The Psychological & Neurological Disorders Experienced by Characters in Alice in Wonderland: A Neuroscience Reading of Lewis Carroll’s Classic Tale

Most rep­utable doc­tors tend to refrain from diag­nos­ing peo­ple they’ve nev­er met or exam­ined. Unfor­tu­nate­ly, this cir­cum­spec­tion does­n’t obtain as often among lay folk. When we lob unin­formed diag­noses at oth­er peo­ple, we may do those with gen­uine men­tal health issues a seri­ous dis­ser­vice. But what about fic­tion­al char­ac­ters? Can we ascribe men­tal ill­ness­es to the sur­re­al menagerie, say, in Lewis Carroll’s Alice’s Adven­tures in Won­der­land? It’s almost impos­si­ble not to, giv­en the overt themes of mad­ness in the sto­ry.

Car­roll him­self, it seems, drew many of his depic­tions direct­ly from the treat­ment of men­tal dis­or­ders in 19th cen­tu­ry Eng­land, many of which were linked to “extreme­ly poor work­ing con­di­tions,” notes Franziska Kohlt at The Con­ver­sa­tion. Dur­ing the indus­tri­al rev­o­lu­tion, “pop­u­la­tions in so-called ‘pau­per lunatic asy­lums’ for the work­ing class sky­rock­et­ed.” Carroll’s uncle, Robert Wil­fred Skeff­in­g­ton Lutwidge, hap­pened to be an offi­cer of the Luna­cy Com­mis­sion, which super­vised such insti­tu­tions, and his work offers “stun­ning insights into the mad­ness in Alice.”

Yet we should be care­ful. Like the sup­posed drug ref­er­ences in Alice, some of the lay diag­noses now applied to Alice’s char­ac­ters may be a lit­tle far-fetched. Do we real­ly see diag­nos­able PTSD or Tourette’s? Anx­i­ety Dis­or­der and Nar­cis­sis­tic Per­son­al­i­ty Dis­or­der? These con­di­tions hadn’t been cat­e­go­rized in Carroll’s day, though their symp­toms are noth­ing new. And yet, experts have long looked to his non­sense fable for its depic­tions of abnor­mal psy­chol­o­gy. One British psy­chi­a­trist didn’t just diag­nose Alice, he named a con­di­tion after her.

In 1955, Dr. John Todd coined the term Alice in Won­der­land Syn­drome (AIWS) to describe a rare con­di­tion in which—write researchers in the Jour­nal of Pedi­atric Neu­ro­sciences—“the sizes of body parts or sizes of exter­nal objects are per­ceived incor­rect­ly.” Among oth­er ill­ness­es, Alice in Won­der­land Syn­drome may be linked to migraines, which Car­roll him­self report­ed­ly suf­fered.

We might jus­ti­fi­ably assume the Mad Hat­ter has mer­cury poi­son­ing, but what oth­er dis­or­ders might the text plau­si­bly present? Hol­ly Bark­er, doc­tor­al can­di­date in clin­i­cal neu­ro­science at King’s Col­lege Lon­don, has used her schol­ar­ly exper­tise to iden­ti­fy and describe in detail two oth­er con­di­tions she thinks are evi­dent in Alice.

Deper­son­al­iza­tion:

“At sev­er­al points in the sto­ry,” writes Bark­er, “Alice ques­tions her own iden­ti­ty and feels ‘dif­fer­ent’ in some way from when she first awoke.” See­ing in these descrip­tions the symp­toms of Deper­son­al­iza­tion Dis­or­der (DPD), Bark­er describes the con­di­tion and its loca­tion in the brain.

This dis­or­der encom­pass­es a wide range of symp­toms, includ­ing feel­ings of not belong­ing in one’s own body, a lack of own­er­ship of thoughts and mem­o­ries, that move­ments are ini­ti­at­ed with­out con­scious inten­tion and a numb­ing of emo­tions. Patients often com­ment that they feel as though they are not real­ly there in the present moment, liken­ing the expe­ri­ence to dream­ing or watch­ing a movie. These symp­toms occur in the absence of psy­chosis, and patients are usu­al­ly aware of the absur­di­ty of their sit­u­a­tion. DPD is often a fea­ture of migraine or epilep­tic auras and is some­times expe­ri­enced momen­tar­i­ly by healthy indi­vid­u­als, in response to stress, tired­ness or drug use.

