Watch John Lennon’s Last Live Performance (1975): “Imagine,” “Stand By Me” & More


After each heart­break­ing loss of a musi­cal icon this past year and a half, we have turned to their great­est moments onstage, not nec­es­sar­i­ly their last, because their final shows weren’t always all that mem­o­rable. Declin­ing health, bad record­ings… and not every gig is a good one even in the best of times and with the best of per­form­ers. But when it comes to John Lennon’s last pub­lic appear­ance, I like to think he might have left the stage exact­ly the way he want­ed to, as a rock­er, a provo­ca­teur, and a pis­stak­er in a can­dy-apple red jump­suit, backed by a nine-piece mim­ing band of bald men in black leather with masks paint­ed on the back of their heads.


Cred­it­ed as “John Lennon, Etc.,” the band’s true name, giv­en to them by Lennon him­self, is abbre­vi­at­ed on their bass drum: B.O.M.F., or “Broth­ers of Moth­er Fuck­ers.” It was Lennon’s send off to his own career as much as it was a Salute to Sir Lew, as the pro­gram was called. Just a few months lat­er Sean was born, and Lennon declared he would retire to raise his son. At the time of his trag­ic death five years lat­er, he had begun record­ing again, releas­ing Dou­ble Fan­ta­sy and plan­ning a sec­ond dou­ble album, Milk and Hon­ey. But we nev­er got to see him per­form those songs.

The hon­oree for Lennon’s last gig was Sir Lew Grade, “a pow­er­ful media mogul,” notes Dan­ger­ous Minds, “with roots in cabaret and vari­ety shows.” A man known as much for his ruth­less­ness in busi­ness as for his Charleston, which he per­formed on table­tops when­ev­er the mood struck him. In 1969 Grade bought up the rights to over a hun­dred Lennon and McCart­ney songs, after some very tense nego­ti­a­tions. Lennon sued Grade in 1974 and set­tled out of court, and Grade remained the co-pub­lish­er of all of his new songs.


As part of the set­tle­ment, Lennon record­ed his album of cov­ers of clas­sic rock ‘n’ roll songs, appro­pri­ate­ly titled Rock ‘n’ Roll. When he appeared at the trib­ute con­cert for Sir Lew at the Hilton Hotel in New York—on the bill with Julie Andrews, Tom Jones, and Peter Sellers—he played Lit­tle Richard’s “Slip­pin’ and Slidin,” and Ben E. King’s “Stand by Me” for “a “who’s who of the old Hol­ly­wood elite,” includ­ing Lau­ren Bacall, Kirk Dou­glas, Gene Kel­ly, and Orson Welles. The show, record­ed for TV broad­cast, cut his ren­di­tion of “Stand by Me” (hear the audio above), but they did air his final song, “Imag­ine,” which turned out to be the last song he ever sang live onstage (top).


Lennon is in very good form, and seem­ing­ly in good spir­its. The year pre­vi­ous, he’d scored a num­ber one hit with “What­ev­er Gets You Thru the Night.” Accord­ing at least to Paul McCart­ney and Lennon’s girl­friend May Pang, he had even con­sid­ered reunit­ing the Bea­t­les. In Novem­ber of 1974, Lennon joined Elton John onstage at Madi­son Square Gar­den for rol­lick­ing ver­sions of “I Saw Her Stand­ing There,” “Lucy in the Sky with Dia­monds,” and “What­ev­er Gets You Thru the Night” on which Elton had played in the stu­dio. You can see a recre­ation of that per­for­mance above. It was tech­ni­cal­ly Lennon’s last live con­cert appear­ance.

His final appear­ance on stage, on the oth­er hand, while it might have been an odd way to say good­bye, whether he meant to do so or not, may not be what we revis­it when we revis­it Lennon. Why did he agree to do a trib­ute con­cert “for a man he had been embroiled in law­suits with?” With a stage show that many have thought was delib­er­ate­ly designed to antag­o­nize the hon­oree? We’ll nev­er know. But I’m grate­ful that his final live song was one that still speaks to us of hope and pos­si­bil­i­ty. Maybe bow­ing to cen­sors, Lennon changes “Imagine”’s con­tro­ver­sial line about reli­gion. Instead, he sings, “Noth­ing to kill or die for, no immi­gra­tion, too,” refer­ring both to his trou­bles with the U.S. immi­gra­tion author­i­ties and to the bor­der­less world the song projects. “Imag­ine there’s no coun­tries… Imag­ine all the peo­ple shar­ing all the world.”

