Carl Sagan Returns to His Old Sixth-Grade Classroom to Turn a New Generation of Kids On To Science

All through­out his career, Carl Sagan cit­ed the events in his for­ma­tive years that set him on the road to becom­ing, well, Carl Sagan: the intro­duc­tion to “skep­ti­cism and won­der” pro­vid­ed by his par­ents; his vis­it to the 1939 New York World’s Fair; his first trips to the pub­lic library, the Amer­i­can Muse­um of Nat­ur­al His­to­ry, and the Hay­den Plan­e­tar­i­um; his dis­cov­ery of Astound­ing Sci­ence Fic­tion Mag­a­zine and its fan­tas­tic visions under­gird­ed by gen­uine knowl­edge. That last hap­pened around the same time he entered the sixth grade at David A. Boody Junior High School, where he would even­tu­al­ly return, decades lat­er, to teach the les­son seen in the video above.

“As a child, it was my immense good for­tune to have par­ents and a few teach­ers who encour­aged my curios­i­ty,” Sagan says in voiceover. “This was my sixth-grade class­room. I came back here one after­noon to remem­ber what it was like.” Any­one watch­ing him hand­ing out the “breath­tak­ing pic­tures of oth­er worlds that had been radioed back by the Voy­ager space­craft” and address­ing the excit­ed stu­dents’ ques­tions will under­stand that, in addi­tion to his for­mi­da­ble hunger for knowl­edge and deep under­stand­ing of his sub­jects, Sagan also pos­sessed a qual­i­ty rare in the sci­en­tif­ic com­mu­ni­ty: the abil­i­ty and will­ing­ness to talk about sci­ence clear­ly and engag­ing­ly, and trans­mit his excite­ment about sci­ence, to absolute­ly any­one.

The clip also pro­vides a sense of what it was like to learn direct­ly from Sagan. In the inter­view clip above, no less a sci­ence guy than Bill Nye talks about his own expe­ri­ence tak­ing Sagan’s class­es at Cor­nell in the 1970s. “If you saw his series Cos­mos — the orig­i­nal Cos­mos — his lec­tures were like those tele­vi­sion shows,” says Nye. He goes on to tell the sto­ry of meet­ing Sagan again, at his ten-year class reunion. “I said I want to do this show about sci­ence for kids. He said, ‘Focus on pure sci­ence. Kids res­onate to pure sci­ence.’ That was his verb, res­onate.” And so, when Bill Nye the Sci­ence Guy debuted a few years lat­er, it spent most of its time not on the fruits of sci­ence — “bridges, dams, and civ­il engi­neer­ing works and gears” and so on — but on sci­ence itself.

Carl Sagan co-found­ed the Plan­e­tary Soci­ety in 1980. Nye, drawn by its mis­sion of “empow­er­ing the world’s cit­i­zens to advance plan­e­tary sci­ence and explo­ration,” joined that same year. After speak­ing at Sagan’s memo­r­i­al a decade and a half lat­er, Nye found him­self on its board of direc­tors. Then he became Vice Pres­i­dent, and then “there was a din­ner par­ty, there was wine or some­thing, and now I’m the CEO.” In that way and oth­ers, Nye con­tin­ues Sagan’s lega­cy, and Nye hard­ly counts as Sagan’s only suc­ces­sor. “This is how we know nature,” as Nye puts Sagan’s view of sci­ence. “It’s the best idea humans have ever come up with.” That view, whether expressed in Sagan’s own work or that of the count­less many he has direct­ly or indi­rect­ly influ­enced, will sure­ly con­tin­ue to inspire gen­er­a­tions of learn­ers, inside or out­side the class­room.

Relat­ed Con­tent:

Carl Sagan Presents a Mini-Course on Earth, Mars & What’s Beyond Our Solar Sys­tem: For Kids and Adults (1977)

Carl Sagan’s Syl­labus & Final Exam for His Course on Crit­i­cal Think­ing (Cor­nell, 1986)

Carl Sagan’s Under­grad Read­ing List: 40 Essen­tial Texts for a Well-Round­ed Thinker

Bill Nye, The Sci­ence Guy, Says Cre­ation­ism is Bad for Kids and America’s Future

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.

Barack Obama Shares a List of Enlightening Books Worth Reading

Pho­to by Pete Souza via obamawhitehouse.archive.gov

What­ev­er his­to­ri­ans have to say about his polit­i­cal lega­cy, Barack Oba­ma will be remem­bered as charm­ing, diplo­mat­ic, thought­ful, and very well-read. He honed these per­son­al qual­i­ties not only as a politi­cian but as a schol­ar, writer, and teacher, roles that require intel­lec­tu­al curios­i­ty and open­ness to oth­er points of view. The for­mer pres­i­dent was some­thing of a dream come true for teach­ers and librar­i­ans, who could point to him as a shin­ing exam­ple of a world leader who loves to read, talk about books, and share books with oth­ers. All kinds of books: from nov­els and poet­ry to biog­ra­phy, phi­los­o­phy, soci­ol­o­gy, and polit­i­cal and sci­en­tif­ic non­fic­tion; books for chil­dren and books for young adults.