Also high­ly asso­ci­at­ed with child­hood abuse and trau­ma, the con­di­tion “acts as a sort of defense mech­a­nism, allow­ing an indi­vid­ual to become dis­con­nect­ed from adverse life events.” Per­haps there is PTSD in Carroll’s text after all, since an esti­mat­ed 51% of DPD patients also meet those cri­te­ria.

Prosopag­nosia:

This con­di­tion is char­ac­ter­ized by “the selec­tive inabil­i­ty to rec­og­nize faces.” Though it can be hered­i­tary, prosopag­nosia can also result from stroke or head trau­ma. Fit­ting­ly, the char­ac­ter sup­pos­ed­ly affect­ed by it is none oth­er than Hump­ty-Dump­ty, who tells Alice “I shouldn’t know you again if we did meet.”

“Your face is the same as every­body else has – the two eyes, so-” (mark­ing their places in the air with his thumb) “nose in the mid­dle, mouth under. It’s always the same. Now if you had two eyes on the same side of the nose, for instance – or the mouth at the top – that would be some help.”

This “pre­cise descrip­tion” of prosopag­nosia shows how indi­vid­u­als with the con­di­tion rely on par­tic­u­lar­ly “dis­crim­i­nat­ing fea­tures to tell peo­ple apart,” since they are unable to dis­tin­guish fam­i­ly mem­bers and close friends from total strangers.

Schol­ars know that Carroll’s text con­tains with­in it sev­er­al abstract and seem­ing­ly absurd math­e­mat­i­cal con­cepts, such as imag­i­nary num­bers and pro­jec­tive geom­e­try. The work of researchers like Kohit and Bark­er shows that Alice’s Adven­tures in Won­der­land might also present a com­plex 19th cen­tu­ry under­stand­ing of men­tal ill­ness and neu­ro­log­i­cal dis­or­ders, con­veyed in a super­fi­cial­ly sil­ly way, but pos­si­bly informed by seri­ous research and obser­va­tion. Read Barker’s arti­cle in full here to learn more about the con­di­tions she diag­noses.

Relat­ed Con­tent:

Lewis Carroll’s Pho­tographs of Alice Lid­dell, the Inspi­ra­tion for Alice in Won­der­land

See The Orig­i­nal Alice In Won­der­land Man­u­script, Hand­writ­ten & Illus­trat­ed By Lewis Car­roll (1864)

See Sal­vador Dali’s Illus­tra­tions for the 1969 Edi­tion of Alice’s Adven­tures in Won­der­land

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

What is the Secret to Living a Long, Happy & Creatively Fulfilling Life?: Discover the Japanese Concept of Ikigai

Ikiru, one of sev­er­al Aki­ra Kuro­sawa films rou­tine­ly described as a mas­ter­piece, tells the sto­ry of Kan­ji Watan­abe, a mid­dle-aged wid­ow­er who, three decades into a dead-end bureau­crat­ic career, finds out he has just one year to live. This sends him on an urgent eleventh-hour quest to find some­thing to live for. The pic­ture’s The Death of Ivan Ilyich-inspired script orig­i­nal­ly bore the title The Life of Kan­ji Watan­abe, but Kuro­sawa chose to rename it for the Japan­ese verb mean­ing “to live” (生きる). And any­one who wants to tru­ly ikiru needs an iki­gai.

A com­bi­na­tion of char­ac­ters from the Japan­ese words for “liv­ing” and “effect” or “worth,” iki­gai (生き甲斐) as a con­cept has recent­ly come to atten­tion in the West, not least because of last year’s best­seller Iki­gai: The Japan­ese Secret to a Long and Hap­py Life by Héc­tor Gar­cía and‎ Francesc Miralles. (Note: You can get the best­seller as a free audio book if you sign up for Audi­ble’s 30-day free tri­al pro­gram. Get details on that here.)

Writer on health and longevi­ty Dan Buet­tner has also done his bit to pro­mote iki­gai, inter­pret­ing it as “the rea­son for which you wake up in the morn­ing” in a TED Talk based on his research in the places with the longest-lived pop­u­la­tions in the world, a group that includes the Japan­ese island of Oki­nawa.