Relat­ed Con­tent:

The Night John Lennon & Yoko Ono Jammed with Frank Zap­pa at the Fill­more East (1971)

Get a Fly-on-the-Wall View of John Lennon Record­ing & Arrang­ing His Clas­sic Song, “Imag­ine” (1971)

John Lennon’s Solo Albums Now Stream­ing for Free on Spo­ti­fy

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

NASA Lets You Download Free Posters Celebrating the 40th Anniversary of the Voyager Missions

A quick fyi: Last year, NASA released 14 Free Posters That Depict the Future of Space Trav­el in a Cap­ti­vat­ing­ly Retro Style. Now, on the 40th anniver­sary of the Voy­ager mis­sions (Aug. 20 and Sept. 5, 1977), the space agency has issued three attrac­tive new posters to cel­e­brate our “ambas­sadors to the rest of the Milky Way.” All are free to down­load and print here. Writes Space.com: “One of the Voy­ager posters is an image of a star­ry night sky [see above], and anoth­er adver­tis­es the mis­sion using the flam­boy­ant design style of the 1970s, the decade when the probes launched. A third poster hon­ors the probes’ ‘grand tour’ of the plan­ets, on their way to the edge of the solar sys­tem.” Hap­py down­load­ing!

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 the Icon­ic 1968 “Earth­rise” Pho­to Was Made: An Engross­ing Visu­al­iza­tion by NASA

NASA Archive Col­lects Great Time-Lapse Videos of our Plan­et

Ray Brad­bury Reads Mov­ing Poem on the Eve of NASA’s 1971 Mars Mis­sion

NASA Presents “The Earth as Art” in a Free eBook and Free iPad App

NASA Sends Image of the Mona Lisa to the Moon and Back

Free Inter­ac­tive e‑Books from NASA Reveal His­to­ry, Dis­cov­er­ies of the Hub­ble & Webb Tele­scopes

Leonard Nimoy Nar­rates Short Film About NASA’s Dawn: A Voy­age to the Ori­gins of the Solar Sys­tem

The Best of NASA Space Shut­tle Videos (1981–2010)

 

Trigonometry Discovered on a 3700-Year-Old Ancient Babylonian Tablet

One pre­sump­tion of tele­vi­sion shows like Ancient Aliens and books like Char­i­ots of the Gods is that ancient people—particularly non-west­ern people—couldn’t pos­si­bly have con­struct­ed the elab­o­rate infra­struc­ture and mon­u­men­tal archi­tec­ture and stat­u­ary they did with­out the help of extra-ter­res­tri­als. The idea is intrigu­ing, giv­ing us the huge­ly ambi­tious sci-fi fan­tasies woven into Rid­ley Scott’s revived Alien fran­chise. It is also insult­ing in its lev­el of dis­be­lief about the capa­bil­i­ties of ancient Egyp­tians, Mesopotami­ans, South Amer­i­cans, South Sea Islanders, etc.

We assume the Greeks per­fect­ed geom­e­try, for exam­ple, and refer to the Pythagore­an the­o­rem, although this prin­ci­ple was prob­a­bly well-known to ancient Indi­ans. Since at least the 1940s, math­e­mati­cians have also known that the “Pythagore­an triples”—inte­ger solu­tions to the theorem—appeared 1000 years before Pythago­ras on a Baby­lon­ian tablet called Plimp­ton 322. Dat­ing back to some­time between 1822 and 1762 B.C. and dis­cov­ered in south­ern Iraq in the ear­ly 1900s, the tablet has recent­ly been re-exam­ined by math­e­mati­cians Daniel Mans­field and Nor­man Wild­berg­er of Australia’s Uni­ver­si­ty of New South Wales and found to con­tain even more ancient math­e­mat­i­cal wis­dom, “a trigono­met­ric table, which is 3,000 years ahead of its time.”

