How to Take a Picture of a Black Hole: Watch the 2017 Ted Talk by Katie Bouman, the MIT Grad Student Who Helped Take the Groundbreaking Photo

What trig­gered the worst impuls­es of the Inter­net last week?

The world’s first pho­to of a black hole, which proved the pres­ence of troll life here on earth, and con­firms that female sci­en­tists, through no fault of their own, have a much longer way to go, baby.

If you want a taste, sort the com­ments on the two year old TED Talk, above, so they’re ordered  “newest first.”

Katie Bouman, soon-to-be assis­tant pro­fes­sor of com­put­ing and math­e­mat­i­cal sci­ences at the Cal­i­for­nia Insti­tute of Tech­nol­o­gy, was a PhD can­di­date at MIT two years ago, when she taped the talk, but she could’ve passed for a ner­vous high school­er com­pet­ing in the Nation­al Sci­ence Bowl finals, in clothes bor­rowed from Aunt Judy, who works at the bank.

The focus of her stud­ies were the ways in which emerg­ing com­pu­ta­tion­al meth­ods could help expand the bound­aries of inter­dis­ci­pli­nary imag­ing.

Pri­or to last week, I’m not sure how well I could have parsed the focus of her work had she not tak­en the time to help less STEM-inclined view­ers such as myself wrap our heads around her high­ly tech­ni­cal, then-whol­ly-the­o­ret­i­cal sub­ject.

What I know about black holes could still fit in a thim­ble, and in truth, my excite­ment about one being pho­tographed for the first time pales in com­par­i­son to my excite­ment about Game of Thrones return­ing to the air­waves.

For­tu­nate­ly, we’re not oblig­at­ed to be equal­ly turned on by the same inter­ests, an idea the­o­ret­i­cal physi­cist Richard Feyn­man pro­mot­ed:

I’ve always been very one-sided about sci­ence and when I was younger I con­cen­trat­ed almost all my effort on it. I did­n’t have time to learn and I did­n’t have much patience with what’s called the human­i­ties, even though in the uni­ver­si­ty there were human­i­ties that you had to take. I tried my best to avoid some­how learn­ing any­thing and work­ing at it. It was only after­wards, when I got old­er, that I got more relaxed, that I’ve spread out a lit­tle bit. I’ve learned to draw and I read a lit­tle bit, but I’m real­ly still a very one-sided per­son and I don’t know a great deal. I have a lim­it­ed intel­li­gence and I use it in a par­tic­u­lar direc­tion.

I’m pret­ty sure my lack of pas­sion for sci­ence is not tied to my gen­der. Some of my best friends are guys who feel the same. (Some of them don’t like team sports either.)

But I could­n’t help but expe­ri­ence a wee thrill that this young woman, a sci­ence nerd who admit­ted­ly could’ve used a few the­ater nerd tips regard­ing relax­ation and pub­lic speak­ing, real­ized her dream—an hon­est to good­ness pho­to of a black hole just like the one she talked about in her TED Talk,  “How to take a pic­ture of a black hole.”

Bouman and the 200+ col­leagues she acknowl­edges and thanks at every oppor­tu­ni­ty, achieved their goal, not with an earth-sized cam­era but rather a net­work of linked tele­scopes, much as she had described two years ear­li­er, when she invoked dis­co balls, Mick Jag­ger, oranges, self­ies, and a jig­saw puz­zle in an effort to help peo­ple like me under­stand.

Look at that suck­er (or, more accu­rate­ly, its shad­ow!) That thing’s 500 mil­lion tril­lion kilo­me­ters from Earth!

(That’s much far­ther than King’s Land­ing is from Win­ter­fell.)

I’ll bet a lot of ele­men­tary sci­ence teach­ers, be they male, female, or non-bina­ry, are going to make sci­ence fun by hav­ing their stu­dents draw pic­tures of the pic­ture of the black hole.

If we could go back (or for­ward) in time, I can almost guar­an­tee that mine would be among the best because while I didn’t “get” sci­ence (or gym), I was a total art star with the crayons.

Then, crafty as Lord Petyr Bael­ish when pre­sen­ta­tion time rolled around, I would part­ner with a girl like Katie Bouman, who could explain the sci­ence with win­ning vig­or. She gen­uine­ly seems to embrace the idea that it “takes a vil­lage,” and that one’s fel­low vil­lagers should be cred­it­ed when­ev­er pos­si­ble.

