The Long, Strange History of Tarot Cards: From the 14th Century to Modern Times

We have any num­ber of rea­sons for dif­fi­cul­ty get­ting to sleep, not least wor­ries about the future. This is hard­ly a recent phe­nom­e­non, and indeed prac­tices meant to clar­i­fy the nature of events to come may be old­er than civ­i­liza­tion itself. In fact, many of us mod­erns trust the old ways of for­tune-telling more than the new. Take the cards of the Tarot, often fea­tured here on Open Cul­ture, whose rec­og­niz­able Euro­pean form dates back to at least the four­teenth cen­tu­ry. But as explained in the new video above from YouTube chan­nel Bed­time & His­to­ri­an, their pre-his­to­ry begins longer ago and far­ther away, with the inven­tion of the play­ing card itself in Tang-Dynasty Chi­na. For Tarot decks weren’t orig­i­nal­ly a means of glimps­ing the future, but of pass­ing time in the present.

In the 400 years or so between the civ­i­liza­tion­al jour­ney play­ing cards made along the Silk Road and their first employ­ment as a div­ina­tion tool by French occultists, many a game of Tarot — or taroc­chi, Tarock, and so on — took place in Europe. Mon­e­tary stakes, and some­times con­sid­er­able ones, were not unknown, which drew the ire of both state and Church author­i­ties.

Yet not only did the cards sur­vive these attempts at repres­sion, they evolved along numer­ous long and wind­ing cul­tur­al paths, tak­ing artis­ti­cal­ly elab­o­rate and evoca­tive forms that still cap­ture the imag­i­na­tion today. At the same time, the struc­ture of the Tarot deck used by eso­teri­cists has remained remark­ably sta­ble, with its 78 cards con­sist­ing of 22 Major Arcana and 56 Minor Arcana, the lat­ter divid­ed into four suits (like the stan­dard deck used for pok­er or black­jack).

If you aren’t sure what some of those terms mean, know that all is clar­i­fied over the course of the video’s near­ly three-hour run­time, the final third of which is ded­i­cat­ed to explain­ing the iden­ti­ties, char­ac­ter­is­tics, and mean­ings of the cards them­selves. It’s worth a lis­ten as a kind of advance prepa­ra­tion if you’ve con­sid­ered going in to get a Tarot read­ing done by one of the pro­fes­sion­als who still ply their trade all around the world. (In Korea, where I live, they even work out of booths set up on the side­walk, a true con­ve­nience for com­muters in need of spir­i­tu­al guid­ance on the way home.) True to Bed­time & His­to­ri­an’s con­cept, the nar­ra­tor speaks as slow­ly and calm­ly as pos­si­ble, with a fire crack­ling in the back­ground. You’ll learn a lot about Tarot, cer­tain­ly, but you may also find that your sleep trou­bles have been solved before you’ve drawn your first card.

Relat­ed con­tent:

Behold the Sola-Bus­ca Tarot Deck, the Ear­li­est Com­plete Set of Tarot Cards (1490)

The Artis­tic & Mys­ti­cal World of Tarot: See Decks by Sal­vador Dalí, Aleis­ter Crow­ley, H.R. Giger & More

Ale­jan­dro Jodor­owsky Explains How Tarot Cards Can Give You Cre­ative Inspi­ra­tion

Carl Jung on the Pow­er of Tarot Cards: They Pro­vide Door­ways to the Uncon­scious & Per­haps a Way to Pre­dict the Future

Divine Decks: A Visu­al His­to­ry of Tarot: The First Com­pre­hen­sive Sur­vey of Tarot Gets Pub­lished by Taschen

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How to Memorize an Entire Chapter from “Moby Dick”: The Art and Science of Remembering Everything

Some­times, when I can’t sleep, I men­tal­ly revis­it the var­i­ous homes of my child­hood, wan­der­ing from room to room, turn­ing on lights and peer­ing in clos­ets until I conk out.

Turns out these imag­i­nary tours are also handy mnemon­ic tools, as Vox’s Dean Peter­son explains above.

Hey, that’s good news… isn’t the sub­con­scious rumored to do some heavy lift­ing in terms of pro­cess­ing infor­ma­tion?

Peter­son con­quered a self-described bad mem­o­ry, at least tem­porar­i­ly, by traips­ing around his apart­ment, deposit­ing vivid sen­tence-by-sen­tence clues that would even­tu­al­ly help him recite by heart one of his favorite chap­ters in Moby Dick.

In truth, he was plant­i­ng these clues in his hip­pocam­pus, the rel­a­tive­ly small struc­ture in the brain that’s a crit­i­cal play­er when it comes to mem­o­ry, includ­ing the spa­tial mem­o­ries that allow us to nav­i­gate famil­iar loca­tions with­out seem­ing to give the mat­ter any thought.

What made it stick was pair­ing his every­day coor­di­nates to extra­or­di­nary visu­als.

Chap­ter 37, for those keep­ing track at home, is a mono­logue for Cap­tain Ahab in which he describes him­self as not just mad but “mad­ness mad­dened.” Here’s the first sen­tence:

I leave a white and tur­bid wake; pale waters, paler cheeks, where’er I sail.

Not the eas­i­est text for 21st-cen­tu­ry heads to wrap around, though with a lit­tle effort, most of us get the gist.

Let’s not get hung up on lit­er­ary inter­pre­ta­tion here, though, folks. Hav­ing set­tled on his front stoop as the first stop of his mem­o­ry palace Peter­son refrained from pic­tur­ing frothy spume lap­ping at the low­er­most step. Instead he plunked down a funer­al wreath and direc­tor John Waters, pale of suit and cheek, weep­ing. Get it? White? Wake? Pale cheeks?