“For this 102-year-old karate mas­ter, his iki­gai was car­ry­ing forth this mar­tial art,” Buet­tner says of one Oki­nawan in par­tic­u­lar. “For this hun­dred-year-old fish­er­man it was con­tin­u­ing to catch fish for his fam­i­ly three times a week.” He notes that “the two most dan­ger­ous years in your life are the year you’re born, because of infant mor­tal­i­ty, and the year you retire. These peo­ple know their sense of pur­pose, and they acti­vate it in their life, that’s worth about sev­en years of extra life expectan­cy.” This phe­nom­e­non has also come under sci­en­tif­ic study: one paper pub­lished in Psy­cho­so­mat­ic Med­i­cine found, track­ing a group of more than 40,000 Japan­ese adults over sev­en years, “sub­jects who did not find a sense of iki­gai were asso­ci­at­ed with an increased risk of all-cause mor­tal­i­ty.”

We in the West have long looked to the tra­di­tion­al con­cepts of oth­er cul­tures for guid­ance, but the Japan­ese them­selves, a pop­u­la­tion among whom dis­sat­is­fac­tion with life is not unknown, have long scru­ti­nized iki­gai to draw out use­ful lessons. “There are many books in Japan devot­ed to iki­gai, but one in par­tic­u­lar is con­sid­ered defin­i­tive: Iki­gai-ni-tsuite (About Iki­gai), pub­lished in 1966,” writes the BBC’s Yukari Mit­suhashi. “The book’s author, psy­chi­a­trist Mieko Kamiya, explains that as a word, iki­gai is sim­i­lar to ‘hap­pi­ness’ but has a sub­tle dif­fer­ence in its nuance. Iki­gai is what allows you to look for­ward to the future even if you’re mis­er­able right now.”

Aki­ra Kuro­sawa, who paint­ed his movies when he could­n’t find the mon­ey to shoot them, stands as a tow­er­ing exam­ple of some­one who found his iki­gai in film­mak­ing, which he kept on doing it into his eight­ies. In Ikiru, he guides the bewil­dered Watan­abe into an encounter with iki­gai in the form of a young lady who quits her job in his office to make toy rab­bits: more ardu­ous work than the civ­il ser­vice, she admits, but it gives her a sense of sat­is­fac­tion that feels like play­ing with every child in Japan. This inspires Watan­abe to return to find his own iki­gai, if only at the very end of his life, in cam­paign­ing for the con­struc­tion of a neigh­bor­hood play­ground. But one year with iki­gai, if you believe in the pow­er of the con­cept, beats a cen­tu­ry with­out it.

Relat­ed Con­tent:

“Inemuri,” the Japan­ese Art of Tak­ing Pow­er Naps at Work, on the Sub­way, and Oth­er Pub­lic Places

Wabi-Sabi: A Short Film on the Beau­ty of Tra­di­tion­al Japan

How a Kore­an Pot­ter Found a “Beau­ti­ful Life” Through His Art: A Short, Life-Affirm­ing Doc­u­men­tary

Change Your Life! Learn the Japan­ese Art of Declut­ter­ing, Orga­niz­ing & Tidy­ing Things Up

How the Japan­ese Prac­tice of “For­est Bathing”—Or Just Hang­ing Out in the Woods—Can Low­er Stress Lev­els and Fight Dis­ease

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

What Shakespeare’s English Sounded Like, and How We Know It

A com­mon joke has Amer­i­cans over­awed by peo­ple with British accents. It’s fun­ny because it’s part­ly true; Yanks can grant undue author­i­ty to peo­ple who sound like Sir David Atten­bor­ough or Bene­dict Cum­ber­batch. But in these cas­es, what we gener­i­cal­ly call a British accent should more accu­rate­ly be referred to as “Received Pro­nun­ci­a­tion” (or RP), the speech of BBC pre­sen­ters and edu­cat­ed Brits from cer­tain mid­dle- and upper-class areas in South­ern Eng­land. (If you like Received Pro­nun­ci­a­tion, you’re going to love “posh” Upper RP.) Received Pro­nun­ci­a­tion is only one of many British accents, as come­di­an Siob­han Thomp­son shows, most of which we’re unlike­ly to hear nar­rat­ing nature doc­u­men­taries.