It is refresh­ing to look back at his tenure as a reli­able rec­om­mender of qual­i­ty books dur­ing his eight years in office. (See every book he rec­om­mend­ed dur­ing his two terms here.) Read­ing gave him the abil­i­ty to “slow down and get per­spec­tive,” he told Michiko Kaku­tani last year. He hoped to use his office, he said, “to widen the audi­ence for good books. At a time when so much of our pol­i­tics is try­ing to man­age this clash of cul­tures brought about by glob­al­iza­tion and tech­nol­o­gy and migra­tion, the role of sto­ries to unify—as opposed to divide, to engage rather than to marginalize—is more impor­tant than ever.”

While many peo­ple have been hop­ing he would weigh in on deeply dis­turb­ing cur­rent events, he “has been rel­a­tive­ly qui­et on social media of late,” notes Thu-Huong Ha at Quartz. But he has con­tin­ued to use his plat­form to rec­om­mend good books, sug­gest­ing that the per­spec­tives we gain from read­ing are as crit­i­cal as ever. “In a Face­book post pub­lished on Sat­ur­day, Oba­ma rec­om­mend­ed some of the non­fic­tion he’s read recent­ly, focused on gov­ern­ment, inequal­i­ty, and his­to­ry, with one book that address­es immi­gra­tion. Togeth­er the rec­om­men­da­tions are an intel­lec­tu­al anti­dote to the cur­rent US pres­i­dent, who eschews read­ing,” says Ha.

The list below includes Obama’s brief com­men­tary on each book and arti­cle.

Futureface: A Fam­i­ly Mys­tery, an Epic Quest, and the Secret to Belong­ing, by Alex Wag­n­er (2018)

Jour­nal­ist Alex Wag­n­er inves­ti­gates a poten­tial new twist in her family’s his­to­ry. “What she came up with,” Oba­ma writes, “is a thought­ful, beau­ti­ful med­i­ta­tion on what makes us who we are—the search for har­mo­ny between our own indi­vid­ual iden­ti­ties and the val­ues and ideals that bind us togeth­er as Amer­i­cans.”

The New Geog­ra­phy of Jobs, by Enri­co Moret­ti (2012)

Econ­o­mist Enri­co Moret­ti argues that there are three Amer­i­c­as: brain-hub cities like Austin and Boston; cities once dom­i­nat­ed by tra­di­tion­al man­u­fac­tur­ing; and the cities in between. “Still a time­ly and smart dis­cus­sion of how dif­fer­ent cities and regions have made a chang­ing econ­o­my work for them,” writes Oba­ma, “and how pol­i­cy­mak­ers can learn from that to lift the cir­cum­stances of work­ing Amer­i­cans every­where.”

Why Lib­er­al­ism Failed, by Patrick J. Deneen (2018)

Polit­i­cal sci­en­tist Patrick J. Deneen argues that lib­er­al­ism is not the result of the nat­ur­al state of pol­i­tics and lays out the ideology’s inher­ent con­tra­dic­tions. “In a time of grow­ing inequal­i­ty, accel­er­at­ing change, and increas­ing dis­il­lu­sion­ment with the lib­er­al demo­c­ra­t­ic order we’ve known for the past few cen­turies,” says the for­mer pres­i­dent, “I found this book thought-pro­vok­ing.”

“The 9.9 Per­cent Is the New Amer­i­can Aris­toc­ra­cy,” by Matthew Stew­art (June 2018)

In The Atlantic, Matthew Stew­art, author of The Man­age­ment Myth, defines a “cog­ni­tive elite,” a “9.9%” of Amer­i­cans who val­ue mer­i­toc­ra­cy and, he argues, are com­plic­it in the ero­sion of democ­ra­cy. “Anoth­er thought-pro­vok­ing analy­sis, this one about how eco­nom­ic inequal­i­ty in Amer­i­ca isn’t just grow­ing, but self-rein­forc­ing,” says Oba­ma.

In the Shad­ow of Stat­ues: A White South­ern­er Con­fronts His­to­ry, by Mitch Lan­drieu (2018)

Mitch Lan­drieu, the for­mer may­or of New Orleans, Louisiana, writes in his mem­oir of the per­son­al his­to­ry and reck­on­ing with race that led him to take down four Con­fed­er­ate stat­ues in 2017. “It’s an ulti­mate­ly opti­mistic take from some­one who believes the South will rise again not by reassert­ing the past, but by tran­scend­ing it,” writes Oba­ma.