After which Peter­son moved on to the next sen­tence.

There are 38 in all, and after sev­er­al days of prac­tice in which he men­tal­ly walked the image-strewn course of his apart­ment-cum-Mem­o­ry Palace, Peter­son was able to regale his cowork­ers with an off-book recita­tion.

The time fac­tor will def­i­nite­ly be a let­down for those hop­ing for a low-com­mit­ment par­ty trick.

Peter­son spent three-to-four hours a day pac­ing his spa­tial mem­o­ry, admir­ing the odd­i­ties he him­self had placed there.

The incred­u­lous com­ments from those ques­tion­ing the effi­cien­cy of giv­ing up half a day to mem­o­rize a page and a half are bal­anced by tes­ti­mo­ni­als from those who’ve met with suc­cess, using the Mem­o­ry Palace method to retain vast amounts of data pri­or to an exam.

That may, ulti­mate­ly, be a bet­ter use of the Mem­o­ry Palace. Peter­son gets an A for spit­ting out the lines as writ­ten, but his expres­sion is that of an actor audi­tion­ing with mate­r­i­al he has not yet mas­tered. (No shade on Peterson’s act­ing tal­ent or lack thereof—even great actors get this face when their lines are shaky. One friend doesn’t con­sid­er her­self off book until she can get all the way through her mono­logue whilst hop­ping on one foot.)

For more infor­ma­tion on build­ing a Mem­o­ry Palace, refer, as Peter­son did, to author Joshua Foer’s Moon­walk­ing With Ein­stein: The Art and Sci­ence of Remem­ber­ing Every­thing, or to his appear­ance on Adam Grant’s TED Work Life pod­cast. Stream it here:

If you would like to go whale to whale with Peter­son, below is the text that he installed in his Mem­o­ry Palace, com­pli­ments of Her­man Melville:

I leave a white and tur­bid wake; pale waters, paler cheeks, where’er I sail. The envi­ous bil­lows side­long swell to whelm my track; let them; but first I pass.

Yon­der, by ever-brim­ming goblet’s rim, the warm waves blush like wine. The gold brow plumbs the blue. The div­er sun- slow dived from noon- goes down; my soul mounts up! she wea­ries with her end­less hill. Is, then, the crown too heavy that I wear? this Iron Crown of Lom­bardy. Yet is it bright with many a gem; I the wear­er, see not its far flash­ings; but dark­ly feel that I wear that, that daz­zling­ly con­founds. ‘Tis iron- that I know- not gold. ‘Tis split, too- that I feel; the jagged edge galls me so, my brain seems to beat against the sol­id met­al; aye, steel skull, mine; the sort that needs no hel­met in the most brain-bat­ter­ing fight!

Dry heat upon my brow? Oh! time was, when as the sun­rise nobly spurred me, so the sun­set soothed. No more. This love­ly light, it lights not me; all love­li­ness is anguish to me, since I can ne’er enjoy. Gift­ed with the high per­cep­tion, I lack the low, enjoy­ing pow­er; damned, most sub­tly and most malig­nant­ly! damned in the midst of Par­adise! Good night-good night! (wav­ing his hand, he moves from the win­dow.)

‘Twas not so hard a task. I thought to find one stub­born, at the least; but my one cogged cir­cle fits into all their var­i­ous wheels, and they revolve. Or, if you will, like so many ant-hills of pow­der, they all stand before me; and I their match. Oh, hard! that to fire oth­ers, the match itself must needs be wast­ing! What I’ve dared, I’ve willed; and what I’ve willed, I’ll do! They think me mad- Star­buck does; but I’m demo­ni­ac, I am mad­ness mad­dened! That wild mad­ness that’s only calm to com­pre­hend itself! The prophe­cy was that I should be dis­mem­bered; and- Aye! I lost this leg. I now proph­esy that I will dis­mem­ber my dis­mem­ber­er. Now, then, be the prophet and the ful­filler one. That’s more than ye, ye great gods, ever were. I laugh and hoot at ye, ye crick­et-play­ers, ye pugilists, ye deaf Burkes and blind­ed Bendi­goes! I will not say as school­boys do to bul­lies- Take some one of your own size; don’t pom­mel me! No, ye’ve knocked me down, and I am up again; but ye have run and hid­den. Come forth from behind your cot­ton bags! I have no long gun to reach ye. Come, Ahab’s com­pli­ments to ye; come and see if ye can swerve me. Swerve me? ye can­not swerve me, else ye swerve your­selves! man has ye there. Swerve me? The path to my fixed pur­pose is laid with iron rails, where­on my soul is grooved to run. Over unsound­ed gorges, through the rifled hearts of moun­tains, under tor­rents’ beds, unerr­ing­ly I rush! Naught’s an obsta­cle, naught’s an angle to the iron way!

Note: An ear­li­er ver­sion of this post appeared on our site in 2019.