RP is also some­times called “the Shake­speare accent,” for its asso­ci­a­tion with famous thes­pi­ans like John Giel­gud and Lau­rence Olivi­er, or Ian McK­ellen and Patrick Stew­art. But as we’ve pre­vi­ous­ly not­ed in a post on the work of lin­guist David Crys­tal and his son, actor Ben Crys­tal, the Eng­lish of Shakespeare’s day sound­ed noth­ing like what we typ­i­cal­ly hear on stage and screen.

What lin­guists call “Orig­i­nal Pro­nun­ci­a­tion” (OP), the actu­al Shake­speare accent, had a fla­vor all its own, like­ly com­bin­ing, to our mod­ern ears, “flecks of near­ly every region­al U.K. Eng­lish accent,” as Ben Crys­tal tells NPR, “and indeed Amer­i­can and in fact Aus­tralian, too.”

You can see the Crys­tals explain and demon­strate the accent in the video above, and make sense of many Shake­speare­an puns that only work in OP. And in the ani­mat­ed video at the top of the post, get a whirl­wind tour from Chaucer’s Mid­dle Eng­lish to Shakespeare’s Ear­ly Mod­ern vari­ety. Along the way, you’ll learn why the spelling of Eng­lish words—both Amer­i­can and British—is so con­fus­ing and irreg­u­lar. (“Knight,” for exam­ple, which makes no sense when pro­nounced as nite, was once pro­nounced much more pho­net­i­cal­ly.) The range of region­al accents pro­duced a bed­lam of vari­ant spellings, which took a few hun­dred years to stan­dard­ize dur­ing some intense spelling debates.

You’ll get an intro­duc­tion to the first Eng­lish print­er, William Cax­ton, and the “Great Vow­el Shift” which changed the language’s sound dra­mat­i­cal­ly over the course of a cou­ple hun­dred years. Once we get to Shake­speare and his “Orig­i­nal Pro­nun­ci­a­tion,” we can see how rhymes that don’t scan for us sound­ed just right to Eliz­a­bethan ears. These lost rhymes pro­vide a sig­nif­i­cant clue for lin­guists who recon­struct OP, as does meter and the sur­vival of old­er pro­nun­ci­a­tions in cer­tain dialects.

When the Crys­tals brought their recon­struc­tion of Shakespeare’s Eng­lish to the stage in huge­ly pop­u­lar pro­duc­tions at the Globe The­atre, mem­bers of the audi­ence all heard some­thing slight­ly different—their many dif­fer­ent dialects reflect­ed back at them. Lis­ten for all the var­i­ous kinds of Eng­lish above in Ben Crys­tal’s recita­tion of Hamlet’s “to be, or not to be” speech in Orig­i­nal Pro­nun­ci­a­tion.

Relat­ed Con­tent:

Hear What Shake­speare Sound­ed Like in the Orig­i­nal Pro­nun­ci­a­tion

A 68 Hour Playlist of Shakespeare’s Plays Being Per­formed by Great Actors: Giel­gud, McK­ellen & More

Hear What Ham­let, Richard III & King Lear Sound­ed Like in Shakespeare’s Orig­i­nal Pro­nun­ci­a­tion

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

David Byrne Launches the “Reasons to Be Cheerful” Web Site: A Compendium of News Meant to Remind Us That the World Isn’t Actually Falling Apart

What­ev­er your ide­o­log­i­cal per­sua­sion, our time has no doubt giv­en you more than a few rea­sons to fear for the future of civ­i­liza­tion, not least because bad news sells. Musi­cian, artist, and for­mer Talk­ing Heads front­man David Byrne has cer­tain­ly felt the effects: “It seems like the world is going to Hell. I wake up in the morn­ing, look at the paper, and go, ‘Oh no!’,” he writes. “Often I’m depressed for half the day.” But he writes that on the front page of his new project Rea­sons to Be Cheer­ful, which began as a qua­si-ther­a­peu­tic col­lec­tion of pieces of “good news that remind­ed me, ‘Hey, there’s actu­al­ly some pos­i­tive stuff going on!’ ” and has grown into an online obser­va­to­ry of world improve­ment.