(How did I draw the black hole, you ask? Hon­est­ly, it’s not that much hard­er than draw­ing a dough­nut. Now back to Katie!)

Alas, her pro­fes­sion­al warmth failed to reg­is­ter with legions of Inter­net trolls who began slim­ing her short­ly after a col­league at MIT shared a beam­ing snap­shot of her, tak­en, pre­sum­ably, with a reg­u­lar old phone as the black hole made its debut. That pic cement­ed her acci­den­tal sta­tus as the face of this project.

Note to the trolls—it was­n’t a dang self­ie.

“I’m so glad that every­one is as excit­ed as we are and peo­ple are find­ing our sto­ry inspi­ra­tional,’’ Bouman told The New York Times. “How­ev­er, the spot­light should be on the team and no indi­vid­ual per­son. Focus­ing on one per­son like this helps no one, includ­ing me.”

Although Bouman was a junior team mem­ber, she and oth­er grad stu­dents made major con­tri­bu­tions. She direct­ed the ver­i­fi­ca­tion of images, the selec­tion of imag­ing para­me­ters, and authored an imag­ing algo­rithm that researchers used in the cre­ation of three script­ed code pipelines from which the instant­ly-famous pic­ture was cob­bled togeth­er.

As Vin­cent Fish, a research sci­en­tist at MIT’s Haystack Obser­va­to­ry told CNN:

One of the insights Katie brought to our imag­ing group is that there are nat­ur­al images. Just think about the pho­tos you take with your cam­era phone—they have cer­tain prop­er­ties.… If you know what one pix­el is, you have a good guess as to what the pix­el is next to it.

Hey, that makes sense.

As The Verge’s sci­ence edi­tor, Mary Beth Grig­gs, points out, the rush to defame Bouman is of a piece with some of the non-vir­tu­al real­i­ties women in sci­ence face:

Part of the rea­son that some posters found Bouman imme­di­ate­ly sus­pi­cious had to do with her gen­der. Famous­ly, a num­ber of promi­nent men like dis­graced for­mer CERN physi­cist Alessan­dro Stru­mia have argued that women aren’t being dis­crim­i­nat­ed against in sci­ence — they sim­ply don’t like it, or don’t have the apti­tude for it. That argu­ment for­ti­fies a notion that women don’t belong in sci­ence, or can’t real­ly be doing the work. So women like Bouman must be fakes, this warped line of think­ing goes…

Even I, whose 7th grade sci­ence teacher tem­pered a bad grade on my report card by say­ing my inter­est in the­ater would like­ly serve me much bet­ter than any­thing I might eek from her class, know that just as many girls and women excel at sci­ence, tech­nol­o­gy, engi­neer­ing, and math as excel in the arts. (Some­times they excel at both!)

(And pow­er to every lit­tle boy with his sights set on nurs­ing, teach­ing, or bal­let!)

(How many black holes have the haters pho­tographed recent­ly?)

Grig­gs con­tin­ues:

Say­ing that she was part of a larg­er team doesn’t dimin­ish her work, or min­i­mize her involve­ment in what is already a his­to­ry-mak­ing project. High­light­ing the achieve­ments of a bril­liant, enthu­si­as­tic sci­en­tist does not dimin­ish the con­tri­bu­tions of the oth­er 214 peo­ple who worked on the project, either. But what it is doing is show­ing a dif­fer­ent mod­el for a sci­en­tist than the one most of us grew up with. That might mean a lot to some kids — maybe kids who look like her — mak­ing them excit­ed about study­ing the won­ders of the Uni­verse.

via Boing­Bo­ing

Relat­ed Con­tent:

Women’s Hid­den Con­tri­bu­tions to Mod­ern Genet­ics Get Revealed by New Study: No Longer Will They Be Buried in the Foot­notes

New Aug­ment­ed Real­i­ty App Cel­e­brates Sto­ries of Women Typ­i­cal­ly Omit­ted from U.S. His­to­ry Text­books

Stephen Hawk­ing (RIP) Explains His Rev­o­lu­tion­ary The­o­ry of Black Holes with the Help of Chalk­board Ani­ma­tions

Watch a Star Get Devoured by a Super­mas­sive Black Hole

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City tonight for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Google Celebrates the Bauhaus School’s 100th Anniversary with an Animated Doodle