Relat­ed Con­tent:

Hear Moby Dick Read in Its Entire­ty by Til­da Swin­ton, Stephen Fry, John Waters & Oth­ers

Play Mark Twain’s “Mem­o­ry-Builder,” His Game for Remem­ber­ing His­tor­i­cal Facts & Dates

How to Prac­tice Effec­tive­ly: Lessons from Neu­ro­science Can Help Us Mas­ter Skills in Music, Sports & Beyond

The Neu­ro­science & Psy­chol­o­gy of Pro­cras­ti­na­tion, and How to Over­come It

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  

When Salvador Dalí Gave a Surrealist Lecture in a Diving Suit … and Almost Suffocated (1936)

Image by Library of Congress/Carl Van Vecht­en, via Wiki­me­dia Com­mons

Many a for­eign­er has vis­it­ed Eng­land and found it an unex­pect­ed­ly sur­re­al place. Some of that effect has to do with encoun­ter­ing famil­iar icons — Big Ben, dou­ble-deck­er Routemas­ter bus­es, Mar­mite — in cold, damp real­i­ty. More of it may be induced by the coun­try’s simul­ta­ne­ous­ly thor­ough­go­ing cul­tures of nor­mal­i­ty and eccen­tric­i­ty, an end­less source of inspi­ra­tion for Mon­ty Python’s Fly­ing Cir­cus and much oth­er British com­e­dy since. Yet Eng­land came rel­a­tive­ly late to Sur­re­al­ism, or rather, Sur­re­al­ism came late to Eng­land. When the Inter­na­tion­al Sur­re­al­ist Exhi­bi­tion opened at the New Burling­ton Gal­leries behind Lon­don’s Roy­al Acad­e­my in the sum­mer of 1936, the Man­ches­ter Evening News decried it as “a trav­es­ty of every­thing that’s decent.” Nat­u­ral­ly, the show was a smash hit.

On dis­play was work by artists includ­ing Pablo Picas­so, René Magritte, Max Ernst, Alexan­der Calder, Gior­gio de Chiri­co, Mar­cel Duchamp, Alber­to Gia­comet­ti, Paul Klee, Man Ray, and Sal­vador Dalí, who turned up in per­son to deliv­er a lec­ture on “Authen­tic Para­noiac Phan­toms.” In order to “descend to the sub­con­scious” with a prop­er­ly Sur­re­al­ist lit­er­al­ism, he rent­ed a div­ing suit and hel­met from a local out­fit­ter for his appear­ance. (You can see an actu­al image from 1936 here.) “The div­ing suit had extreme­ly heavy lead shoes which I could bare­ly lift,” he writes in his auto­bi­og­ra­phy, as trans­lat­ed by Haakon Cheva­lier. “I there­fore had to walk very slow­ly, lean­ing on friends who helped to move me, as though I were com­plete­ly par­a­lyzed, and thus I appeared before the audi­ence hold­ing two lux­u­ri­ous white Russ­ian wolfhounds on a leash.”

Only after he’d been talk­ing for a few min­utes did Dalí real­ize that “it would be impos­si­ble for me to deliv­er my speech through the glass win­dow of my hel­met. More­over, I had been shut up in this thing for ten min­utes and became heat­ed from the exer­tions I had made in walk­ing across the stage to reach my chair, so that I was drip­ping with per­spi­ra­tion, and felt faint and on the point of suf­fo­cat­ing.” With the tech­ni­cian who’d screwed the hel­met on in the first place nowhere to be found, his wife Gala and friend Edward James worked des­per­ate­ly to free him, even­tu­al­ly tak­ing a ham­mer to the bolts. “At each blow I thought I would faint.” When Dalí final­ly emerged, the audi­ence, hav­ing assumed it had all been an act, “was impressed by my real­ly death­ly pal­lor, which con­sti­tut­ed the accu­rate gauge of that Dalin­ian dra­mat­ic ele­ment which nev­er fails to attend my most triv­ial acts and under­tak­ings.”

As uncom­pro­mis­ing­ly as they made their dec­la­ra­tions to change the world through sheer force of non­sense, the Sur­re­al­ists also under­stood that the show must go on. Dalí moved on to the visu­al por­tion of his lec­ture, pre­sent­ing slides out of order and, for the most part, upside down. This was just one of the attrac­tions with which the Inter­na­tion­al Sur­re­al­ist Exhi­bi­tion drew 30,000 vis­i­tors dur­ing its three-week run, and “had it not been for the gath­er­ing storm clouds of war in Europe,” writes the Guardian’s Joan­na Moor­head, “it might have gone on to achieve far more.” The old Eng­lish intol­er­ance for Gal­lic self-seri­ous­ness would also have made things dif­fi­cult for Sur­re­al­ism as the likes of Dalí, Duchamp, and André Bre­ton con­ceived it. Or per­haps the domes­tic vari­ety was sim­ply enough: as crit­ic and poet Her­bert Read puts it in the exhi­bi­tion’s cat­a­log, a nation that has pro­duced both William Blake and Lewis Car­roll is to the man­ner born.

Relat­ed Con­tent:

When The Sur­re­al­ists Expelled Sal­vador Dalí for “the Glo­ri­fi­ca­tion of Hit­ler­ian Fas­cism” (1934)

When Sal­vador Dali Met Sig­mund Freud, and Changed Freud’s Mind About Sur­re­al­ism (1938)

When Sal­vador Dalí Cre­at­ed a Sur­re­al­ist Fun­house at New York World’s Fair (1939)

When Sal­vador Dalí Dressed — and Angri­ly Demol­ished — a Depart­ment Store Win­dow in New York City (1939)

When Sal­vador Dalí Gave a Lec­ture at the Sor­bonne & Arrived in a Rolls Royce Full of Cau­li­flower (1955)

Sal­vador Dali Gets Sur­re­al with Mike Wal­lace (1958)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Watch Interplanetary Revolution (1924): The Most Bizarre Soviet Animated Propaganda Film You’ll Ever See

In 1924, Zenon Komis­sarenko, Youry Merkulov and Niko­lai Kho­dataev pro­duced Inter­plan­e­tary Rev­o­lu­tion, which might just be one of the strangest Sovi­et pro­pa­gan­da films ever pro­duced.

First, the film is ani­mat­ed using not only tra­di­tion­al cel ani­ma­tion but also col­lage and stop motion, giv­ing the work a queasy, dis­ori­ent­ing feel. A bit like look­ing at a paint­ing by Hen­ry Darg­er.