What kind of pos­i­tive stuff has Byrne found? He iden­ti­fies cer­tain com­mon qual­i­ties among the sto­ries that have caught his eye: “Almost all of these ini­tia­tives are local, they come from cities or small regions who have tak­en it upon them­selves to try some­thing that might offer a bet­ter alter­na­tive than what exists.” These adjust­ments to the human con­di­tion tend to devel­op in a “bot­tom up, com­mu­ni­ty and indi­vid­u­al­ly dri­ven” man­ner, they hap­pen all over the world but could poten­tial­ly work in any cul­ture, all “have been tried and proven to be suc­cess­ful” and “can be copied and scaled up” with­out the sin­gu­lar efforts of “one amaz­ing teacher, doc­tor, musi­cian or activist.”

The sto­ries col­lect­ed so far on Rea­sons to Be Cheer­ful fall into sev­er­al dif­fer­ent cat­e­gories. In Civic Engage­ment, for exam­ple, he’s found a vari­ety of effec­tive exam­ples of that prac­tice in his trav­els back and forth across the Unit­ed States. In Health, he writes about efforts to end the war on drugs in places like Van­cou­ver, Col­orado, and Por­tu­gal. As any­one who’s fol­lowed Byrne’s writ­ing and speak­ing about cycling and the infra­struc­ture that sup­ports it might imag­ine, this side also includes a sec­tion called Urban/Transportation, whose first post deals with the glob­al influ­ence of bike share sys­tems like Paris’ Velib and bike-only street-clo­sure days like Bogotá’s Ciclovia.

In Cul­ture, Byrne writes about the rise of a form of music called AfroReg­gae that offers an alter­na­tive to a life of crime for the youth of Brazil’s fave­las, the dis­tinc­tive libraries estab­lished at the end of Bogotá’s rapid bus lines and in poor parts of Medel­lín, and even some of his own work relat­ed to the record­ing and tour design of his own upcom­ing album Amer­i­can UtopiaAmer­i­can Utopia in the year 2018? That might sound awful­ly opti­mistic, but remem­ber that David Byrne is the man who once went on an artis­tic speak­ing tour about his love of Pow­er­point. If he can see the good in that, he can see the good in any­thing.

Vis­it Byrne’s Rea­sons to Be Cheer­ful site here.

Relat­ed Con­tent:

David Byrne’s Grad­u­a­tion Speech Offers Trou­bling and Encour­ag­ing Advice for Stu­dents in the Arts

David Byrne: From Talk­ing Heads Front­man to Lead­ing Urban Cyclist

The Phi­los­o­phy of “Opti­mistic Nihilism,” Or How to Find Pur­pose in a Mean­ing­less Uni­verse

The Pow­er of Pes­simism: Sci­ence Reveals the Hid­den Virtues in Neg­a­tive Think­ing

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

An Animated Introduction to Friedrich Nietzsche’s Philosophical Recipe for Getting Over the Sources of Regret, Disappointment and Suffering in Our Lives

The idea of accep­tance has found much, well… accep­tance in our ther­a­peu­tic cul­ture, by way of Elis­a­beth Kübler-Ross’ five stages of grief, 12-step pro­grams, the wave of sec­u­lar mind­ful­ness prac­tices, the body-accep­tance move­ment, etc. All of these inter­ven­tions into depressed, bereaved, guilt-rid­den, and/or anx­ious states of mind have their own aims and meth­ods, which some­times over­lap, some­times do not. But what they all share, per­haps, for all the strug­gle involved, is a gen­er­al sense of opti­mism about accep­tance.

One can­not say this defin­i­tive­ly about the Sto­ic idea of amor fati—the instruc­tion to “love one’s fate”—though you might be per­suad­ed to think oth­er­wise if you google the term and come up with a cou­ple dozen pop­u­lar­iza­tions. Yes, there’s love in the name, but the fate we’re asked to embrace may just as well be painful and debil­i­tat­ing as plea­sur­able and uplift­ing. We can­not change what has hap­pened to us, or much con­trol what’s going to hap­pen, so we might as well just get used to it, so to speak.

