­ful­ly.

Lat­er in the inter­view, Kah­ne­man touch­es on anoth­er impor­tant sub­ject. In his mind, the first ques­tion every investor should ask is not how much mon­ey should I plan to make, but rather, “How much can I afford to lose.” Every investor should assess their risk tol­er­ance, in part so that you can han­dle tur­bu­lence in the mar­ket and stick with your ini­tial invest­ment plan. If you are not aware of your risk tol­er­ance, “when things go bad, you will want to change what you are doing, and that’s the dis­as­ter in invest­ing… Loss aver­sion can kill you.” He con­tin­ues, “Emo­tions are indeed your ene­my. The worst thing that could hap­pen to you …  is to make a deci­sion and not stick with it, so that you bail out when things go bad­ly, so that you sell low and buy high. That is not a recipe for doing well in the stock mar­ket, or any­where.” Ide­al­ly, you should fig­ure out upfront how much you want to put in the stock mar­ket, and how much you want to keep out, so that you can psy­cho­log­i­cal­ly man­age the ups and downs of invest­ing.

From here, Kah­ne­man comes to his most impor­tant piece of advice for investors: Know your­self in terms of what you could regret. If you are prone to regret, if invest­ing makes you feel inse­cure and lose sleep at night, then you should adopt a “regret min­i­miza­tion strat­e­gy” and cre­ate a more con­ser­v­a­tive port­fo­lio to match it. Read more about that here. Also see Chap­ters 31 (Risk Poli­cies) and 32 (Keep Score) in Think­ing, Fast and Slow where Kah­ne­man talks more about invest­ing.

This post orig­i­nal­ly appeared on our sis­ter/­side-project site, Open Per­son­al Finance.

Relat­ed Con­tent on Open Per­son­al Finance: 

All the Finan­cial Advice You’ll Ever Need Fits on a Sin­gle Index Card

Why You Should Diver­si­fy: A Key Invest­ment Les­son from Econ­o­mist Alex Tabar­rok & Van­guard Founder John Bogle

Essen­tial Advice for Any Investor from Jack Bogle, the Founder of Van­guard

War­ren Buf­fett Explains the Pow­er of Com­pound Inter­est

 

 

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How to Rewire Your Brain in 6 Weeks: A BBC Reporter Explores How Everyday Life Changes Can Alter Our Brains

If you sus­pect that your brain isn’t quite suit­ed for mod­ern life, you’re not alone. In fact, that state of mind has prob­a­bly been clos­er to the rule than the excep­tion through­out moder­ni­ty itself. It’s just that the mix of things we have to think about keeps chang­ing: “The school run. Work calls. Infla­tion. Remem­ber your lines,” says BBC sci­ence reporter Melis­sa Hogen­boom in the video above. “Our brain nev­er evolved for any of this, and yet here we are, get­ting on with it as best we can, and it’s all thanks to our brain’s incred­i­ble capac­i­ty to adapt, to learn, to grow” — the very sub­ject she inves­ti­gates in this series, Brain Hacks.

In search of neu­ro­sci­en­tif­i­cal­ly sound “hacks to help strength­en cru­cial con­nec­tions and keep our minds younger in the process,” Hogen­boom put her­self through a “a six-week brain-alter­ing course.” The first seg­ment of the series finds her enter­ing into a med­i­ta­tion pro­gram she describes in this arti­cle: “For 30 min­utes a day, either as one sin­gle ses­sion or two 15-minute ses­sions, I prac­ticed a guid­ed mind­ful­ness med­i­ta­tion by lis­ten­ing to a record­ing.” In addi­tion, she had a week­ly ses­sion with Uni­ver­si­ty of Sur­rey pro­fes­sor of clin­i­cal psy­chol­o­gy Thorsten Barn­hofer, who also appears in the video.