Then there is the film’s sto­ry. As an inter­ti­tle pro­claims, this is “a tale about Com­rade Con­in­ter­nov, the Red Army War­rior who flew to Mars, and van­quished all the cap­i­tal­ists on the plan­et!!” This already sounds bet­ter than John Carter.

The movie, how­ev­er, is rather hard to fol­low with­out either the appro­pri­ate amount of rev­o­lu­tion­ary fer­vor or, per­haps, hal­lu­cino­gens. Inter­plan­e­tary Rev­o­lu­tion opens with a wild-eyed, ax-wield­ing bull­dog with a top hat – a cap­i­tal­ist, obvi­ous­ly. Oth­er cap­i­tal­ists, with swastikas on their fore­heads, suck the blood from a hap­less mem­ber of the pro­le­tari­at. (By the ear­ly 1920s, Ger­many’s nation­al­ist right had adopt­ed the swasti­ka, and Sovi­et pro­pa­gan­dists quick­ly used it to brand cap­i­tal­ists as fas­cists.) Then the rev­o­lu­tion comes and a pant­less cap­i­tal­ist demon los­es his mind after devour­ing a copy of Prav­da. Next, the cap­i­tal­ists board a giant fly­ing shoe and fly off into space. From there, the film gets kind of weird.

You can watch the whole thing above. It’s also added to our list of Free Ani­mat­ed Films, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

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

Relat­ed Con­tent:

Watch Dzi­ga Vertov’s Sovi­et Toys: The First Sovi­et Ani­mat­ed Movie Ever (1924)

Watch the Sur­re­al­ist Glass Har­mon­i­ca, the Only Ani­mat­ed Film Ever Banned by Sovi­et Cen­sors (1968)

Watch Dzi­ga Vertov’s A Man with a Movie Cam­era, Named the 8th Best Film Ever Made

“Glo­ry to the Con­querors of the Uni­verse!”: Pro­pa­gan­da Posters from the Sovi­et Space Race (1958–1963)

The Beau­ti­ful, Inno­v­a­tive & Some­times Dark World of Ani­mat­ed Sovi­et Pro­pa­gan­da (1925–1984)

Jonathan Crow is a writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. 

How Alan Turing and His Fellow Codebreakers Broke the Nazis’ “Unbreakable” Enigma Code

There was a time when you could just go out and buy an Enig­ma machine. In the ear­ly nine­teen-twen­ties, any orga­ni­za­tion with a need to keep its com­mu­ni­ca­tions secret could order a few of those brand-new devices from Ger­many and rest assured that any mes­sages encod­ed using them would be safe from pry­ing eyes. It did­n’t take long for the mil­i­tary to catch on to the Enig­ma’s use­ful­ness. Just a few years after the machine came on the mar­ket, it had been adopt­ed by the Ger­man Navy, Army, and Air Force, and made pos­si­ble the rapid, secret coor­di­na­tion cen­tral to the tech­nique we now call blitzkrieg. When World War II began, Axis forces were con­fi­dent, as any­one in pos­ses­sion of an unbreak­able code might well be.

As his­to­ry played out, of course, that code turned out to be break­able. That this came as a sur­prise to the Nazis makes sense if you watch the new video above from Ver­i­ta­si­um, which opens up an actu­al Enig­ma machine and explains its inner work­ings. Each let­ter typed into its key­board pass­es through a series of inter­change­able rotors wired togeth­er, then comes back through in the oppo­site direc­tion, result­ing in a par­tic­u­lar sub­sti­tute let­ter.

Each char­ac­ter entered advances at least one of the rotors, each of which turns at a dif­fer­ent speed, mean­ing that the already com­plex sub­sti­tu­tion cipher con­stant­ly changes. To make it even trick­i­er, the Nazis made mod­i­fi­ca­tions to their Enig­ma machines, includ­ing a tele­phone-oper­a­tor-style plug­board that expand­ed the pos­si­ble encryp­tion keys to 7 x 1018: an infi­nite-seem­ing num­ber that fair­ly cried out for the math­e­mat­i­cal ser­vices of Alan Tur­ing.

Already famous for hav­ing come up with the “Tur­ing machine,” which could the­o­ret­i­cal­ly manip­u­late strings of sym­bols in what we’d now call an algo­rith­mic fash­ion, he was recruit­ed by Britain’s wartime code­break­ing head­quar­ters at Bletch­ley Park, where experts were already hard at work reverse-engi­neer­ing the Enig­ma machine. There he con­sid­ered flaws in the design of the device, such as its inabil­i­ty to encrypt any giv­en let­ter as itself, and the ways in which its human oper­a­tors used it, such as mak­ing pre­dictable weath­er reports. Exploit­ing these weak­ness­es required build­ing a non-the­o­ret­i­cal com­pu­ta­tion engine, the Bombe, to grind through all pos­si­bil­i­ties at what would then have seemed an unfath­omable speed. The intel­li­gence the Bombe pro­duced con­tributed to the suc­cess of the sur­prise D‑Day inva­sion and may have tak­en years off the poten­tial rav­ages of World War II. It would­n’t have hap­pened with­out Tur­ing’s for­mi­da­ble intel­li­gence — or his under­stand­ing that you need a machine to out­smart a machine.

Relat­ed Con­tent:

The Enig­ma Machine: How Alan Tur­ing Helped Break the Unbreak­able Nazi Code

How British Code­break­ers Built the First Elec­tron­ic Com­put­er

The LEGO Tur­ing Machine Gives a Quick Primer on How Your Com­put­er Works

A Tur­ing Machine Hand­made Out of Wood

Can You Crack the Uncrack­able Code in Kryp­tos, the CIA’s Work of Pub­lic Art?