In a paper pub­lished in His­to­ria Math­e­mat­i­ca the two con­clude that Plimp­ton 322’s Baby­lon­ian cre­ators detailed a “nov­el kind of trigonom­e­try,” 1000 years before Pythago­ras and Greek astronomer Hip­parchus, who has typ­i­cal­ly received cred­it for trigonometry’s dis­cov­ery. In the video above, Mans­field intro­duces the unique prop­er­ties of this “sci­en­tif­ic mar­vel of the ancient world,” an enig­ma that has “puz­zled math­e­mati­cians,” he writes in his arti­cle, “for more than 70 years.” Mans­field is con­fi­dent that his research will fun­da­men­tal­ly change the way we under­stand sci­en­tif­ic his­to­ry. He may be over­ly opti­mistic about the cul­tur­al forces that shape his­tor­i­cal nar­ra­tives, and he is not with­out his schol­ar­ly crit­ics either.

Eleanor Rob­son, an expert on Mesopotamia at Uni­ver­si­ty Col­lege Lon­don has not pub­lished a for­mal cri­tique, but she did take to Twit­ter to reg­is­ter her dis­sent, writ­ing, “for any his­tor­i­cal doc­u­ment, you need to be able to read the lan­guage & know the his­tor­i­cal con­text to make sense of it. Maths is no excep­tion.” The trigonom­e­try hypoth­e­sis, she writes in a fol­low-up tweet, is “tedious­ly wrong.” Mans­field and Wild­berg­er may not be experts in ancient Mesopotami­an lan­guage and cul­ture, it’s true, but Rob­son is also not a math­e­mati­cian. “The strongest argu­ment” in the Aus­tralian researchers’ favor, writes Ken­neth Chang at The New York Times, is that “the table works for trigo­nom­ic cal­cu­la­tions.” As Mans­field says, “you don’t make a trigo­nom­ic table by acci­dent.”

Plimp­ton 322 uses ratios rather than angles and cir­cles. “But when you arrange it such a way so that you can use any known ratio of a tri­an­gle to find the oth­er side of a tri­an­gle,” says Mans­field, “then it becomes trigonom­e­try. That’s what we can use this frag­ment for.” As for what the ancient Baby­lo­ni­ans used it for, we can only spec­u­late. Rob­son and oth­ers have pro­posed that the tablet was a teach­ing guide. Mans­field believes “Plimp­ton 322 was a pow­er­ful tool that could have been used for sur­vey­ing fields or mak­ing archi­tec­tur­al cal­cu­la­tions to build palaces, tem­ples or step pyra­mids.”

What­ev­er its ancient use, Mans­field thinks the tablet “has great rel­e­vance for our mod­ern world… prac­ti­cal appli­ca­tions in sur­vey­ing, com­put­er graph­ics and edu­ca­tion.” Giv­en the pos­si­bil­i­ties, Plimp­ton 322 might serve as “a rare exam­ple of the ancient world teach­ing us some­thing new,” should we choose to learn it. That knowl­edge prob­a­bly did not orig­i­nate in out­er space.

Relat­ed Con­tent:

How the Ancient Greeks Shaped Mod­ern Math­e­mat­ics: A Short, Ani­mat­ed Intro­duc­tion

Ancient Maps that Changed the World: See World Maps from Ancient Greece, Baby­lon, Rome, and the Islam­ic World

Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia

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

The Planetarium Table Clock: Magnificent 1775 Timepiece Tracks the Passing of Time & the Travel of the Planets

If you’re in Zurich, head over to the Bey­er Clock and Watch Muse­um, which presents the his­to­ry of time­keep­ing and time­keep­ing instru­ments, from 1400 BC to mod­ern times. On dis­play, you’ll find sun­di­als, water and tow­er clocks, Renais­sance automa­ta, and pen­du­lum clocks. And the Plan­e­tar­i­um Table Clock fea­tured above.

Made cir­ca 1775, the plan­e­tar­i­um clock keeps time … and so much more. Accord­ing to the Muse­um of Arti­facts web­site, the earth (look in the glass orb) “rotates around the sun in per­fect real time.” And the “oth­er five plan­ets rotate as well–they “go up, down, around, in rela­tion to the etched con­stel­la­tions of pre­cise­ly posi­tioned stars on the crys­tal globe, which if you are smart enough will reveal what sea­son it is.” This fine time­keep­ing piece was the joint cre­ation of Nicole-Reine Lep­aute, a French astronomer who pre­dict­ed the return of Hal­ley’s Comet, and her hus­band, Jean-André Lep­aute, who presided over a clock­mak­ing dynasty and became hor­loger du Roi (clock­mak­er to the king).