If this isn’t exact­ly opti­mism in the sense of “it gets bet­ter,” it isn’t entire­ly pes­simism either. But it can become a grim and joy­less fatal­is­tic exer­cise. Yet, as Friedrich Niet­zsche used the term—and he used it with much rel­ish—amor fati means not only accept­ing loss, suf­fer­ing, mis­takes, addic­tions, appear­ances, or men­tal and emo­tion­al tur­bu­lence; it means accept­ing all of itevery­thing and every­one that caus­es both pain and plea­sure, as Alain de Bot­ton says above, “with strength and an all-embrac­ing atti­tude that bor­ders on a kind of enthu­si­as­tic affec­tion.”

“I do not want to wage war against what is ugly,” he wrote in The Gay Sci­ence, “I do not want to accuse; I do not even want to accuse those who accuse.” Read­ers of Niet­zsche may find them­selves pick­ing up any one of his books, includ­ing The Gay Sci­ence, to see him doing all of the above, con­stant­ly, on any ran­dom page. But his is nev­er a sys­tem­at­ic phi­los­o­phy, but an expres­sion of pas­sion and atti­tude, incon­sis­tent in its parts but, as a whole, sur­pris­ing­ly holis­tic. “My for­mu­la for great­ness in a human being,” he writes in Ecce Homo, “is amor fati

That one wants noth­ing to be dif­fer­ent, not for­ward, not back­ward, not in all eter­ni­ty. Not mere­ly bear what is nec­es­sary, still less con­ceal it… but love it.

Although the con­cept may remind us of Sto­ic phi­los­o­phy, and is very often dis­cussed in those terms, Niet­zsche saw such thought—as he under­stood it—as gloomy, ascetic, and life-deny­ing. His use of amor fati goes beyond mere res­ig­na­tion to some­thing more rad­i­cal, and very dif­fi­cult for the human mind to stom­ach, to use a some­what Niet­zschean fig­ure of speech. “It encom­pass­es the whole of world his­to­ry (includ­ing the most hor­rif­ic episodes),” notes a Lei­den Uni­ver­si­ty sum­ma­ry, “and Nietzsche’s own role in this his­to­ry.” Above all, he desired, he wrote, to be a “Yes-say­er.”

Is amor fati a rem­e­dy for regret, dis­sat­is­fac­tion, the end­less­ly rest­less desire for social and self-improve­ment? Can it ban­ish our agony over history’s night­mares and our per­son­al records of fail­ure? De Bot­ton thinks so, but one nev­er real­ly knows with Nietzsche—his often satir­i­cal exag­ger­a­tions can turn them­selves inside out, becom­ing exact­ly the oppo­site of what we expect. Yet above all, what he always turns away from are absolute ideals; we should nev­er take his amor fati as some kind of divine com­mand­ment. It works in dialec­ti­cal rela­tion to his more vig­or­ous crit­i­cal spir­it, and should be applied with a sit­u­a­tion­al and prag­mat­ic eye. In this sense, amor fati can be seen as instrumental—a tool to bring us out of the paral­y­sis of despair and con­dem­na­tion and into an active realm, guid­ed by a rad­i­cal­ly lov­ing embrace of it all.

Relat­ed Con­tent:

The Phi­los­o­phy of “Opti­mistic Nihilism,” Or How to Find Pur­pose in a Mean­ing­less Uni­verse

Niet­zsche Lays Out His Phi­los­o­phy of Edu­ca­tion and a Still-Time­ly Cri­tique of the Mod­ern Uni­ver­si­ty (1872)

An Ani­mat­ed Intro­duc­tion to Sto­icism, the Ancient Greek Phi­los­o­phy That Lets You Lead a Hap­py, Ful­fill­ing Life

The Dig­i­tal Niet­zsche: Down­load Nietzsche’s Major Works as Free eBooks

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

Hear Dolores O’Riordan’s Beautifully-Pained Vocals in the Unplugged Version of The Cranberries’ 1994 Hit “Zombie”

Yes­ter­day, amidst the many trib­utes and inevitable dis­sention over the lega­cy of Mar­tin Luther King, Jr., a sad piece of news seemed to get buried: the death of Cran­ber­ries singer Dolores O’Riordan, at the far-too-young age of 46. The Irish vocal­ist not only “defined the sound of The Cran­ber­ries,” as her NPR obit­u­ary notes, she defined the sound of the 90s. Any­one who remem­bers the decade remem­bers spend­ing a sub­stan­tial part of it with Cran­ber­ries’ hits “Linger,” “Dreams,” and “Zom­bie” loop­ing in their heads.