Google has com­mem­o­rat­ed the 100th anniver­sary of the birth of the Bauhaus school with a nice ani­mat­ed doo­dle. They write:

Both a school for the arts and a school of thought, the Bauhaus was found­ed by archi­tect Wal­ter Gropius exact­ly 100 years ago in Weimar, Ger­many, gath­er­ing many of Europe’s most bril­liant artists and design­ers with the aim of train­ing a new gen­er­a­tion of cre­atives to rein­vent the world. Today’s ani­mat­ed Doo­dle cel­e­brates the lega­cy of this insti­tu­tion and the world­wide move­ment it began, which trans­formed the arts by apply­ing the prin­ci­ple “form fol­lows func­tion.”

Gropius envi­sioned the Bauhaus—whose name means “house of building”—as a merg­er of crafts­man­ship, the “fine” arts, and mod­ern tech­nol­o­gy. His icon­ic Bauhaus Build­ing in Dessau was a fore­run­ner of the influ­en­tial “Inter­na­tion­al Style,” but the impact of the Bauhaus’s ideas and prac­tices reached far beyond archi­tec­ture. Stu­dents of the Bauhaus received inter­dis­ci­pli­nary instruc­tion in car­pen­try, met­al, pot­tery, stained glass, wall paint­ing, weav­ing, graph­ics, and typog­ra­phy, learn­ing to infuse even the sim­plest func­tion­al objects (like the ones seen in today’s Doo­dle) with the high­est artis­tic aspi­ra­tions.

Steer­ing away from lux­u­ry and toward indus­tri­al mass pro­duc­tion, the Bauhaus attract­ed a stel­lar fac­ul­ty includ­ing painters Wass­i­ly Kandin­sky and Paul Klee, pho­tog­ra­ph­er and sculp­tor Lás­zló Moholy-Nagy, graph­ic design­er Her­bert Bay­er, indus­tri­al design­er Mar­i­anne Brandt, and Mar­cel Breuer, whose Mod­el B3 tubu­lar chair changed fur­ni­ture design for­ev­er.

Though the Bauhaus offi­cial­ly dis­band­ed on August 10, 1933, its stu­dents returned to 29 coun­tries, found­ing the New Bauhaus in Chica­go, Black Moun­tain Col­lege in North Car­oli­na, and White City in Tel Aviv. Bauhaus affil­i­ates also took lead­er­ship posi­tions at the Illi­nois Insti­tute of Tech­nol­o­gy, the Har­vard School of Archi­tec­ture, and the Muse­um of Mod­ern Art. Through all of these insti­tu­tions, and the work cre­at­ed in their spir­it, the ideas of the Bauhaus live on.

Find more anniver­sary cel­e­bra­tions in the Relat­eds 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!

via Dezeen

Relat­ed Con­tent:

Mod­ern Cor­po­rate Logos Reimag­ined in a Clas­sic Bauhaus Style: Cel­e­brate the 100th Anniver­sary of the Bauhaus Move­ment Today

Watch Bauhaus World, a Free Doc­u­men­tary That Cel­e­brates the 100th Anniver­sary of Germany’s Leg­endary Art, Archi­tec­ture & Design School

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: A Dig­i­tal Cel­e­bra­tion of the Found­ing of the Bauhaus School 100 Years Ago

How the Rad­i­cal Build­ings of the Bauhaus Rev­o­lu­tion­ized Archi­tec­ture: A Short Intro­duc­tion

An Oral His­to­ry of the Bauhaus: Hear Rare Inter­views (in Eng­lish) with Wal­ter Gropius, Lud­wig Mies van der Rohe & More

32,000+ Bauhaus Art Objects Made Avail­able Online by Har­vard Muse­um Web­site

The Female Pio­neers of the Bauhaus Art Move­ment: Dis­cov­er Gertrud Arndt, Mar­i­anne Brandt, Anni Albers & Oth­er For­got­ten Inno­va­tors

Nick Cave Creates a List of His 10 Favorite Songs–His Favorite “Hiding Songs”

For all of the indis­pens­able pur­pos­es music has served over thou­sands of years of human his­to­ry, at no time before the age of mass pro­duced record­ed music was it ever a col­lectible commodity—something we could own, believ­ing it was made just for us, even when it reached mil­lions of oth­er peo­ple. Music has, of course, con­tin­ued to play a sig­nif­i­cant com­mu­nal role, and in some ways maybe even a stronger one in the age of glob­al mass media.