The Sto­ry of Elize­beth Fried­man, the Pio­neer­ing Cryp­tol­o­gist Who Thwart­ed the Nazis & Got Burned by J. Edgar Hoover

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Digital Dada Library: Discover the Archive That Preserves the Original Publications of the Experimental Anti-Art Movement Online

Crit­i­cal the­o­rists like Theodor Adorno may have over­reached in claim­ing that all mass cul­ture is mediocre, mech­a­nized pro­pa­gan­da made to jus­ti­fy the sta­tus quo. But that doesn’t mean they were entire­ly wrong. Over and over we see even the most sub­ver­sive art, lit­er­a­ture, film, and music has a way of being tamed and Bowd­ler­ized. Glob­al mega-cor­po­rate indus­tries don’t need to cen­sor what they don’t like; they only need to buy it, rebrand it, or price it out of reach.

So what? Why do we need chal­leng­ing, inde­pen­dent art when we have end­less enter­tain­ment? Is the con­cept a nos­tal­gic, elit­ist, Euro­cen­tric idea? Artists have jus­ti­fied the need for art since antiq­ui­ty, with poet­ic and log­i­cal argu­ments of every kind. But Dada artists of the ear­ly 20th cen­tu­ry broke ranks, build­ing their move­ment on the insight that no defense could pos­si­bly mean any­thing when it came to art’s pur­pose, espe­cial­ly in the face of the tech­no­crat­ic slaugh­ter of World War I.

When the hyper­ra­tional­ism of moder­ni­ty led to mass death and destruc­tion, the only humane response was to declare war on rationalization—to “destroy the hoax­es of rea­son,” as French artist Jean Arp put it. “For the dis­il­lu­sioned artists of the Dada move­ment,” the Muse­um of Mod­ern Art explains, “the war mere­ly con­firmed the degra­da­tion of social struc­tures that led to such vio­lence: cor­rupt and nation­al­ist pol­i­tics, repres­sive social val­ues, and unques­tion­ing con­for­mi­ty of cul­ture and thought.”

Dada took a com­bat­ive stance against, for one thing, the insis­tence that art jus­ti­fy its exis­tence to win estab­lish­ment approval. “All activ­i­ty is vain,” declared poet Tris­tan Tzara in his 1918 “Dada Man­i­festo,” includ­ing the “mon­e­tary sys­tem, phar­ma­ceu­ti­cal prod­uct, or a bare leg adver­tis­ing the ardent ster­ile spring…. The begin­nings of Dada were not the begin­nings of art, but of dis­gust” with the ossi­fied cul­ture of the “nice, nice bour­geois,” who would pre­serve at any cost “the pos­si­bil­i­ty of wal­low­ing in cush­ions and good things to eat.”

“And so Dada,” wrote Tzara, “was born of a need for inde­pen­dence, of a dis­trust toward uni­ty.” Such dec­la­ra­tions aside, the move­ment was decid­ed­ly uni­fied in its aims. “For us, art is not an end in itself,” poet Hugo Ball wrote. “It is an oppor­tu­ni­ty for the true per­cep­tion and crit­i­cism of the times we live in.” This cri­tique required new exper­i­men­tal tech­niques that deformed and repur­posed the tech­nolo­gies of mass cul­ture.

The under­tak­ing would not have been pos­si­ble with­out a Dada pub­lish­ing wing that turned out scores of jour­nals, mag­a­zines, books, leaflets, essays, man­i­festos, etc., writ­ten, designed, edit­ed, illus­trat­ed, pho­tographed, and con­trolled by the artists them­selves. They might find no small amount of irony in the fact that their pro­duc­tions have received the ulti­mate insti­tu­tion­al sanc­tion: housed in “nice, nice bour­geois” muse­ums, libraries, and uni­ver­si­ties around the world.

The Uni­ver­si­ty of Iowa’s Inter­na­tion­al Dada Archive has amassed a con­sid­er­able num­ber of Dada pub­li­ca­tions and offers a wealth of high-qual­i­ty scanned images of the orig­i­nals on their site. “The first sec­tion” of their Dig­i­tal Library “includes some of the major peri­od­i­cals of the Dada move­ment from Zurich, Berlin, Paris, and else­where.”

The sec­ond sec­tion of the site “includes books by some of the par­tic­i­pants in the Dada move­ment, as well as some of the more ephemer­al Dada-era pub­li­ca­tions, such as exhi­bi­tion cat­a­logs and broad­sides.” You’ll find writ­ings by all of the artists men­tioned above, as well as oth­er well-known names like Max Ernst, Paul Elu­ard, George Grosz, Man Ray, Fran­cis Picabia, and more.

All of these pub­li­ca­tions are, of course, in their orig­i­nal Euro­pean lan­guages, though you can find trans­la­tions of many doc­u­ments online. The most influ­en­tial Dada mag­a­zine in Eng­lish, Alfred Stieglitz’s 291, will give mono­lin­gual read­ers a fla­vor of the larg­er scene. Pub­lished in New York between 1915 and 1916, the short-lived jour­nal includ­ed many of the major Euro­pean names. Its first issue cov­ered exper­i­ments like “simul­tanism,” “sin­cerism,” and “idi­o­tism,” and intro­duced visu­al poet­ry to Amer­i­can read­ers. Issue 5–6 fea­tured on its cov­er one of the weird, non­sen­si­cal machines of Fran­cis Picabia.