It’s hard to imag­ine that the Plan­e­tar­i­um clock did­n’t some­how inspire a more mod­ern creation–the Mid­night Plané­tar­i­um, an astro­nom­i­cal watch that shows the rota­tion of five plan­ets — Mer­cury, Venus, Earth, Mars, Jupiter, and Sat­urn. It has a price tag of $220,000 (exclud­ing sales tax). See it on dis­play below.

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 Clocks Changed Human­i­ty For­ev­er, Mak­ing Us Mas­ters and Slaves of Time

An Ani­mat­ed Alan Watts Wax­es Philo­soph­i­cal About Time in The Fine Art of Goof­ing Off, the 1970s “Sesame Street for Grown-Ups”

Carl Sagan Presents Six Lec­tures on Earth, Mars & Our Solar Sys­tem … For Kids (1977)

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When Albert Einstein Championed the Creation of a One World Government (1945)

Image by Fer­di­nand Schmutzer, via Wiki­me­dia Com­mons

The con­cept of one-world gov­ern­ment has long been a sta­ple of vio­lent apoc­a­lyp­tic prophe­cy and con­spir­a­cy the­o­ries involv­ing var­i­ous popes, the UN, FEMA, the Illu­mi­nati, and lizard peo­ple. In the real world, one-world gov­ern­ment has been a goal of the glob­al Com­intern and many of the cor­po­rate oli­garchs who tri­umphed over the Sovi­ets in the Cold War. For good rea­son, perhaps—with the excep­tion of sci-fi utopias like Gene Roddenberry’s Star Trek—we gen­er­al­ly tend to think of glob­al gov­ern­ment as a threat­en­ing idea. But that has not always been the case, or least it wasn’t for Albert Ein­stein who pro­posed glob­al gov­er­nance after the drop­ping of atom­ic bombs on Hiroshi­ma and Nagasa­ki.

Einstein’s role in the devel­op­ment of those weapons may have been min­i­mal, accord­ing to the physi­cist him­self (the truth is a lit­tle more com­pli­cat­ed). But he lat­er expressed regret, or at least a total rethink­ing of the issue, in his many inter­views, let­ters, and speech­es. In 1952, for exam­ple, Ein­stein wrote a short essay called “On My Par­tic­i­pa­tion in the Atom Bomb Project” in which he rec­om­mend­ed that all nations “abol­ish war by com­mon action” and referred to the paci­fist exam­ple of Gand­hi, “the great­est polit­i­cal genius of our time.”

Five years ear­li­er, we find Ein­stein in a less than hope­ful mood. In a 1947 open let­ter to the Gen­er­al Assem­bly of the Unit­ed Nations, he laments that “since the vic­to­ry over the Axis pow­ers… no appre­cia­ble progress has been made either toward the pre­ven­tion of war or toward agree­ment in spe­cif­ic fields such as con­trol of atom­ic ener­gy and eco­nom­ic coop­er­a­tion.” The solu­tion as he saw it required a “mod­i­fi­ca­tion of the tra­di­tion­al con­cept of nation­al sov­er­eign­ty.” It’s a clause that might have launched a thou­sand mili­tia man­i­festoes. Ein­stein elab­o­rates:

For as long as atom­ic ener­gy and arma­ments are con­sid­ered a vital part of nation­al secu­ri­ty no nation will give more than lip ser­vice to inter­na­tion­al treaties. Secu­ri­ty is indi­vis­i­ble. It can be reached only when nec­es­sary guar­an­tees of law and enforce­ment obtain every­where, so that mil­i­tary secu­ri­ty is no longer the prob­lem of any sin­gle state. There is no com­pro­mise pos­si­ble between prepa­ra­tion for war, on the one hand, and prepa­ra­tion of a world soci­ety based on law and order on the oth­er.

So far this sounds not sim­ply like a one-world gov­ern­ment but like a one-world police state. But Einstein’s pro­pos­al gets a much more com­pre­hen­sive treat­ment in an ear­li­er Atlantic Month­ly edi­to­r­i­al pub­lished in 1945. Here, he admits that many of his ideas are “abstrac­tions” and lays out a scheme to osten­si­bly pro­tect against glob­al total­i­tar­i­an­ism.