“Truth Decay: An Ini­tial Explo­ration of the Dimin­ish­ing Role of Facts and Analy­sis in Amer­i­can Pub­lic Life,” by Jen­nifer Kavanagh and Michael D. Rich, RAND Cor­po­ra­tion (2018)

This report for the non­prof­it RAND Cor­po­ra­tion, avail­able as a free ebook, attempts to study the ero­sion of fact-based pol­i­cy mak­ing and dis­course in the US. “A look at how a selec­tive sort­ing of facts and evi­dence isn’t just dis­hon­est, but self-defeat­ing,” says Oba­ma.

While the for­mer pres­i­dent no longer has the pow­er to sway pol­i­cy, he can still inspire mil­lions of peo­ple to read—essential for stay­ing bal­anced, informed, and reflec­tive in our per­ilous times.

Relat­ed Con­tent:

Pres. Oba­ma Releas­es a Free Playlist of 40 Songs for a Sum­mer Day (Plus 6 Books on His Sum­mer Read­ing List)

The 5 Books on Pres­i­dent Obama’s 2016 Sum­mer Read­ing List

The Oba­ma “Hope” Poster & The New Copy­right Con­tro­ver­sy

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

Chris Cornell’s Daughter Pays Tribute to Her Father, Singing an Achingly Pretty Cover of Prince’s “Nothing Compares 2 U”

Just a lit­tle more than a year after Soundgar­den front­man Chris Cor­nell took his own life, his daugh­ter Toni, only 13 years old, released an aching­ly beau­ti­ful trib­ute to her father. Record­ed for Father’s Day, she sings a poignant ver­sion of Prince’s “Noth­ing Com­pares 2 U,” a song her father also per­formed live on many occa­sions. Indeed you can hear his voice on this track too. It’s a duet of sorts.

Released on YouTube, the song came accom­pa­nied by this short let­ter:

Dad­dy, I love you and miss you so much. You were the best father any­one could ask for. Our rela­tion­ship was so spe­cial, and you were always there for me. You gave me courage when I didn’t have any. You believed in me when I didn’t. I miss your love every­day. Record­ing this song with you was a spe­cial and amaz­ing expe­ri­ence I wish I could repeat 100 times over and I know you would too. Hap­py Father’s Day dad­dy, noth­ing com­pares to you. — Toni

Relat­ed Con­tent:

Large Choir Sings “Black Hole Sun”: A Mov­ing Trib­ute to Chris Cor­nell

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”

Hear Chris Cornell’s Mas­ter­ful Vocals in the Iso­lat­ed Track for Soundgarden’s “Black Hole Sun”

by | Permalink | Make a Comment ( 1 ) |

A Meditative Look at a Japanese Artisan’s Quest to Save the Brilliant, Forgotten Colors of Japan’s Past

We might assume that 21st-cen­tu­ry tech­nol­o­gy enables us to pro­duce fab­ric in all imag­in­able col­ors, most of them total­ly unknown to our ances­tors. Yet none of it has ever quite repli­cat­ed the strik­ing hues achieved by dyers of cen­turies and cen­turies ago. That premise under­lies the slow and painstak­ing work of Sachio Yosh­io­ka, whose fam­i­ly’s fab­ric-dye­ing her­itage goes back to Japan’s Edo peri­od of the 17th to the mid-19th cen­tu­ry. Hav­ing tak­en over his father’s work­shop Tex­tiles Yosh­io­ka in 1988, he has spent the past thir­ty years work­ing only with tra­di­tion­al plant dyes, the kind that once, in a time long before his fam­i­ly even got into the dye­ing busi­ness, made his home­land so col­or­ful.

The Japan­ese dye­ing tra­di­tion, in this read­ing of its his­to­ry, reached its long apex of bril­liance in the Nara and Heian peri­ods, which togeth­er last­ed from the years 710 to 1185. Most of the world admires Japan­ese aes­thet­ic sen­si­bil­i­ties, but often with ref­er­ence to inter­na­tion­al­ly well-known con­cepts like wabi-sabi that ide­al­ize the rus­tic, the imper­fect, and the sub­dued. Unlike in the Edo peri­od, when the strict Tokyu­gawa Shogu­nate man­dat­ed that com­mon peo­ple stick to grays and browns, Nara and Heian cities would have been rich with vivid reds, blues, yel­lows, oranges, and even pur­ples, all in vari­eties one sel­dom sees even today, in Japan or any­where else.

Hence Yosh­ioka’s mis­sion to prac­tice and even refine the same labor-inten­sive dye­ing meth­ods used back then. For­mer­ly a stu­dent of phi­los­o­phy as well as a pub­lish­er of books on the his­to­ry of col­or and fab­ric arts, he now seems devot­ed to what goes on in his Kyoto work­shop. You can watch what he and his assis­tants do there in the video from the Vic­to­ria and Albert Muse­um above. Com­posed of four short films, it includes a seg­ment on Yosh­ioka’s pro­duc­tion of paper flow­ers for the Omizu­tori fes­ti­val at the Tōdai-ji Bud­dhist tem­ple in Nara, the his­tor­i­cal cap­i­tal out­side Kyoto, that cul­mi­nates in an evening fire cer­e­mo­ny.