Dada splin­tered into oth­er move­ments before its artists were forced out of Europe or hound­ed into obscu­ri­ty by the Nazis. Their uni­fied attempt to frag­ment and dis­rupt the dom­i­nance of mass cul­ture was itself frag­ment­ed and dis­rupt­ed by a hor­rif­ic new war machine. But while their ideas may have been co-opt­ed, their spir­it may yet live on. Inspired by their work, per­haps a new gen­er­a­tion will take up the Sisyphean task of mak­ing rad­i­cal, crit­i­cal, exper­i­men­tal art to sub­vert the homog­e­niz­ing jug­ger­naut of the cul­ture indus­try.

Enter the Uni­ver­si­ty of Iowa’s Dig­i­tal Dada Library here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2019.

Relat­ed Con­tent:

Dada Was Born 100 Years Ago: Cel­e­brate the Avant-Garde Move­ment Launched by Hugo Ball on July 14, 1916

The ABCs of Dada Explains the Anar­chic, Irra­tional “Anti-Art” Move­ment of Dadaism

Read and Hear Tris­tan Tzara’s “Dada Man­i­festo,” the Avant-Garde Doc­u­ment Pub­lished 100 Years Ago (March 23, 1918)

Down­load All 8 Issues of Dada, the Arts Jour­nal That Pub­li­cized the Avant-Garde Move­ment a Cen­tu­ry Ago (1917–21)

Hear the Exper­i­men­tal Music of the Dada Move­ment: Avant-Garde Sounds from a Cen­tu­ry Ago

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

When Galileo Calculated the Precise Dimensions of Hell in Dante’s Inferno

We ven­er­ate Galileo Galilei for dar­ing to speak the sci­en­tif­ic truth in the face of severe insti­tu­tion­al oppo­si­tion. He pub­licly acknowl­edged that the Earth revolves around the Sun in a time when the Church would rather he did­n’t, dis­play­ing a bloody-mind­ed­ness that he seems to have acquired with age. Decades ear­li­er, in the first stage of his career, he found him­self (cir­ca 1588) tasked by the Flo­ren­tine Acad­e­my with cal­cu­lat­ing the pre­cise dimen­sions of hell as described in Dan­te’s Divine Com­e­dy. Duti­ful­ly apply­ing him­self to this now-absurd-sound­ing work, he deter­mined that the under­world’s roof had to be cen­tered in Jerusalem, as wide as the radius of the entire Earth, and no less than 600 kilo­me­ters thick.

Not that any of this was based on friv­o­lous rea­son­ing. As a mod­el for the dimen­sions of hel­l’s roof, for instance, Galileo looked over to Fil­ip­po Brunelleschi’s dome, which had topped the Flo­rence Cathe­dral for a cen­tu­ry and a half at that point. Galileo’s cal­cu­la­tions of hel­l’s dimen­sions con­tra­dict­ed an ear­li­er mod­el pro­posed by the schol­ar Alessan­dro Vel­lutel­lo. Instead, they sup­port­ed a mod­el devel­oped by archi­tect Anto­nio Manet­ti, whose draw­ings appear here.

That Manet­ti was a fel­low Flo­ren­tine, and Vel­lutel­lo was from Flo­rence’s long­time rival Luc­ca could well have count­ed among the moti­vat­ing fac­tors. But we must bear in mind that, in the six­teenth cen­tu­ry, peo­ple real­ly did want to get these facts straight — if “facts” be the prop­er term.

The attempt to rec­on­cile scrip­ture with objec­tiv­i­ty absorbed the lives of many high­ly intel­li­gent peo­ple through­out the Mid­dle Ages and the Renais­sance. How­ev­er hope­less that goal could be, the thought Galileo devot­ed to the prob­lem may have result­ed in a gen­uine break­through. Math­e­mati­cian and sci­ence his­to­ri­an Mark Peter­son, pre­vi­ous­ly fea­tured here on Open Cul­ture, has argued that his cal­cu­la­tions of Dan­te’s non-Euclid­ean, topol­o­gy-curved uni­verse — as we might plau­si­bly describe it today — laid out the basis for what would become math­e­mat­i­cal physics. In any case, the young Galileo’s lec­tures at the Flo­ren­tine Acad­e­my land­ed him a job as a math­e­mat­ics lec­tur­er at the Uni­ver­si­ty of Pisa, as good a rea­son as any for him to keep his pri­vate doubts to him­self. When it comes to sci­ence and reli­gion, as he must have known, you’ve got to pick your bat­tles.

Relat­ed con­tent:

Dante’s Divine Com­e­dy: A Visitor’s Guide to Hell, Pur­ga­to­ry & Par­adise

Physics from Hell: How Dante’s Infer­no Inspired Galileo’s Physics

Beau­ti­ful 19th Cen­tu­ry Maps of Dante’s Divine Com­e­dy: Infer­no, Pur­ga­to­ry, Par­adise & More

Visu­al­iz­ing Dante’s Hell: See Maps & Draw­ings of Dante’s Infer­no from the Renais­sance Through Today

A Dig­i­tal Archive of the Ear­li­est Illus­trat­ed Edi­tions of Dante’s Divine Com­e­dy (1487–1568)

Explore Divine Com­e­dy Dig­i­tal, a New Dig­i­tal Data­base That Col­lects Sev­en Cen­turies of Art Inspired by Dante’s Divine Com­e­dy

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Listen to 4+ Hours of Jazz & Classical Music from Haruki Murakami’s Novels

Before he became a nov­el­ist, Haru­ki Muraka­mi ran a jazz bar in Tokyo, and music has filled his nov­els ever since. For your lis­ten­ing plea­sure, NTS Radio has cre­at­ed two playlists of the jazz and clas­si­cal music ref­er­enced in his fic­tion. Togeth­er, they run near­ly five hours and fea­ture every­one from John Coltrane, Bill Evans, and Thelo­nious Monk to Schu­bert, Liszt, and Mozart. Our sug­ges­tion: Pick up a Muraka­mi nov­el, press play, and let the music become the sound­track to your read­ing. Enjoy!