Can med­i­ta­tion, and the oft-dis­cussed “mind­ful­ness” it empha­sizes, keep our minds from wan­der­ing away from what we real­ly need to think about? “Mind-wan­der­ing is some­thing that, of course, might be help­ful in many ways,” says Barn­hofer, “but it’s also some­thing that can go awry. This is where repet­i­tive think­ing comes in, where rumi­na­tive think­ing comes in, where wor­ry comes in. Those are the fac­tors which increase stress,” increas­ing the pres­ence of hor­mones like cor­ti­sol. And “if lev­els of cor­ti­sol remain high, that can actu­al­ly become tox­ic for your brain, for regions of your brain which are very plas­tic.” Stress, as Hogen­boom sums it up, “is a direct inhibitor of neu­ro­plas­tic­i­ty.”

“Research has found that after only a few months of mind­ful­ness train­ing, cer­tain depres­sion and anx­i­ety symp­toms can ease,” Hogen­boom writes, and her own expe­ri­ence seems also to point in that direc­tion. A brain scan per­formed after her med­i­ta­tion course found that “one half of my amyg­dala – an almond-shaped struc­ture impor­tant for emo­tion­al pro­cess­ing – had reduced in vol­ume,” pos­si­bly because the prac­tice “buffers stress seen in the amyg­dala.” It also revealed growth in her cin­gu­late cor­tex, “part of the lim­bic sys­tem that is involved in our behav­ioral and emo­tion­al respons­es,” which indi­cates “increased con­trol of that area.” Hogen­boom acknowl­edges that these changes “could also be ran­dom,” since “the brain is con­stant­ly chang­ing any­way”; the trick, how­ev­er and when­ev­er pos­si­ble, is to nudge it toward change for the bet­ter.

Bonus: Below, sci­ence jour­nal­ist Daniel Gole­man talks about mind­ful­ness and how you can change your brain in 10 min­utes with dai­ly med­i­ta­tion.

Relat­ed Con­tent:

Med­i­ta­tion 101: A Short, Ani­mat­ed Beginner’s Guide

How Med­i­ta­tion Can Change Your Brain: The Neu­ro­science of Bud­dhist Prac­tice

Alan Watts Presents a 15-Minute Guid­ed Med­i­ta­tion: A Time-Test­ed Way to Stop Think­ing About Think­ing

Dis­cov­er the Back­wards Brain Bicy­cle: What Rid­ing a Bike Says About the Neu­ro­plas­tic­i­ty of the Brain

How Yoga Changes the Brain and May Guard Against Alzheimer’s and Demen­tia

5 Ways to Build an Alzheimer’s‑Resistant Brain: Neu­ro­sci­en­tist Lisa Gen­o­va Explains

David Lynch Explains Why Depres­sion Is the Ene­my of Cre­ativ­i­ty — and Why Med­i­ta­tion Is the Solu­tion

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 Earth Could Look Like in 2050 If We Do Nothing About Climate Change

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What could our future world look like if we con­tin­ue to do noth­ing about cli­mate change? That’s the ques­tion posed by a new TED ED video, writ­ten by Shan­non Odell and direct­ed by Sofia Pashaei. We are already see­ing the effects of cli­mate change. If you’re pay­ing even a lit­tle atten­tion, you’re feel­ing the hot­ter sum­mers (which is reflect­ed in the data). You’re notic­ing the increas­ing num­ber of droughts. You’re see­ing the grow­ing num­ber of for­est fires, etc. So, “what will our world look like in the next 30 to 80 years, if we con­tin­ue on the cur­rent path?” With the video above, get a glimpse of the pos­si­ble world to come.