That fire cer­e­mo­ny, called Otaimat­su, remains as com­pelling a spec­ta­cle today as it must have been more than a mil­len­ni­um ago, just as sure­ly as the col­ors Yosh­io­ka has redis­cov­ered have lost none of their allure since then. His ded­i­ca­tion to the work of tra­di­tion­al dye­ing — work his daugh­ter Sarasa will take into its sixth gen­er­a­tion — comes not out of a desire to pay trib­ute to Japan­ese his­to­ry, nor even out of fil­ial piety, but some­thing much sim­pler: “The col­ors you can obtain from plants are so beau­ti­ful,” he says. “This is the one and only rea­son I do what I do.” 

via Kot­tke/Metafil­ter

Relat­ed Con­tent:

How Japan­ese Things Are Made in 309 Videos: Bam­boo Tea Whisks, Hina Dolls, Steel Balls & More

The Art of the Japan­ese Teapot: Watch a Mas­ter Crafts­man at Work, from the Begin­ning Until the Star­tling End

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

Watch a Japan­ese Crafts­man Lov­ing­ly Bring a Tat­tered Old Book Back to Near Mint Con­di­tion

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

Japan­ese Crafts­man Spends His Life Try­ing to Recre­ate a Thou­sand-Year-Old Sword

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.

How Does Language Shape the Way We Think? Cognitive Scientist Lera Boroditsky Explains

Imag­ine a jel­ly­fish waltz­ing in a library while think­ing about quan­tum mechan­ics. “If every­thing has gone rel­a­tive­ly well in your life so far,” cog­ni­tive sci­en­tist Lera Borodit­sky says in the TED Talk above, “you prob­a­bly haven’t had that thought before.” But now you have, all thanks to lan­guage, the remark­able abil­i­ty by which “we humans are able to trans­mit our ideas across vast reach­es of space and time” and “knowl­edge across minds.”

Though we occa­sion­al­ly hear about star­tling rates of lan­guage extinc­tion — Borodit­sky quotes some esti­mates as pre­dict­ing half the world’s lan­guages gone in the next cen­tu­ry — a great vari­ety still thrive. Does that mean we have an equal vari­ety of essen­tial­ly dif­fer­ent ways of think­ing? In both this talk and an essay for Edge.org, Borodit­sky presents intrigu­ing pieces of evi­dence that what lan­guage we speak does affect the way we con­ceive of the world and our ideas about it. These include an Abo­rig­i­nal tribe in Aus­tralia who always and every­where use car­di­nal direc­tions to describe space (“Oh, there’s an ant on your south­west leg”) and the dif­fer­ences in how lan­guages label the col­or spec­trum.

“Russ­ian speak­ers have to dif­fer­en­ti­ate between light blue, gol­uboy, and dark blue, siniy,” says the Belarus-born, Amer­i­can-raised Borodit­sky. “When we test peo­ple’s abil­i­ty to per­cep­tu­al­ly dis­crim­i­nate these col­ors, what we find is that Russ­ian speak­ers are faster across this lin­guis­tic bound­ary. They’re faster to be able to tell the dif­fer­ence between a light and dark blue.” Hard­ly a yawn­ing cog­ni­tive gap, you might think, but just imag­ine how many such dif­fer­ences exist between lan­guages, and how the habits of mind they shape poten­tial­ly add up.

“You don’t even need to go into the lab to see these effects of lan­guage; you can see them with your own eyes in an art gallery,” writes Borodit­sky in her Edge essay. “How does an artist decide whether death, say, or time should be paint­ed as a man or a woman? It turns out that in 85 per­cent of such per­son­i­fi­ca­tions, whether a male or female fig­ure is cho­sen is pre­dict­ed by the gram­mat­i­cal gen­der of the word in the artist’s native lan­guage.” More Ger­mans paint death as a man, and more Rus­sians paint it as a woman. Per­son­al­ly, I’d like to see all the var­i­ous ways artists speak­ing all the world’s lan­guages paint that waltz­ing jel­ly­fish think­ing about quan­tum mechan­ics in the library. We’d bet­ter hur­ry com­mis­sion­ing them, though, before too many more of those lan­guages van­ish.

Relat­ed Con­tent:

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

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

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

Speak­ing in Whis­tles: The Whis­tled Lan­guage of Oax­a­ca, Mex­i­co

Steven Pinker Explains the Neu­ro­science of Swear­ing (NSFW)

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

The French Village Designed to Promote the Well-Being of Alzheimer’s Patients: A Visual Introduction to the Pioneering Experiment

Hav­ing seen first­hand in my own fam­i­ly how dev­as­tat­ing Alzheimer’s dis­ease can be to the suf­fer­er and those who care for them, I acute­ly feel the need for bet­ter social reme­dies than those we cur­rent­ly have. Insti­tu­tion­al­iz­ing rel­a­tives places them at risk of abuse, neglect, or extreme lone­li­ness and anx­i­ety, over and above what they already expe­ri­ence. Rely­ing on fam­i­ly mem­bers can result in high­ly over­stressed care­tak­ers who lack resources, time, and train­ing. In either case, patients and care­tak­ers can end up iso­lat­ed, emo­tion­al­ly over­whelmed, and heav­i­ly reliant on med­ica­tions.