Yet the expe­ri­ence of lis­ten­ing to music has also become, over the course of the past cen­tu­ry, an unprece­dent­ed­ly pri­vate affair. Whether you grew up with LPs, tapes, CDs, or stream­ing dig­i­tal, you know what it’s like to have a col­lec­tion of songs that seem like they were writ­ten just for you, sum­ming up your life in some uncan­ny way: songs that feel like emo­tion­al refuges, wel­com­ing some dis­placed part of your­self.

These are songs Nick Cave calls “hid­ing songs,” and the leader the Bad Seeds and, for­mer­ly, The Birth­day Par­ty and Grin­der­man, has writ­ten his share for many of his fans; many of the same fans who write him with deep per­son­al ques­tions, hop­ing to con­nect. On his blog The Red Hand Files, Cave posts the let­ters that most move him and offers can­did respons­es gen­er­ous­ly thread­ing the con­ver­sa­tion through his song­writ­ing and musi­cal influ­ences.

In a post from Jan­u­ary, when asked to cre­ate a list of his “favourite pieces of music,” Cave revealed ten of his own “hid­ing songs,” but not before explain­ing them with a quote from his poem, “The Sick Bag Song.”

Leonard Cohen will sing, and the boy will sud­den­ly breathe as if for the first time, and fall inside the laugh­ing man’s voice and hide.

He will realise that not only are these songs sacred, they are ‘hid­ing songs’ that deal exclu­sive­ly in dark­ness, obfus­ca­tion, con­ceal­ment and secre­cy. He will realise that for him the pur­pose of these songs was to shut off the sun, to draw a long shad­ow down and pro­tect him from the cor­ro­sive glare of the world.

Cohen, unsur­pris­ing­ly, tops the list. Cave may be an old-fash­ioned songwriter—preserving some of the best impuls­es of his lit­er­ary heroes—but he is also an adept hand at the list, a short­hand form that buries its emo­tions in par­en­thet­i­cal com­men­tary. When it comes to hid­ing songs, songs about “con­ceal­ment and secre­cy,” maybe there isn’t much more to say.

Maybe we’d like juicy per­son­al details. What was going on in Cave’s life when Karen Dalton’s “Katie Cru­el” gave him a place to hide? What about Neil Young’s down­beat “On the Beach” or Nina Simone’s aching “Plain Gold Ring” (hear him cov­er it live at the top) or Big Star’s incred­i­bly depress­ing “Holo­caust”? We may nev­er know, and we may nev­er need to. Sure­ly we each have such a list of songs that speak to us alone, of feel­ings only we can under­stand.

For an artist like Cave, how­ev­er, the pri­vate expe­ri­ence of record­ed music has a very pub­lic dimen­sion. The songs he lists, he writes, “are the essen­tial pil­lars that hold up the struc­ture of my artis­tic world.” The only ques­tion left may be, what songs were all these artists hid­ing in when they wrote the songs below? Hear all of Cave’s “hid­ing songs,” with a bonus eleventh, “Moth­er of Earth,” his favorite Gun Club song, by fan request.

Avalanche, Leonard Cohen

Katie Cru­el, Karen Dal­ton

On the Beach, Neil Young

Tupe­lo, John Lee Hook­er

T.B. Sheets, Van Mor­ri­son

It’s All Over Now, Baby Blue, Bob Dylan

Plain Gold Ring, Nina Simone

Holo­caust, Big Star

Becalmed, Bri­an Eno

One Fine Morn­ing, Bill Calla­han

Moth­er of Earth, The Gun Club

Relat­ed Con­tent:

Nick Cave Cre­ates a List of His Top 10 Love Songs

Nick Cave Answers the Hot­ly Debat­ed Ques­tion: Will Arti­fi­cial Intel­li­gence Ever Be Able to Write a Great Song?

Lis­ten to Nick Cave’s Lec­ture on the Art of Writ­ing Sub­lime Love Songs (1999)

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

Jorge Luis Borges Draws a Self-Portrait After Going Blind

Jorge Luis Borges (1899–1986), one of the great writ­ers to come out of Argenti­na, went blind when he was  only 55 years old. As unset­tling as it must have been, it was­n’t par­tic­u­lar­ly a sur­prise. He once told The New York Times, “I knew I would go blind, because my father, my pater­nal grand­moth­er, my great-grand­fa­ther, they had all gone blind.”