Mem­ber­ship in a supra­na­tion­al secu­ri­ty sys­tem should not, in my opin­ion, be based on any arbi­trary demo­c­ra­t­ic stan­dards. The one require­ment from all should be that the rep­re­sen­ta­tives to supra­na­tion­al organization—assembly and council—must be elect­ed by the peo­ple in each mem­ber coun­try through a secret bal­lot. These rep­re­sen­ta­tives must rep­re­sent the peo­ple rather than any government—which would enhance the pacif­ic nature of the orga­ni­za­tion.

The great­est obsta­cle to a glob­al gov­ern­ment was not, Ein­stein thought, U.S. mis­trust, but Russ­ian unwill­ing­ness. After mak­ing every effort to induce the Sovi­ets to join, he writes in his UN let­ter, oth­er nations should band togeth­er to form a “par­tial world Gov­ern­ment… com­pris­ing at least two-thirds of the major indus­tri­al and eco­nom­ic areas of the world.” This body “should make it clear from the begin­ning that its doors remain wide open to any non-mem­ber.”

Ein­stein cor­re­spond­ed with many peo­ple on the issue of one-world gov­ern­ment, rec­om­mend­ing in one let­ter that a “per­ma­nent world court” be estab­lished to “con­strain the exec­u­tive branch of world gov­ern­ment from over­step­ping its man­date which, in the begin­ning, should be lim­it­ed to the pre­ven­tion of war and war-pro­vok­ing devel­op­ments.” He does not fore­see the prob­lem of an exec­u­tive who seizes pow­er through nefar­i­ous means and ignores insti­tu­tion­al checks on pow­er and priv­i­lege. As for the not-insignif­i­cant mat­ter of the econ­o­my, he writes that “the free­dom of each coun­try to devel­op eco­nom­ic, polit­i­cal and cul­tur­al insti­tu­tions of its own choice must be guar­an­teed at the out­set.”

Ide­o­log­i­cal con­flicts over eco­nom­ics seemed to him “quite irra­tional,” as he wrote in his Atlantic edi­to­r­i­al. “Whether the eco­nom­ic life of Amer­i­ca should be dom­i­nat­ed by rel­a­tive­ly few indi­vid­u­als, as it is, or these indi­vid­u­als should be con­trolled by the state, may be impor­tant, but it is not impor­tant enough to jus­ti­fy all the feel­ings that are stirred up over it.” Like any hon­est intel­lec­tu­al, Ein­stein reserved the right to change his mind. By 1949 he had come to see social­ism as a nec­es­sary anti­dote to the “grave evils of cap­i­tal­ism”—the gravest of which, he wrote, is “an oli­garchy of pri­vate cap­i­tal the enor­mous pow­er of which can­not be effec­tive­ly checked even by a demo­c­ra­t­i­cal­ly orga­nized polit­i­cal society”—even one, pre­sum­ably, with glob­al leg­isla­tive reach.

Relat­ed Con­tent:

Albert Ein­stein Writes the 1949 Essay “Why Social­ism?” and Attempts to Find a Solu­tion to the “Grave Evils of Cap­i­tal­ism”

Albert Ein­stein Express­es His Admi­ra­tion for Mahat­ma Gand­hi, in Let­ter and Audio

Albert Ein­stein Explains How Slav­ery Has Crip­pled Everyone’s Abil­i­ty (Even Aristotle’s) to Think Clear­ly About Racism

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

What Is Freedom? Watch Four Philosophy Animations on Freedom & Free Will Narrated by Harry Shearer

Grow­ing up in Amer­i­ca, I heard near­ly every behav­ior, no mat­ter how unpleas­ant, jus­ti­fied with the same phrase: “It’s a free coun­try.” In her recent book Notes on a For­eign Coun­try, the Istan­bul-based Amer­i­can reporter Suzy Hansen remem­bers singing “God Bless the USA” on the school bus dur­ing the first Iraq war: “And I’m proud to be an Amer­i­canWhere at least I know I’m free.” That “at least,” she adds, is fun­ny: “We were free – at the very least we were that. Every­one else was a chump, because they didn’t even have that obvi­ous thing. What­ev­er it meant, it was the thing that we had, and no one else did. It was our God-giv­en gift, our super­pow­er.”