Relat­ed Con­tent 

Carl Sagan Warns Con­gress about Cli­mate Change (1985)

Frank Capra’s Sci­ence Film The Unchained God­dess Warns of Cli­mate Change in 1958

Free: Watch Our Plan­et, a Ground­break­ing Nature Doc­u­men­tary Series Nar­rat­ed by David Atten­bor­ough

 

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David Lynch Explains Why Depression Is the Enemy of Creativity–and Why Meditation Is the Solution

David Lynch has a vari­ety of notions about what it takes to make art, but suf­fer­ing is not among them. “This is part of the myth, I think,” he said in one inter­view. “Van Gogh did suf­fer. He suf­fered a lot. But I think he did­n’t suf­fer while he was paint­ing.” That is, “he did­n’t need to be suf­fer­ing to do those great paint­ings.” As Lynch sees it, “the more you suf­fer, the less you want to cre­ate. If you’re tru­ly depressed, they say, you can’t even get out of bed, let alone cre­ate.” This rela­tion­ship between men­tal state and cre­ativ­i­ty is a sub­ject he’s addressed over and over again, and the video above assem­bles sev­er­al of those instances from over the decades. It may come as a sur­prise that the auteur of Blue Vel­vetTwin Peaks, and Mul­hol­land Dri­ve, rec­om­mends med­i­ta­tion as the solu­tion.

That cer­tain­ly won’t come as a sur­prise, how­ev­er, to any­one famil­iar with Lynch’s world­view. Here on Open Cul­ture, we’ve pre­vi­ous­ly fea­tured Lynch’s expla­na­tion of how med­i­ta­tion boosts cre­ativ­i­ty, his draw­ing depict­ing how med­i­ta­tion works, his method of get­ting ideas through med­i­ta­tion, and his con­ver­sa­tions about med­i­ta­tion with the likes of Paul McCart­ney and Moby.

In the video below, he lays out how his favorite kind of med­i­ta­tion, the Tran­scen­den­tal vari­ety, has the poten­tial to dri­ve out not just depres­sion, but also neg­a­tiv­i­ty, ten­sion, stress, anx­i­ety, sor­row, anger, hate, and fear. These are grand promis­es, but not with­out inter­est to the non-med­i­tat­ing Lynch fan curi­ous about the mind behind his work, both of which were once wide­ly assumed to be deeply trou­bled indeed.

“Do you think you’re a genius, or a real­ly sick per­son?” CBC cor­re­spon­dent Valerie Pringle asks him in a Blue Vel­vet-era inter­view includ­ed in the com­pi­la­tion at the top of the post. “Well, Valerie,” he responds, “I don’t know.” He did not, at that time, speak pub­licly about his med­i­ta­tion prac­tice, but by the late nineties he’d begun to dis­cuss per­son­al mat­ters much more freely. In one Char­lie Rose inter­view, a clip from which appears in the video, he even tells of the time he went to ther­a­py. The begin­ning of this sto­ry makes it in, but not the end: Lynch asked his new ther­a­pist “straight out, right up front, ‘Could this process that we’re going to go through affect cre­ativ­i­ty?’ And he said, ‘David, I have to be hon­est with you, it could” — where­upon Lynch shook the man’s hand and walked right back out the door.

Relat­ed con­tent:

David Lynch Explains How Med­i­ta­tion Boosts Our Cre­ativ­i­ty (Plus Free Resources to Help You Start Med­i­tat­ing)

One Hour of David Lynch Lis­ten­ing to Rain, Smok­ing & Reflect­ing on Art

David Lynch Visu­al­izes How Tran­scen­den­tal Med­i­ta­tion Works, Using a Sharpie & Big Pad of Paper

Are We All Get­ting More Depressed?: A New Study Ana­lyz­ing 14 Mil­lion Books, Writ­ten Over 160 Years, Finds the Lan­guage of Depres­sion Steadi­ly Ris­ing

David Lynch Mus­es About the Mag­ic of Cin­e­ma & Med­i­ta­tion in a New Abstract Short Film

Charles Bukows­ki Explains How to Beat Depres­sion: Spend 3–4 Days in Bed and You’ll Get the Juices Flow­ing Again (NSFW)

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.