While there is yet no cure for Alzheimer’s and age-relat­ed demen­tia, the good news is that there may soon be a treat­ment that pro­vides suf­fer­ers with care, atten­tion, dig­ni­ty, and gen­er­ous social inter­ac­tion, while also giv­ing researchers humane and eth­i­cal oppor­tu­ni­ties to study the pro­gres­sion of the dis­ease. The not-so-good news is that it might require build­ing an entire vil­lage, com­plete with a super­mar­ket, hair­dress­er, library, gym and oth­er facil­i­ties. But if an exper­i­ment in Dax, in south­west­ern France, proves viable, many oth­er munic­i­pal­i­ties might will­ing­ly shoul­der the expense.

Designed by Cham­pag­nat & Grè­goire Archi­tects and NORD Archi­tects, the 12-acre Vil­lage Landais Alzheimer will cost a hefty $28 mil­lion, reports Newsweek. Curbed quotes the even high­er fig­ure of $34 mil­lion, “pri­mar­i­ly fund­ed by the gov­ern­ment.” Expect­ed to open at the end of 2019, the vil­lage will “house 120 patients, 100 live-in care­tak­ers, 12 vol­un­teers, and a team of researchers who will approach the treat­ment cen­ter as a test­bed for alter­na­tive Alzheimer’s care.” Designed to repli­cate a tra­di­tion­al medieval town com­mon to the area, the exper­i­ment was inspired by a sim­i­lar under­tak­ing in the Nether­lands, in which res­i­dents showed increased well-being and lived longer than expect­ed.

Neu­rol­o­gist and epi­demi­ol­o­gist Jean-François Dar­tigues explains the pur­pose of the vil­lage as main­tain­ing “the par­tic­i­pa­tion of res­i­dents in social life,” a proven fac­tor in slow­ing mem­o­ry loss and improv­ing men­tal health, as stud­ies have shown. The vil­lage will also give res­i­dents a sense of free­dom and con­trol over their envi­ron­ment, while mak­ing sure atten­tive care is on hand at all times, and it will “host trained dogs,” reports the BBC, “to help res­i­dents escape their psy­cho­log­i­cal iso­la­tion.” More­over, “drug treat­ments will be set aside,” along with the side effects of med­ica­tion that can neg­a­tive­ly affect qual­i­ty of life.

The pre­vi­ous exper­i­ment and cur­rent state of the research pre­dict that Vil­lage Landais Alzheimer will be suc­cess­ful in improv­ing the lives of its res­i­dents. While one can imag­ine this idea tak­ing hold among pri­vate investors will­ing to build exclu­sive vil­lages for wealthy patients, the ques­tion is whether coun­tries far less inclined to fund health­care would invest pub­lic resources. Local offi­cials in Dax at least “have promised,” Curbed reports, “to match nurs­ing home fees and make some form of gov­ern­ment assis­tance avail­able so as not to pre­vent poor­er patients from resid­ing in the facil­i­ty.”

Relat­ed Con­tent:

What’s a Sci­en­tif­i­cal­ly-Proven Way to Improve Your Abil­i­ty to Learn? Get Out and Exer­cise

Dis­cov­er the Retire­ment Home for Elder­ly Musi­cians Cre­at­ed by Giuseppe Ver­di: Cre­at­ed in 1899, It Still Lives On Today

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

The Health Ben­e­fits of Drum­ming: Less Stress, Low­er Blood Pres­sure, Pain Relief, and Altered States of Con­scious­ness

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

An Introduction to Ivan Ilyin, the Philosopher Behind the Authoritarianism of Putin’s Russia & Western Far Right Movements

Fas­cism had been creep­ing back into Euro­pean and North Amer­i­can pol­i­tics for many years before the word regained its cur­ren­cy in main­stream dis­course as an alarm­ing descrip­tion of present trends. In 2004, his­to­ri­an Enzo Tra­ver­so wrote of the “unset­tling phe­nom­e­non” of “the rise of fas­cist-inspired polit­i­cal move­ments in the Euro­pean are­na (from France to Italy, from Bel­gium to Aus­tria).” Many of those far-right move­ments have come very close to win­ning pow­er, as in Aus­tria and France’s recent elec­tions, or have done so, as in Italy’s.