But how many of us can explain what free­dom is? These videos from BBC Radio 4 and the Open Uni­ver­si­ty’s ani­mat­ed His­to­ry of Ideas series approach that ques­tion from four dif­fer­ent angles. “Free­dom is good, but secu­ri­ty is bet­ter,” says nar­ra­tor Har­ry Shear­er, sum­ming up the view of sev­en­teenth-cen­tu­ry philoso­pher Thomas Hobbes, who imag­ined life with­out gov­ern­ment, laws, or soci­ety as “soli­tary, poor, nasty, brutish, and short.” The solu­tion, he pro­posed, came in the form of a social con­tract “to put a strong leader, a sov­er­eign or per­haps a gov­ern­ment, over them to keep the peace” — an escape from “the war of all against all.”

But that escape comes hand in hand with the unpalat­able prospect of liv­ing under “a fright­en­ing­ly pow­er­ful state.” The nine­teenth-cen­tu­ry philoso­pher John Stu­art Mill, who wrote a great deal about the state’s prop­er lim­i­ta­tions, based his con­cept of free­dom in some­thing called the “harm prin­ci­ple,” which holds that “the state, my neigh­bors, and every­one else should let me get on with my life, as long as I don’t harm any­one in the process.” As “the seedbed of genius” and “the basis of endur­ing hap­pi­ness for ordi­nary peo­ple,” this indi­vid­ual free­dom needs pro­tec­tion, espe­cial­ly when it comes to speech: “Mere­ly caus­ing offense, he thinks, is no grounds for inter­ven­tion, because, in his view, that is not a harm.”

That propo­si­tion remains debat­ed more heat­ed­ly now, in the 21st cen­tu­ry, than Mill prob­a­bly could have imag­ined. But then as now, and as in any time of human his­to­ry, we live in more or less the same world, “a world fes­ter­ing with moral evil, a world of wars, tor­ture, rape, mur­der, and oth­er acts of mean­ing­less vio­lence,” not to men­tion “nat­ur­al evil” like dis­ease, famine, floods, and earth­quakes. This gives rise to per­haps the old­est prob­lem in the philo­soph­i­cal book, the prob­lem of evil: “How could a good god allow any­one to do such hor­rif­ic things?” Some have tak­en the fact that the wars, mur­ders, floods, and earth­quakes con­tin­ue as evi­dence that no such god exists.

But had that god cre­at­ed “human beings that always did the right thing, nev­er harmed any­one else, nev­er went astray,” we’d all have end­ed up “automa­ta, pre­pro­grammed robots.” Bet­ter, in this view, “to have free will with the gen­uine risk that some peo­ple will end up evil than to live in a world with­out choice.” Even so, the mere men­tion of free will, a con­cept no more eas­i­ly defined than that of free­dom itself, opens up a whole oth­er can of worms, espe­cial­ly in light of research like neu­ro­sci­en­tist Ben­jamin Libet’s.

Libet, who “wired up sub­jects to an EEG machine, mea­sur­ing brain activ­i­ty via elec­trodes on our scalps,” found that brain activ­i­ty ini­ti­at­ing a move­ment actu­al­ly hap­pened before the sub­jects thought they’d decid­ed to make that move­ment. Does that dis­prove free will? Does evil dis­prove the exis­tence of a good god? Does offense cause the same kind of harm as phys­i­cal vio­lence? Should we give up more secu­ri­ty for free­dom, or more free­dom for secu­ri­ty? These ques­tions remain unan­swered, and quite pos­si­bly unan­swer­able, but that does­n’t make con­sid­er­ing the very nature of free­dom any less nec­es­sary as human soci­eties — those in “free coun­tries” and oth­er­wise — find their way for­ward.