In the years fol­low­ing that life-chang­ing moment, Borges nev­er learned braille and could no longer read. But he did con­tin­ue to write; he served as the direc­tor of Argenti­na’s Nation­al Library; he trav­eled and deliv­ered an impor­tant series of lec­tures at Har­vard on poet­ry (click to lis­ten); and he even took a stab at draw­ing — some­thing he did fair­ly well ear­li­er in life. (See our pre­vi­ous post: Two Draw­ings by Jorge Luis Borges Illus­trate the Author’s Obses­sions.)

Above, you can see a self por­trait that Borges drew in the base­ment of the famous Strand Book­store in New York City. Accord­ing to the Times, he did this “using one fin­ger to guide the pen he was hold­ing with his oth­er hand.” After mak­ing the sketch, Borges entered the main part of the book­store and start­ed “lis­ten­ing to the room, the stacks, the books,” and made the remark­able obser­va­tion “You have as many books as we have in our nation­al library.”

If you’ve ever been to The Strand, you know how many books it holds. Indeed, the store boasts of being “New York City’s leg­endary home of 18 Miles of new, used and rare books.” My guess is that Argenti­na’s nation­al library might have a few more vol­umes than that. But who is real­ly count­ing?

Note: An ear­li­er ver­sion of this post appeared on our site in March 2014.

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:

Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

Borges: Pro­file of a Writer Presents the Life and Writ­ings of Argentina’s Favorite Son, Jorge Luis Borges

Jorge Luis Borges Chats with William F. Buck­ley on Fir­ing Line (1977)

Thomas Mann Explains the Nazis’ Ulterior Motive for Spreading Anti-Semitism in Rare 1940 Audio

Here’s a rare record­ing of the Ger­man writer Thomas Mann, author of Bud­den­brooks and The Mag­ic Moun­tain, explain­ing what he sees as the real rea­son behind the sys­tem­at­ic spread­ing of anti-Semi­tism in Nazi Ger­many.

It’s from an NBC radio address Mann gave on March 9, 1940, while he was liv­ing in Cal­i­for­nia. Mann had gone into exile from Ger­many in 1933, short­ly after Adolf Hitler was elect­ed chan­cel­lor and began seiz­ing dic­ta­to­r­i­al pow­ers. The author had been an out­spo­ken crit­ic of the Nazi par­ty since its emer­gence in the ear­ly twen­ties.

In 1930, a year after he received the Nobel Prize in Lit­er­a­ture, Mann gave a high-pro­file “Address to the Ger­mans: An Appeal to Rea­son,” in which he denounced the Nazis as bar­bar­ians. A Chris­t­ian man mar­ried to a Jew­ish woman, Mann often spoke against the Naz­i’s anti-Semi­tism, which he saw as part of a larg­er assault on the Mediter­ranean under­pin­nings of West­ern Civ­i­liza­tion. In the radio address, Mann says:

The anti-semi­tism of today, the effi­cient though arti­fi­cial anti-Semi­tism of our tech­ni­cal age, is no object in itself. It is noth­ing but a wrench to unscrew, bit by bit, the whole machin­ery of our civ­i­liza­tion. Or, to use an up-to-date sim­i­le, Anti-Semi­tism is like a hand grenade tossed over the wall to work hav­oc and con­fu­sion in the camp of democ­ra­cy. That is its real and main pur­pose.

Lat­er in the speech, Mann argues that the Nazi attack on the Jews is “but a start­ing sig­nal for a gen­er­al dri­ve against the foun­da­tions of Chris­tian­i­ty, that human­i­tar­i­an creed for which we are for­ev­er indebt­ed to the peo­ple of the Holy Writ, orig­i­nat­ed in the old Mediter­ranean world. What we are wit­ness­ing today is noth­ing else than the ever recur­rent revolt of uncon­quered pagan instincts, protest­ing against the restric­tions imposed by the Ten Com­mand­ments.”

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!

Note: An ear­li­er ver­sion of this post appeared in our site in June 2013.