via Kot­tke

Relat­ed Con­tent 

Haru­ki Murakami’s Dai­ly Rou­tine: Up at 4:00 a.m., 5–6 Hours of Writ­ing, Then a 10K Run

Haru­ki Muraka­mi Trans­lates The Great Gats­by, the Nov­el That Influ­enced Him Most

Read 12 Sto­ries By Haru­ki Muraka­mi Free Online

Why Should You Read Haru­ki Muraka­mi? An Ani­mat­ed Video on His “Epic Lit­er­ary Puz­zle” Kaf­ka on the Shore Makes the Case

 

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Rage Against the Machines: From the Luddites to the AI Data Center Backlash

One often-repeat­ed anec­dote about Mil­ton Fried­man has the famous econ­o­mist vis­it­ing a canal under con­struc­tion in nine­teen-six­ties Chi­na. Notic­ing the sheer num­ber of human labor­ers dig­ging away with shov­els, he asked the offi­cial in charge why they weren’t get­ting the work done faster with exca­va­tors and oth­er mod­ern machines. The bureau­crat explained to him that doing it by hand cre­at­ed more jobs. Fried­man’s reply: “If it’s jobs you want, you should give those men spoons instead.” Whether or not this exchange ever actu­al­ly hap­pened, it illus­trates a con­flict that’s arisen more than once in the his­to­ry of civ­i­liza­tion, pos­si­bly since the dawn of indus­tri­al­iza­tion — and at least since the hey­day of the Lud­dites.

Accord­ing to the Uni­ver­si­ty of Cam­bridge, that hey­day came in 1812, the year of “an assault by some 150 armed labor­ers on a Hud­der­s­field mill, in which sol­diers opened fire on the mob to stop them break­ing into the premis­es, fatal­ly wound­ing two attack­ers.” This was the cul­mi­na­tion of a series of protests across Eng­land, all of them inspired by anger at “new tech­nolo­gies, like auto­mat­ed looms, which were being used in the tex­tile indus­try in place of the skilled work of arti­sans, threat­en­ing their liveli­hoods as a result.” These des­per­ate­ly infu­ri­at­ed pro­test­ers, whose doc­u­ment­ed actions include the mur­der of a York­shire mill own­er, loud­ly expressed alle­giance to one Ned Ludd, a weaver said to have tak­en the bold step of smash­ing a cou­ple of new­fan­gled stock­ing frames some 25 years before.

The sto­ry of Lud­d’s ear­ly stand against mech­a­niza­tion may be even more ques­tion­able than the one about Mil­ton Fried­man and the spoons, but his name sur­vives today nev­er­the­less. In fact, it’s under­gone some­what of a revival thanks to the arti­fi­cial-intel­li­gence boom of recent years, dur­ing which even the mod­ern “knowl­edge work­ers” have come to fear the tram­pling of their liveli­hoods under tech­nol­o­gy’s inex­orable march. Their calls for restric­tions on the devel­op­ment and deploy­ment of AI are, in one side’s fram­ing of the argu­ment, mere­ly the lat­est pub­lic spasm of Lud­dism, a move­ment explained in the video above from The His­to­ry Guy. How many here in the twen­ty-first cen­tu­ry, after all, would argue that the mass pro­duc­tion of socks ulti­mate­ly con­sti­tut­ed a real loss for human­i­ty?

Lud­dism nev­er did count a large pro­por­tion of the Eng­lish labor force as its own. Rather, the move­ment appealed to “a rel­a­tive­ly ‘elite’ group” of legal­ly pro­tect­ed work­ers only allowed into their pro­fes­sions after years of appren­tice­ship, at which point “they tend­ed to feel that they were owed a liv­ing.” Nor did the con­di­tions, hours, and com­pen­sa­tion at the fac­to­ries then spring­ing up seem favor­able com­pared to the way of life enjoyed by their pre­de­ces­sors. Sim­i­lar sen­ti­ments may under­lie the “Lud­dite clubs” form­ing on col­lege cam­pus­es, on which NPR has report­ed, or this year’s social media-free “Sum­mer of Ludd” at the New School, to say noth­ing of ongo­ing protests against data-cen­ter con­struc­tion. It would be fas­ci­nat­ing to hear what gen­uine nine­teenth-cen­tu­ry Lud­dites would make of our sit­u­a­tion. Per­haps, one day, we can use AI to res­ur­rect them.

Relat­ed con­tent:

Hear Alan Watts’s 1960s Pre­dic­tion That Automa­tion Will Neces­si­tate a Uni­ver­sal Basic Income

Experts Pre­dict When Arti­fi­cial Intel­li­gence Will Take Our Jobs: From Writ­ing Essays, Books & Songs, to Per­form­ing Surgery and Dri­ving Trucks

The Inge­nious Engi­neer­ing of Silk: How the 2,000-Year-Old Pat­tern Loom Pow­ered the Silk Road and the Wealth of Ancient Chi­na

How Qatar Built Sta­di­ums with Forced Labor

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How Reading Changes the Way Your Brain Works

Read­ing is unnat­ur­al. This will hard­ly come as a sur­prise to any child try­ing to put off his home­work for just one more hour of watch­ing oth­er kids play Minecraft. Yet there real­ly are impli­ca­tions worth con­sid­er­ing if we accept that our cog­ni­tive sys­tems did­n’t evolve to process text in the same way as they evolved to han­dle vision and speech. Speak­ing on an evo­lu­tion­ary his­tor­i­cal scale, “we haven’t had enough time to devel­op a ded­i­cat­ed read­ing brain,” says UCLA neu­ro­sci­en­tist Rebec­ca Gotlieb in the BBC World Ser­vice video above. For the time being, in a kind of cog­ni­tive jer­ry-rig­ging, “we co-opt parts of the brain involved in vision and audi­to­ry pro­cess­ing and lan­guage and atten­tion and affect.”