Just 18 when she audi­tioned for them in 1989, O’Riordan took the band from what might have been rather for­mu­la­ic mopey, jan­g­ly dream­pop and gave it “a smoky hue in full cry” as well as “a sweet, del­i­cate tone that evoked cen­turies of Gael­ic folk tra­di­tion.”

Like anoth­er recent, trag­ic loss from the Gen X heyday—Soundgarden singer Chris Cornell—she ful­ly embod­ied pas­sion­ate inten­si­ty with a voice that was an arrest­ing force. Whether you were a fan or not, you sim­ply had to pay atten­tion.

Lis­ten, for exam­ple, to the band’s 1994 protest song “Zom­bie,” which memo­ri­al­izes two boys killed the pre­vi­ous year in an IRA bomb­ing. It’s a track that “sounds wild­ly anom­alous,” writes Rob Harvil­la at The Ringer, “giv­en the oth­er songs that made her famous.” While the “plod­ding rum­ble” and “crush­ing dis­tor­tion” evoke any num­ber of angsty qui­et-loud anthems of the time, O’Riordan’s “was the last voice you expect­ed to hear howl­ing over it.” The con­trast is haunt­ing, yet the song works just as well with­out fuzzed-out gui­tars and thun­der­ous drums, as in the orches­tral MTV Unplugged ver­sion above.

The “Zom­bie” video offers a clas­sic col­lec­tion of 90s styl­is­tic quirks, from Derek Jar­man-inspired set­pieces to the use of black and white and earnest polit­i­cal mes­sag­ing. For us old folks, it’s an almost pure hit of nos­tal­gia, and for the young, a near­ly per­fect spec­i­men of the decade’s rock aes­thet­ics, which includ­ed a refresh­ing num­ber of famous female solo artists and front­women just as like­ly as the men to dom­i­nate rock radio and tele­vi­sion. Indeed, it seems like the 90s may have pro­duced more promi­nent female-front­ed bands than any oth­er decade before or since. Or maybe I just remem­ber it that way. In any case, cen­tral to that mem­o­ry is Dolores O’Riordan’s “sta­di­um-size hit about dead­ly vio­lence in North­ern Ire­land,” and its beau­ti­ful­ly pained laments and point­ed­ly unsub­tle yelps and wails—a stun­ning expres­sion of mourn­ing that rever­ber­ates still some 25 years lat­er as we mourn its singer’s untime­ly pass­ing.

Relat­ed Con­tent:

Soundgarden’s Chris Cor­nell Sings Haunt­ing Acoustic Cov­ers of Prince’s “Noth­ing Com­pares 2 U,” Michael Jackson’s “Bil­lie Jean” & Bob Marley’s “Redemp­tion Song”

Prince (RIP) Per­forms Ear­ly Hits in a 1982 Con­cert: “Con­tro­ver­sy,” “I Wan­na Be Your Lover” & More

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

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

Bitcoin and Cryptocurrency Technologies: A Free Course from Princeton

Quick fyi: Ear­li­er this month, we tried to make sense of the Bit­coin fren­zy in the only we know how–by point­ing you toward a free course. Specif­i­cal­ly, we high­light­ed a Prince­ton course called Bit­coin and Cur­ren­cy Tech­nolo­gies that’s being offered on the online plat­form Cours­era. The course is based on a suc­cess­ful course taught on Prince­ton’s cam­pus.

Transform Business with Blockchain. 100% online courses. No Coding Required.

And it’s worth men­tion­ing that you can find the actu­al video lec­tures from that orig­i­nal cam­pus course on Youtube. (See them embed­ded above, or access them direct­ly here.) Pair the 12 lec­tures with the free Prince­ton Bit­coin text­book and you should be ready to make sense of Bit­coin … and maybe even some of the Bit­coin hype.