Sun Ra Plays a Music Therapy Gig at a Psychiatric Hospital & Inspires a Patient to Talk for the First Time in Years

For some time now it has been fash­ion­able to diag­nose dead famous peo­ple with men­tal ill­ness­es we nev­er knew they had when they were alive. These post­mortem clin­i­cal inter­ven­tions can seem accu­rate or far-fetched, and most­ly harmless—unless we let them col­or our appre­ci­a­tion of an artist’s work, or neg­a­tive­ly influ­ence the way we treat eccen­tric liv­ing per­son­al­i­ties. Over­all, I tend to think the state of a cre­ative individual’s men­tal health is a top­ic best left between patient and doc­tor.

In the case of one Her­man Poole Blount, aka Sun Ra—com­pos­er, band­leader of free jazz ensem­ble the Arkestra, and “embod­i­ment of Afro­fu­tur­ism”—one finds it tempt­ing to spec­u­late about pos­si­ble diag­noses, of schiz­o­phre­nia or bipo­lar dis­or­der, for exam­ple. Plen­ty of peo­ple have done so. This makes sense, giv­en Blount’s claims to have vis­it­ed oth­er plan­ets through astral pro­jec­tion and to him­self be an alien from anoth­er dimen­sion. But ascrib­ing Sun Ra’s enlight­en­ing, enliven­ing mytho-theo-phi­los­o­phy to ill­ness or dys­func­tion tru­ly does his bril­liant mind a dis­ser­vice, and clouds our appre­ci­a­tion for his com­plete­ly orig­i­nal body of work.

In fact, Sun Ra him­self discovered—fairly ear­ly in his career when he went by the name “Sonny”—that his music could per­haps alle­vi­ate the suf­fer­ing of men­tal ill­ness and help bring patients back in touch with real­i­ty. In the late 50’s, the pianist and composer’s man­ag­er, Alton Abra­ham, booked his client at a Chica­go psy­chi­atric hos­pi­tal. Sun Ra biog­ra­ph­er John Szwed tells the sto­ry:

Abra­ham had an ear­ly inter­est in alter­na­tive med­i­cine, hav­ing read about scalpel-free surgery in the Philip­pines and Brazil. The group of patients assem­bled for this ear­ly exper­i­ment in musi­cal ther­a­py includ­ed cata­ton­ics and severe schiz­o­phren­ics, but Son­ny approached the job like any oth­er, mak­ing no con­ces­sions in his music.

Sun Ra had his faith in this endeav­or reward­ed by the response of some of the patients. “While he was play­ing,” Szwed writes, “a woman who it was said had not moved or spo­ken for years got up from the floor, walked direct­ly to his piano, and cried out ‘Do you call that music?’” Blount—just com­ing into his own as an orig­i­nal artist—was “delight­ed with her response, and told the sto­ry for years after­ward as evi­dence of the heal­ing pow­ers of music.” He also com­posed the song above, “Advice for Medics,” which com­mem­o­rates the psy­chi­atric hos­pi­tal gig.

It is sure­ly an event worth remem­ber­ing for how it encap­su­lates so many of the respons­es to Sun Ra’s music, which can—yes—confuse, irri­tate, and bewil­der unsus­pect­ing lis­ten­ers. Like­ly still inspired by the expe­ri­ence, Sun Ra record­ed an album in the ear­ly six­ties titled Cos­mic Tones for Men­tal Ther­a­py, a col­lec­tion of songs, writes All­mu­sic, that “out­raged those in the jazz com­mu­ni­ty who thought Eric Dol­phy and John Coltrane had already tak­en things too far.” (Hear the track “And Oth­er­ness” above.) But those will­ing to lis­ten to what Sun Ra was lay­ing down often found them­selves roused from a debil­i­tat­ing com­pla­cen­cy about what music can be and do.