Relat­ed Con­tent:

How Can I Know Right From Wrong? Watch Phi­los­o­phy Ani­ma­tions on Ethics Nar­rat­ed by Har­ry Shear­er

47 Ani­mat­ed Videos Explain the His­to­ry of Ideas: From Aris­to­tle to Sartre

An Ani­mat­ed Aldous Hux­ley Iden­ti­fies the Dystopi­an Threats to Our Free­dom (1958)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Gustav Klimt’s Haunting Paintings Get Re-Created in Photographs, Featuring Live Models, Ornate Props & Real Gold

Image by Inge Prad­er

Gus­tav Klimt paint­ed a glit­ter­ing, erot­ic, haunt­ing real­i­ty of his own, dis­tinc­tive even by the stan­dards of his artis­ti­cal­ly abun­dant envi­ron­ment of late 19th- and ear­ly 20th-cen­tu­ry Vien­na. “Who­ev­er wants to know some­thing about me,” he once wrote in a com­men­tary on the self-por­trait he nev­er paint­ed, “ought to look care­ful­ly at my pic­tures.” Giv­en the lev­el of scruti­ny with which she’s no doubt had to look at his pic­tures, Klimt’s coun­try­woman Inge Prad­er must there­fore know every­thing about the painter there is to know.

Image by Inge Prad­er

A pho­tog­ra­ph­er with a wide vari­ety of cor­po­rate clients, Prad­er has drawn a good deal of atten­tion by shoot­ing recre­ations of Klimt’s can­vass­es made for Vien­na’s Life Ball, an AIDS char­i­ty event, using real mod­els, real cos­tumes, and real gold. That last has a par­tic­u­lar impor­tance, giv­en Prader’s focus on paint­ings from the “Gold­en Phase” that Klimt entered after becom­ing a suc­cess. “In 1903 Klimt vis­it­ed Venice, Ravenne and Flo­rence,” writes Kon­bini’s Don­nia Ghe­zlane-Lala. “It was his vis­it to the San Vitale basil­i­ca in Ravenne that struck him the most. Fas­ci­nat­ed by Byzan­tine mosaics, he decid­ed to inte­grate the colour gold into his work using gold paper and gold leaf. Also, fun fact, Klimt was the son of a gold­smith.”

Image by Inge Prad­er

Prader’s “care­ful­ly posed mod­els and intri­cate­ly craft­ed props dupli­cate some of Klimt’s most icon­ic mas­ter­works like Death and Life and Beethoven Frieze, mir­ror­ing the gold hued, high­ly dec­o­ra­tive and erot­ic aes­thet­ic the Aus­tri­an artist became best known for,” writes Design­boom’s Nina Azzarel­lo. “Rich­ly orna­ment­ed cos­tumes cloth­ing war­riors and women alike are sit­u­at­ed along­side semi-nude fig­ures and set against detailed mosa­ic back­drops.” These “par­adise-like con­di­tions” on the can­vas trans­fer sur­pris­ing­ly well to pho­tog­ra­phy, espe­cial­ly with the eye Prad­er has devel­oped in fash­ion and adver­tis­ing, two realms guar­an­teed to instill any­body with a pos­i­tive­ly Klimt-like appre­ci­a­tion for strik­ing com­po­si­tions, lux­u­ri­ous mate­ri­als, and beau­ti­ful women.

You can see more of Prader’s Klimt recre­ations at Kon­bi­ni and Design­boom.

Relat­ed Con­tent:

Pho­tog­ra­ph­er Cre­ates Stun­ning Real­is­tic Por­traits That Recre­ate Sur­re­al Scenes from Hierony­mus Bosch Paint­ings

Flash­mob Recre­ates Rembrandt’s “The Night Watch” in a Dutch Shop­ping Mall

How Famous Paint­ings Inspired Cin­e­mat­ic Shots in the Films of Taran­ti­no, Gilliam, Hitch­cock & More: A Big Super­cut

Name That Paint­ing!

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The 38 States of America: Geography Professor Creates a Bold Modern Map of America (1973)

Unless you belong to an old­er gen­er­a­tion, you prob­a­bly can’t remem­ber the last time the map of the Unit­ed States under­went any major change. For decades, the bound­aries have remained pret­ty fixed. And yet the map, as we know it, should­n’t nec­es­sar­i­ly be con­sid­ered set in stone.

If bil­lion­aire Tim Drap­er has his way, Cal­i­for­nia vot­ers will decide in 2018 whether Cal­i­for­nia, the home to near­ly 40 mil­lion peo­ple, should be divid­ed into three states called “North­ern Cal­i­for­nia,” “South­ern Cal­i­for­nia,” and plain “Cal­i­for­nia.” His argu­ment being that Cal­i­for­nia has become too large to gov­ern, and that pow­er should be moved toward small­er, more local­ly gov­erned enti­ties. Mean­while, on a par­al­lel track, anoth­er group is push­ing for Cal­i­for­nia to leave the union alto­geth­er. Right there, we have two ini­tia­tives that could change the map as we know it.