For more free cours­es vis­it our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

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:

What Actu­al­ly Is Bit­coin? Princeton’s Free Course “Bit­coin and Cur­ren­cy Tech­nolo­gies” Pro­vides Much-Need­ed Answers

Bit­coin, the New Decen­tral­ized Dig­i­tal Cur­ren­cy, Demys­ti­fied in a Three Minute Video

The Prince­ton Bit­coin Text­book Is Now Free Online

Why Eco­nom­ics is for Every­one!, Explained in a New RSA Ani­mat­ed Video

Free Online Eco­nom­ics Cours­es

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Omoshiroi Blocks: Japanese Memo Pads Reveal Intricate Buildings As The Pages Get Used

We’ve all had the expe­ri­ence, grow­ing up, of using notepads for some­thing oth­er than their intend­ed pur­pose: run­ning our thumbs down their stacked-up pages and savor­ing the buzzing sound, turn­ing them into flip­books by painstak­ing­ly draw­ing a frame on each page, and even — in times of tru­ly dire bore­dom — cut­ting them down into unusu­al sizes and shapes. Now, Japan­ese archi­tec­tur­al mod­el mak­er Tri­ad has ele­vat­ed that youth­ful impulse to great heights of aes­thet­ic refine­ment with their line­up of Omoshi­roi Blocks.

The Japan­ese word omoshi­roi (面白い) can trans­late to “inter­est­ing,” “fun,” “amus­ing,” or a whole host of oth­er such descrip­tors that might come to the mind of some­one who runs across an Omoshi­roi Block in per­son, or even on the inter­net.

Accord­ing to Spoon & Tam­a­go, Tri­ad uses “laser-cut­ting tech­nol­o­gy to cre­ate what is, at first, just a seem­ing­ly nor­mal square cube of paper note cards. But as the note cards get used, an object begins to appear. And you’ll have to exhaust the entire deck of cards to ful­ly exca­vate the hid­den object.

These objects include “var­i­ous notable archi­tec­tur­al sites in Japan like Kyoto’s Kiy­omizud­era Tem­ple, Tokyo’s Asakusa Tem­ple and Tokyo Tow­er. The blocks are com­posed of over 100 sheets of paper and each sheet is dif­fer­ent from the next in the same way that indi­vid­ual moments stack up togeth­er to form a mem­o­ry.” Oth­er three-dimen­sion­al enti­ties exca­vat­able from Omoshi­roi Blocks include trains, cam­eras, and even the streetscape of Detroit, which includes the late John C. Port­man Jr.‘s Renais­sance Cen­ter — the Tokyo Tow­er, you might say, of the Motor City.

You can see most of these Omoshi­roi Blocks, and oth­ers, on Tri­ad’s Insta­gram account. You may have no oth­er option at the moment, since Tri­ad’s offi­cial site has recent­ly been over­whelmed by vis­i­tors, pre­sum­ably seek­ing a few of these recent­ly-gone-viral blocks for them­selves. Besides, notes their most recent Insta­gram post, “all items are out of stock. So, over­seas ship­ping is not pos­si­ble at this moment. Please wait for our online shop announce­ments to be updat­ed.”

Until then, accord­ing to Spoon & Tam­a­go, you might try your luck find­ing one at the Osa­ka branch of Tokyu Hands, Japan’s most cre­ative depart­ment store.

If you can’t make it out there, rest assured that Tri­ad will prob­a­bly have their online shop up and run­ning before this year’s hol­i­day sea­son, thus pro­vid­ing you with an impres­sive gift option for the enthu­si­asts in your life of archi­tec­ture, sta­tionery, uncon­ven­tion­al uses of tech­nol­o­gy, small-scale intri­cate crafts­man­ship, and the arti­facts of Japan­ese cul­ture — all fields in which Japan has spent hun­dreds, if not thou­sands of years excelling.

via Spoon and Tam­a­go/ h/t @herhandsmyhands

Relat­ed Con­tent:

Japan­ese Design­ers May Have Cre­at­ed the Most Accu­rate Map of Our World: See the Autha­Graph

Mes­mer­iz­ing GIFs Illus­trate the Art of Tra­di­tion­al Japan­ese Wood Join­ery — All Done With­out Screws, Nails, or Glue

The Mak­ing of Japan­ese Hand­made Paper: A Short Film Doc­u­ments an 800-Year-Old Tra­di­tion

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

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

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Open Culture was founded by Dan Colman.