Relat­ed Con­tent: 

J.R.R. Tolkien Snubs a Ger­man Pub­lish­er Ask­ing for Proof of His “Aryan Descent” (1938)

Fritz Lang Tells the Riv­et­ing Sto­ry of the Day He Met Joseph Goebbels and Then High-Tailed It Out of Ger­many

Redis­cov­ered: The First Amer­i­can Anti-Nazi Film, Banned by U.S. Cen­sors and For­got­ten for 80 Years

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

Lis­ten as Albert Ein­stein Reads ‘The Com­mon Lan­guage of Sci­ence’ (1941)

See the Oldest Printed Advertisement in English: An Ad for a Book from 1476

Nobody pays much mind to adver­tis­ing, at least the hap­haz­ard kind of adver­tis­ing that clut­ters the space around us. But here in the 21st cen­tu­ry, when both that space and the ads that appear through­out it are as like­ly to be dig­i­tal as phys­i­cal, we might take a moment to look back at how the prac­tice of putting up notices to sell things began. In the Eng­lish lan­guage, it goes back to at least to the mid-fif­teenth cen­tu­ry — specif­i­cal­ly, to the year 1476, when Britain’s first print­er William Cax­ton pro­duced not just a man­u­al for priests called Sarum Pie (or the Ordi­nale ad usum Sarum), but eas­i­ly postable, play­ing card-sized adver­tise­ments for the book as well.

“This piece of paper, of which two copies sur­vive, is regard­ed as the ear­li­est sur­viv­ing print­ed adver­tise­ment in the Eng­lish lan­guage,” writes Erik Kwakkel at medieval­books. It states that Sarum Pie “is print­ed in the same let­ter type as the adver­tise­ment (‘enpryn­tid after the forme of this present let­tre,’ line 3). Even with­out hav­ing seen the new book, its key fea­ture, the type, can thus already be assessed.” This pio­neer­ing adver­tise­ment also “reas­sures poten­tial clients that the text of the hand­book is ‘tru­ly cor­rect’ (line 4) and that it can be acquired cheap­ly (‘he shal have them good chepe,’ lines 5–6). Both fea­tures will have been wel­comed by priests, the tar­get audi­ence, who need­ed their tex­tu­al tools to be flaw­less and did not have much mon­ey to spend on them.”

Kwakkel also gets into oth­er notable fea­tures of this decep­tive­ly sim­ple-look­ing pro­duc­tion, includ­ing “the pre­cise loca­tion of Caxton’s shop,” a warn­ing in Latin urg­ing read­ers not to remove the notice (“show­ing that it was put on dis­play some­where,” per­haps a church porch), and even the type. In both the adver­tise­ment and Sarum Pie itself, “the let­ter shapes lack ‘sharp­ness:’ fre­quent­ly ‘blobs’ and small hair­lines appear as let­ters, while an indi­vid­ual let­ter usu­al­ly has a vari­ety of appear­ances when looked at in detail,” pos­si­bly an attempt by the print­er to cre­ate “a more ‘gen­uine’ – i.e. tra­di­tion­al, ‘man­u­script’ – look.”

It would have been impor­tant back then to make print­ed books look hand-copied, since not so long before, all books were hand-copied by def­i­n­i­tion. With the first Guten­berg Bible still less than half a cen­tu­ry old, ear­ly print­ers had to make sure their rel­a­tive­ly inex­pen­sive books did­n’t look like low-qual­i­ty sub­sti­tutes for the “real thing”; hence the assur­ances about both the type and the price in the text of Cax­ton’s adver­tise­ment. That the ori­gin of adver­tis­ing turns out to be close­ly con­nect­ed with reli­gion may come as a sur­prise — though giv­en the fact that the print rev­o­lu­tion itself began with a Bible, a prod­uct that in either phys­i­cal or dig­i­tal form now prac­ti­cal­ly sells itself, it may not be that big a sur­prise.

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via medieval­books

Relat­ed Con­tent:

Oxford Uni­ver­si­ty Presents the 550-Year-Old Guten­berg Bible in Spec­tac­u­lar, High-Res Detail

See How The Guten­berg Press Worked: Demon­stra­tion Shows the Old­est Func­tion­ing Guten­berg Press in Action

One of World’s Old­est Books Print­ed in Mul­ti-Col­or Now Opened & Dig­i­tized for the First Time

Watch the First Com­mer­cial Ever Shown on Amer­i­can TV, 1941

Sell & Spin: The His­to­ry of Adver­tis­ing, Nar­rat­ed by Dick Cavett (1999)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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 Devilish History of the 1980s Parental Advisory Sticker: When Heavy Metal & Satanic Lyrics Collided with the Religious Right

Frank Zap­pa called them the “Moth­ers of Pre­ven­tion,” the group of wives mar­ried to mem­bers of Con­gress who decid­ed in the mid-80s to go to war against rock lyrics and whip up some good ol’ con­ser­v­a­tive hys­te­ria.