And then there was the time when, back in 1973, George Etzel Pearcy, a Cal­i­for­nia State Uni­ver­si­ty geog­ra­phy pro­fes­sor, pro­posed re-draw­ing the map of the nation, reduc­ing the num­ber of states to 38, and giv­ing each state a dif­fer­ent name. In his cre­ative rework­ing of things, Cal­i­for­nia would be split into two states–“El Dora­do” and “San Gabriel”. Texas would divide into “Alamo” and also “Shawnee” (along with rem­nants of Okla­homa). And the Dako­tas would fuse into one big “Dako­ta.” In case you’re won­der­ing, Pearcy chose the names by polling geog­ra­phy stu­dents.

The log­ic behind the new map was explained in a 1975 edi­tion of The Peo­ple’s Almanac.

Why the need for a new map? Pearcy states that many of the ear­ly sur­veys that drew up our bound­aries were done while the areas were scarce­ly pop­u­lat­ed. Thus, it was con­ve­nient to deter­mine bound­aries by using the land’s phys­i­cal fea­tures, such as rivers and moun­tain ranges, or by using a sim­ple sys­tem of lat­i­tude and lon­gi­tude.… The prac­ti­cal­i­ty of old estab­lished State lines is ques­tion­able in light of Amer­i­ca’s ever-grow­ing cities and the increas­ing mobil­i­ty of its cit­i­zens. Met­ro­pol­i­tan New York, for exam­ple, stretch­es into 2 adja­cent States. Oth­er city pop­u­la­tions which cross State lines are Wash­ing­ton, D.C., St. Louis, Chica­go, and Kansas City. The “strad­dling” of State lines caus­es eco­nom­ic and polit­i­cal prob­lems. Who should pay for a rapid tran­sit sys­tem in St. Louis? Only those cit­i­zens with­in the bound­aries of Mis­souri, or all res­i­dents of St. Louis’s met­ro­pol­i­tan area, includ­ing those who reach over into the State of Illi­nois?…

When Pearcy realigned the U.S., he gave high pri­or­i­ty to pop­u­la­tion den­si­ty, loca­tion of cities, lines of trans­porta­tion, land relief, and size and shape of indi­vid­ual States.  When­ev­er pos­si­ble lines are locat­ed in less pop­u­lat­ed areas. In the West, the desert, semi­desert, or moun­tain­ous areas pro­vid­ed an easy method for divi­sion. In the East, how­ev­er, where areas of scarce pop­u­la­tion are hard­er to deter­mine, Pearcy drew lines “try­ing to avoid the thick­er clus­ters of set­tle­ment.”  Each major city which fell into the “strad­dling” cat­e­go­ry is neat­ly tucked with­in the bound­aries of a new State. Pearcy tried to place a major met­ro­pol­i­tan area in the cen­ter of each State. St. Louis is in the cen­ter of the State of Osage, Chica­go is cen­tered in the State of Dear­born. When this method proved impos­si­ble, as with coastal Los Ange­les, the city is still locat­ed so as to be eas­i­ly acces­si­ble from all parts of the State…

Accord­ing to Rob Lamm­le, writ­ing in Men­tal Floss, Pearcy ini­tial­ly got sup­port from “econ­o­mists, geo­g­ra­phers, and even a few politi­cians.” But the proposal–mainly out­lined in a book called A 38 State U.S.A.even­tu­al­ly with­ered in Wash­ing­ton, the place where ideas, both good and bad, go to die.

Below you can watch an ani­ma­tion show­ing how US map has changed in 200 years.

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Relat­ed Con­tent:

Free: Nation­al Geo­graph­ic Lets You Down­load Thou­sands of Maps from the Unit­ed States Geo­log­i­cal Sur­vey

Down­load 67,000 His­toric Maps (in High Res­o­lu­tion) from the Won­der­ful David Rum­sey Map Col­lec­tion

The His­to­ry of Car­tog­ra­phy, the “Most Ambi­tious Overview of Map Mak­ing Ever,” Now Free Online

New York Pub­lic Library Puts 20,000 Hi-Res Maps Online & Makes Them Free to Down­load and Use

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