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

Relat­ed Con­tent:

A Col­lec­tion of Sun Ra’s Busi­ness Cards from the 1950s: They’re Out of This World

Sun Ra’s Full Lec­ture & Read­ing List From His 1971 UC Berke­ley Course, “The Black Man in the Cos­mos”

When Sun Ra Went to Egypt in 1971: See Film & Hear Record­ings from the Leg­endary Afrofuturist’s First Vis­it to Cairo

Sun Ra Applies to NASA’s Art Pro­gram: When the Inven­tor of Space Jazz Applied to Make Space Art

Watch a 5‑Part Ani­mat­ed Primer on Afro­fu­tur­ism, the Black Sci-Fi Phe­nom­e­non Inspired by Sun Ra

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

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Download 9,200+ Free Films from the Prelinger Archives: Documentaries, Cartoons & More

Depend­ing on how you reck­on it, the “Amer­i­can cen­tu­ry” has already end­ed, is now draw­ing to its close, or has some life left in it yet. But what­ev­er its bound­aries, that ambigu­ous peri­od has been cul­tur­al­ly defined by one medi­um above all: film, or more broad­ly speak­ing, motion pic­tures. These very words might start a series of clips rolling in your mind, a high­light reel of indus­tri­al devel­op­ments, polit­i­cal speech­es, protest march­es, sports vic­to­ries, NASA mis­sions, and for­eign wars. But that rep­re­sents just a tiny frac­tion of Amer­i­ca on film, much more of which you can eas­i­ly dis­cov­er with a vis­it to the Prelinger Archives.

Rick Prelinger found­ed the Prelinger Archives in 1982 with the mis­sion of pre­serv­ing “ephemer­al films.” Accord­ing to the pro­gram of a 2002 series he intro­duced at the Berke­ley Art Muse­um and Pacif­ic Film Archive a cou­ple of decades lat­er, these are “typ­i­cal­ly edu­ca­tion­al, indus­tri­al, or ama­teur films,” often made to serve a “prag­mat­ic and nar­row pur­pose. It is only by chance that many of them sur­vive.”

These pieces of “throw­away media” — of which the Prelinger Archives now has some 30,000 — include news­reel-type doc­u­men­taries, works of polit­i­cal pro­pa­gan­da, instruc­tion­al pro­duc­tions for use in schools and work­places, and a great many home movies that offer can­did glimpses into every­day Amer­i­can lives.

As any enthu­si­ast of mid-twen­ti­eth-cen­tu­ry Amer­i­can cul­ture would hope, the Prelinger Archives also has its odd­i­ties: take the 1923 Felix the Cat car­toon at the top of the post, over­dubbed with voic­es (and a ref­er­ence to “hip­pies”) in the nine­teen-six­ties. Their free online col­lec­tions at the Inter­net Archive (which con­tains 9,229 films as of this writ­ing) and Youtube, con­tain every­thing from a 1942 pro­file of the art scene in San Fran­cis­co (the Prelinger Archives’ cur­rent home); to “You and Your Fam­i­ly,” the kind of home-life primer that would be ridiculed half a cen­tu­ry lat­er on Mys­tery Sci­ence The­ater 3000; to “While Brave Men Die…,” sure­ly the only pro-Viet­nam War doc­u­men­tary to fea­ture Joan Baez.

If you real­ly want to see the Unit­ed States, as we’ve pre­vi­ous­ly said here on Open Cul­ture, you’ve got to dri­ve across the coun­try. What holds true in life also holds true in film, and the Prelinger Archives’ dig­i­ti­za­tion and upload­ing have made it pos­si­ble to expe­ri­ence the his­to­ry of the great Amer­i­can road trip through the eyes — or the eight-mil­lime­ter cam­eras — of trav­el­ers who took it in the for­ties, fifties, and six­ties, rolling through sites of inter­est from the Grand Canyon and Mount Rush­more to the Corn Palace. If a cul­ture is pre­served most clear­ly through its ephemera, then there’s a whole lot more Amer­i­ca await­ing us in the Prelinger Archives.

Relat­ed con­tent:

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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