That was true for read­ers and writ­ers of Sumer­ian cuneiform and Egypt­ian hiero­glyph­ics five mil­len­nia ago. It still is for read­ers and writ­ers of the many scripts in use today, from the Latin alpha­bet to Chi­nese char­ac­ters to the Ara­bic abjad, each of which has its own influ­ence on its users’ neu­ro­log­i­cal archi­tec­ture. One of the biggest dif­fer­ences between then and now is the scale of read­ing: ancient Sume­ria and Egypt seem to have had lit­er­a­cy rates around one per­cent, a num­ber com­pris­ing most­ly scribes, priests, and nobles, while the glob­al aver­age today comes in around 88 per­cent and ris­ing. Anoth­er is the medi­um of read­ing: the shift from papyrus to paper may have seemed remark­able at the time, but the more recent one from paper to elec­tron­ic screens has already changed the way we think about our world.

“When we read on screens, we tend to skim, and when we skim, we’re more sus­cep­ti­ble to mis­in­for­ma­tion,” says Gotlieb. So we’ve been told, many times and many ways, amid the past decade’s ever-more-trou­bled polit­i­cal reportage. In 2018, Maryanne Wolf, author of Come Home: The Read­ing Brain in a Dig­i­tal World, argued in the Guardian that the “sub­tle atro­phy of crit­i­cal analy­sis and empa­thy” appar­ent­ly caused by tech­nol­o­gy-encour­aged skim­ming “affects our abil­i­ty to nav­i­gate a con­stant bom­bard­ment of infor­ma­tion. It incen­tivizes a retreat to the most famil­iar silos of unchecked infor­ma­tion, which require and receive no analy­sis, leav­ing us sus­cep­ti­ble to false infor­ma­tion and dem­a­goguery.”

So much for us adults. What about the chil­dren? In the BBC World Ser­vice video, Wolf blunt­ly sums up the results of stud­ies so far on the effects of ear­ly read­ing expe­ri­ence on lat­er intel­lec­tu­al per­for­mance: “the more dig­i­tal, the worse aca­d­e­m­ic.” If a young brain is “con­stant­ly being dis­tract­ed and hyper­stim­u­lat­ed, you’re going to have them not able to real­ly move from one stim­u­lus to the next with­out a desire for ever-quick­er inter­vals between stim­uli.” For our part, as par­ents, teach­ers, or oth­er vis­i­ble exam­ples of grown-uphood, we can do noth­ing to coun­ter­act that more effec­tive­ly than to mod­el and enjoy a rich “read­ing life” for the next gen­er­a­tion. We must, in oth­er words, pick up books and not put them down, which may strike an Open Cul­ture read­er as an easy task. But ask your­self this: how many times did you click over to some­thing else before get­ting to the end of this post?

Relat­ed con­tent:

How Read­ing Increas­es Your Emo­tion­al Intel­li­gence & Brain Func­tion: The Find­ings of Recent Sci­en­tif­ic Stud­ies

How to Read Books That Chal­lenge Your Mind: Advice from Robert Greene, Author of The 48 Laws of Pow­er

This Is Your Brain on Jane Austen: The Neu­ro­science of Read­ing Great Lit­er­a­ture

How to Read Five Books Per Month & Become a Seri­ous Read­er: Tips from Deep Work Author Cal New­port

Why Amer­i­cans Stopped Read­ing Books

Grow­ing Up Sur­round­ed by Books Has a Last­ing Pos­i­tive Effect on the Brain, Says a New Sci­en­tif­ic Study

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

An In-Depth, Immersive Journey Through the Bayeux Tapestry

With the Bayeux Tapes­try now on dis­play at the British Muse­um, Deep Down His­to­ry presents a deep dive into the embroi­dery’s full sto­ry:

“The Bayeux Tapes­try is one of the most remark­able sur­vivals of the Mid­dle Ages — a 70 metre embroi­dered account of the events lead­ing to the Nor­man Con­quest of Eng­land in 1066, cul­mi­nat­ing in the Bat­tle of Hast­ings. This video tells the Tapes­try’s sto­ry in full, using Charles Stothard’s ear­ly colour repro­duc­tion, pre­sent­ed here as a seam­less scroll for the first time. We fol­low Harold God­win­son’s fate­ful jour­ney from Edward the Con­fes­sor’s court to Nor­mandy, his lat­er seizure of the Crown, and William the Con­queror’s inva­sion. Beyond its polit­i­cal mes­sag­ing, the Tapes­try is also burst­ing with medieval his­to­ry, includ­ing jokes, fas­ci­nat­ing tech­ni­cal details, and a warn­ing for those who break their promis­es…”

Enjoy!

via Kot­tke

Relat­ed Con­tent

The Sto­ry Told on the Famous Bayeux Tapes­try Explained from Start to Fin­ish

The Bayeux Tapes­try Gets Dig­i­tized: View the Medieval Tapes­try in High Res­o­lu­tion, Down to the Indi­vid­ual Thread

Behold a Cre­ative Ani­ma­tion of the Bayeux Tapes­try

How Eng­land First Became Eng­land: An Ani­mat­ed His­to­ry

The Bayeux Tapes­try Ani­mat­ed

The Entire His­to­ry of the British Isles Ani­mat­ed: 42,000 BCE to Today

Con­struct Your Own Bayeux Tapes­try with This Free Online App


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