And while the sud­den rise of the far right came as a shock to many in the US, polit­i­cal com­men­ta­tors fre­quent­ly point out that the ero­sion of demo­c­ra­t­ic civ­il rights and lib­er­ties has been a decades-long project, coin­cid­ing with the finan­cial­iza­tion of the econ­o­my, the pri­va­ti­za­tion of pub­lic goods and ser­vices, the rise of the mass sur­veil­lance state, and the extra­or­di­nary war pow­ers assumed, and nev­er relin­quished, by the exec­u­tive after 9/11, cre­at­ing a per­ma­nent state of excep­tion and weak­en­ing checks on pres­i­den­tial pow­er.

This is not even to men­tion the auto­crat­ic regimes of Turkey’s Recep Tayyip Erdoğan and Russia’s Vladimir Putin, which are tied to oth­er anti-demo­c­ra­t­ic move­ments across the West not only geopo­lit­i­cal­ly but also philo­soph­i­cal­ly, a sub­ject that gets far less press than it deserves. When analy­sis of the philo­soph­i­cal under­pin­nings of neo-fas­cism comes up, it often focus­es on Russ­ian aca­d­e­m­ic Alexan­der Dug­in, “who has been called,” notes Salon’s Conor Lynch, “every­thing from ‘Putin’s brain’ to ‘Putin’s Rasputin.’” (Bloomberg calls Dug­in “the one Russ­ian link­ing Putin, Erdo­gon and Trump.”)

Dugin’s fusion of Hei­deg­ger­ian post­mod­ernism and apoc­a­lyp­tic mys­ti­cism plays a sig­nif­i­cant role in the ide­ol­o­gy of the glob­al­ized far right. But Yale his­to­ri­an Tim­o­thy Sny­der—who has writ­ten exten­sive­ly on both Sovi­et Rus­sia and Nazi Germany—points to an ear­li­er Russ­ian thinker whom he says exer­cis­es con­sid­er­able influ­ence on the ide­ol­o­gy of Vladimir Putin, the fas­cist philoso­pher Ivan Ilyin.

Anton Bar­bashin and Han­nah Thoburn called Ilyin “Putin’s philoso­pher” in a For­eign Affairs pro­file. Ilyin was “a pub­li­cist, a con­spir­a­cy the­o­rist, and a Russ­ian nation­al­ist with a core of fascis­tic lean­ings.” David Brooks iden­ti­fied Ilyin as one of a trio of nation­al­ist philoso­phers Putin quotes and rec­om­mends. Sny­der defines Ilyin’s phi­los­o­phy as explic­it­ly “Russ­ian Chris­t­ian fas­cism,” describ­ing at the New York Review of Books the Russ­ian thinker’s pro­lif­ic writ­ing before and after the Russ­ian Rev­o­lu­tion, a hodge­podge of Ger­man ide­al­ism, psy­cho­analy­sis, Ital­ian fas­cism, and Chris­tian­i­ty.

In brief, Ilyin’s the­o­ret­i­cal works argued that “the world was cor­rupt; it need­ed redemp­tion from a nation capa­ble of total pol­i­tics; that nation was unsoiled Rus­sia.” Ilyin’s, and Putin’s, Russ­ian nation­al­ism has had a para­dox­i­cal­ly glob­al appeal among a wide swath of far right polit­i­cal par­ties and move­ments across the West, as Sny­der writes in his lat­est book The Road to Unfree­dom: Rus­sia, Europe, Amer­i­ca. “What these ways of think­ing have in com­mon,” write The Econ­o­mist in their review of Sny­der’s book, “is a qua­si-mys­ti­cal belief in the des­tiny of nations and rulers, which sets aside the need to observe laws or pro­ce­dures, or grap­ple with phys­i­cal real­i­ties.”

Sny­der sum­ma­rizes Ilyin’s ideas in the Big Think video above in ways that make clear how his thought appeals to far right move­ments across nation­al bor­ders. Ilyin, he says, is “prob­a­bly the most impor­tant exam­ple of how old ideas”—the fas­cism of the 20s, 30s, and 40s—“can be brought back in the 21st cen­tu­ry for a post­mod­ern con­text.” Those ideas can be sum­ma­rized in three the­ses, says Sny­der, the first hav­ing to do with the con­ser­v­a­tive reifi­ca­tion of social hier­ar­chies. “Social advance­ment was impos­si­ble because the polit­i­cal sys­tem, the social sys­tem, is like a body… you have a place in this body. Free­dom means know­ing your place.”

“A sec­ond idea,” says Sny­der, relates to vot­ing as a rat­i­fi­ca­tion, rather than elec­tion, of the leader. “Democ­ra­cy is a rit­u­al…. We only vote in order to affirm our col­lec­tive sup­port for our leader. The leader’s not legit­i­mat­ed by our votes or cho­sen by our votes.” The leader, instead, emerges “from some oth­er place.… In fas­cism the leader is some kind of hero, who emerges from myth.” The third idea might imme­di­ate­ly remind US read­ers of Karl Rove’s dis­missal of the “real­i­ty-based com­mu­ni­ty,” a chill­ing augur of the fact-free real­i­ty of today’s pol­i­tics.

Ilyin thought that “the fac­tu­al world doesn’t count. It’s not real.” In a restate­ment of gnos­tic the­ol­o­gy, he believed that “God cre­at­ed the world but that was a mis­take. The world was a kind of abort­ed process,” because it lacks coher­ence and uni­ty. The world of observ­able facts was, to him, “hor­ri­fy­ing…. Those facts are dis­gust­ing and of no val­ue what­so­ev­er.” These three ideas, Sny­der argues, under­pin Putin’s rule. They also define Amer­i­can polit­i­cal life under Trump, he con­cludes in his New York Review of Books essay.

Ilyin “made of law­less­ness a virtue so pure as to be invis­i­ble,” Sny­der writes, “and so absolute as to demand the destruc­tion of the West. He shows us how frag­ile mas­culin­i­ty gen­er­ates ene­mies, how per­vert­ed Chris­tian­i­ty rejects Jesus, how eco­nom­ic inequal­i­ty imi­tates inno­cence, and how fas­cist ideas flow into the post­mod­ern. This is no longer just Russ­ian phi­los­o­phy. It is now Amer­i­can life.” There are more than enough home­grown sources for Amer­i­can author­i­tar­i­an­ism and inequal­i­ty, one can argue. But Sny­der makes a com­pelling case for the obscure Russ­ian thinker as an indi­rect, and insid­i­ous, influ­ence.

Relat­ed Con­tent:

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

20 Lessons from the 20th Cen­tu­ry About How to Defend Democ­ra­cy from Author­i­tar­i­an­ism, Accord­ing to Yale His­to­ri­an Tim­o­thy Sny­der

George Orwell’s Final Warn­ing: Don’t Let This Night­mare Sit­u­a­tion Hap­pen. It Depends on You!

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

Visit the Largest Collection of Frida Kahlo’s Work Ever Assembled: 800 Artifacts from 33 Museums, All Free Online

Some films achieve the rare feat of being both col­or­ful escapist fan­ta­sy and art­ful means of recon­nect­ing us with our imper­iled human­i­ty. Pixar’s won­der­ful, ani­mat­ed Coco is such a film, “an explo­ration of val­ues,” writes Jia Tolenti­no at The New York­er, “a sto­ry of a multi­gen­er­a­tional matri­archy, root­ed in the past—whereas real life, these days, feels like an atem­po­ral, struc­ture­less night­mare ruled by men.” Cen­tral to its fic­tion­al­ized cel­e­bra­tion of Mex­i­can cul­ture and his­to­ry is a his­tor­i­cal fig­ure every grown-up view­er knows—that fore­moth­er of Mex­i­can mod­ernism, Fri­da Kahlo, an artist who seems as nec­es­sary to remem­ber now as ever.

Not that Fri­da Kahlo is in dan­ger of being for­got­ten. She is adored around the world, an icon for mil­lions of peo­ple who see them­selves in the var­i­ous inter­sec­tions of her iden­ti­ty: Mex­i­can, mes­ti­za, queer, dis­abled, fem­i­nist, uncom­pro­mis­ing­ly rad­i­cal, etc….

Kahlo’s iden­ti­ties mat­ter, and she made them mat­ter. She would not be erased or let her edges be planed away and sand­ed down. Like oth­er con­fes­sion­al artists to whom she is often com­pared, Kahlo turned her trag­i­cal­ly painful, joy­ous­ly vibrant life into endur­ing art. To crib Audre Lorde’s descrip­tion of poet­ry, her work is a “rev­e­la­to­ry dis­til­la­tion of expe­ri­ence.”

But the con­fes­sion­al under­stand­ing of Kahlo can present a crit­i­cal prob­lem, name­ly the emer­gence of what Stephanie Mencimer calls “the Kahlo Cult.”

…her fans are large­ly drawn by the sto­ry of her life, for which her paint­ings are often pre­sent­ed as sim­ple illus­tra­tion…. But, like a game of tele­phone, the more Kahlo’s sto­ry has been told, the more it has been dis­tort­ed, omit­ting uncom­fort­able details that show her to be a far more com­plex and flawed fig­ure than the movies and cook­books sug­gest.

In any case, we may not need more hagiog­ra­phy of Fri­da. We find her life, flaws and all, in her work. From the rav­ages of child­hood polio and a hor­rif­ic traf­fic acci­dent at 18 (depict­ed in the draw­ing below but nev­er in a paint­ing), from love affairs, a deep immer­sion in Mex­i­can folk art, and a com­mit­ment to social­ism and the Mex­i­can Rev­o­lu­tion, Kahlo cre­at­ed an auto­bi­o­graph­i­cal oeu­vre like no oth­er. That said, Kahlo her­self is so unde­ni­ably fas­ci­nat­ing a char­ac­ter that “no one need appre­ci­ate art to jus­ti­fy being a Kahlo fan or even a Kahlo cultist,” as Peter Schjel­dahl once wrote. “Why not? The world will have cults, and who bet­ter mer­its one?”

For the art appre­ci­a­tors and Kahlo cultists alike, Google Arts & Cul­ture has cre­at­ed a project that brings togeth­er her life and work in ways that illu­mi­nate both, with bio­graph­i­cal and crit­i­cal essays, and a thor­ough exhib­it of her work from muse­ums all over the world, includ­ing many lit­tle-known pieces like her sketch­es, draw­ings, and ear­ly works; a look at her let­ters and many pho­tographs of her through­out her life; an online exhi­bi­tion of her famous wardrobe; sev­er­al fea­tures of her influ­ence on LGBTQ artists, musi­cians, fash­ion design­ers, and much, much more. It’s “the largest Kahlo cura­tion ever assem­bled,” notes My Mod­ern Met. “The best part? No need to pay a muse­um fee—it’s avail­able online for any­one to enjoy for free.”

A col­lab­o­ra­tion “between the tech giant and a world­wide net­work of experts and 33 part­ner muse­ums in sev­en coun­tries,” notes Hyper­al­ler­gic, Faces of Fri­da con­tains 800 arti­facts, “includ­ing 20 ultra-high res­o­lu­tion images… nev­er dig­i­tized till now.” Some of these arti­facts are extreme­ly rare, such as “ear­ly ver­sions of her work, sketched and etched onto the backs of fin­ished paint­ings, unseen by any­one with­out the abil­i­ty to touch them.” You can also see the places that most influ­enced her career through five Google Street view tours, “includ­ing the famous Blue House in Mex­i­co City in which she was born and died.”

This com­pre­hen­sive online gallery seeks to encom­pass every part of Frida’s life, but rarely takes the focus from her work. “Of the 150 or so of her works that have sur­vived,” notes Mencimer, “most are self-por­traits. As she lat­er said, ‘I paint myself because I am so often alone, because I am the sub­ject I know best.’” Work­ing out­ward from her­self, she also paint­ed the spe­cif­ic res­o­nances of her time and place, and explored human expe­ri­ences that tran­scend per­son­al­i­ty. “As with all the best artists,” says author Frances Borzel­lo in one of the Google Arts fea­tures, “Kahlo’s art is not a diary inge­nious­ly pre­sent­ed in paint but a recre­ation of per­son­al beliefs, feel­ings and events through her par­tic­u­lar lens into some­thing unique and uni­ver­sal.”

Though a super­star in the land of the dead, dur­ing her life Kahlo’s work was great­ly over­shad­owed by that of her famous hus­band Diego Rivera. She only had two shows in her life­time, one of them arranged by sur­re­al­ist Andre Bre­ton, who called her paint­ing “a rib­bon around a bomb.” After her death in 1954, she “large­ly dis­ap­peared from the main­stream art world.” There is a cer­tain irony in point­ing out that fas­ci­na­tion with Kahlo’s work some­times reduces down to inter­est in her biog­ra­phy, since it took a 1983 biog­ra­phy by Hay­den Her­rera to bring her back into the pub­lic con­scious­ness. “When it was pub­lished” Mer­cimer writes, “there wasn’t a sin­gle mono­graph of Kahlo’s work to show peo­ple what it looked like, but the biog­ra­phy, which could have been the basis for a Uni­vi­sion telen­ov­ela, sparked a Fri­da fren­zy.”

How things have changed. No read­er of Herrera’s book, or any of the many treat­ments of Kahlo’s life since then, will come to it sight unseen. Frida’s face—defiant, mus­ta­chioed, monobrowed—stares out at us from every­where. The Google exhib­it guides us through a com­pre­hen­sive con­tex­tu­al­iza­tion of that haunt­ing, yet famil­iar gaze. The let­ters and bio­graph­i­cal entries con­tain insight after insight into the artist’s pri­vate and pub­lic lives. But ulti­mate­ly, it’s the paint­ings that speak. As Borzel­lo puts it, when we real­ly con­front Frida’s work, we may be struck by “how help­less words are in the face of the strange rich­ness of those images.” She invent­ed new visu­al vocab­u­lar­ies of pain, plea­sure, pride, and per­se­ver­ance. Vis­it Faces of Fri­da here.

via Google’s blog

Relat­ed Con­tent:

Fri­da Kahlo’s Col­or­ful Clothes Revealed for the First Time & Pho­tographed by Ishi­uchi Miyako

1933 Arti­cle on Fri­da Kahlo: “Wife of the Mas­ter Mur­al Painter Glee­ful­ly Dab­bles in Works of Art”

Artists Fri­da Kahlo & Diego Rivera Vis­it Leon Trot­sky in Mex­i­co: Vin­tage Footage from 1938

The Fri­da Kahlo Action Fig­ure

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

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.