We’ve talked about this time before on this site, espe­cial­ly as Zap­pa him­self tes­ti­fied in front of Con­gress and sparred on the Sun­day Belt­way shows like Cross­fire.

Vox’s Ear­worm series, now back for a sec­ond sea­son, tack­les this moment in a time that would have lit­tle ram­i­fi­ca­tion before the design-ugly “Parental Advi­so­ry: Explic­it Con­tent” stick­er.
(Just an aside: I know their head­line is click-baity, but real­ly? Heavy met­al and Satan gave us this stick­er? More like Tip­per Gore and their family’s pres­i­den­tial ambi­tions gave us it. Oy.)

Any­way, Gore’s Par­ents Music Resource Cen­ter (PMRC) gave us a list of the “Filthy Fif­teen,” includ­ing songs like Sheena Easton’s “Sug­ar Walls” and Madonna’s “Dress You Up,” which either con­tained lyrics “pro­mot­ing” vio­lence, sex­u­al ref­er­ences, drug and alco­hol, and Satan’s favorite, the “occult.”

Estelle Caswell explores that last cat­e­go­ry and dives into the increas­ing pop­u­lar­i­ty dur­ing the ‘80s of heavy met­al music, which was often invok­ing Satan in its lyrics, or cre­at­ing occult-like atmos­pheres in its pro­duc­tion.

This campy, hor­ror­show cul­ture ran right into the grow­ing pow­er of con­ser­v­a­tive Chris­tians and evan­gel­i­cal preach­ers who made a *lot* of mon­ey whip­ping up “Satan­ic Pan­ic” among their nation­al flock. They lis­tened to rock records back­wards, believ­ing they heard sub­lim­i­nal mes­sages.

Of course, none of this would have gone much fur­ther than church­es if it wasn’t for the major net­works turn­ing a noth­ing sto­ry into headlines–the Vox video reminds us how com­plic­it Ted Kop­pel, Bar­bara Wal­ters, Ger­al­do Rivera, et al were in pro­mot­ing it. They also looked at the ris­ing teenage sui­cide rate and used heavy met­al as a scape­goat, instead of–as the video explains–family breakups, drug abuse, eco­nom­ic uncer­tain­ty, and increas­ing access to guns.

The warn­ing label itself appeared in 1990, just as rap was tak­ing off and a new lyri­cal boogey­man appeared. Dig­i­tal media and file shar­ing, along with YouTube and oth­er sites, mut­ed this kind of cen­sor­ship. And par­ents, in the end, still need to do the job over what their chil­dren see or don’t.

How­ev­er, cen­sor­ship is back, but there are no Wash­ing­ton Wives act­ing as scolds. Now it is the whims of cap­i­tal, as in the col­lapse of Tum­blr, or it is a faulty algo­rithm that cen­sors old mas­ter paint­ings filled with nudi­ty, just as guilty as porn, that are our new decen­cy guardians. Where are those con­gres­sion­al hear­ings?

Relat­ed Con­tent:

A Brief His­to­ry of Hol­ly­wood Cen­sor­ship and the Rat­ings Sys­tem

George Orwell Iden­ti­fies the Main Ene­my of the Free Press: It’s the “Intel­lec­tu­al Cow­ardice” of the Press Itself

Home Tap­ing Is Killing Music: When the Music Indus­try Waged War on the Cas­sette Tape in the 1980s, and Punk Bands Fought Back

Frank Zap­pa Debates Whether the Gov­ern­ment Should Cen­sor Music in a Heat­ed Episode of Cross­fire: Why Are Peo­ple Afraid of Words? (1986)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Economics 101: Hedge Fund Investor Ray Dalio Explains How the Economy Works in a 30-Minute Animated Video

Want to know how the econ­o­my works? It “works like a sim­ple machine,” accord­ing to Ray Dalio, who explains its mech­a­nisms in the 30-minute video above. The pre­sen­ta­tion is “sim­ple but not sim­plis­tic,” says the site Eco­nom­ic Prin­ci­ples, a research arm of Dalio’s com­pa­ny Bridge­wa­ter Asso­ciates. The les­son packs in most of the major bold­faced con­cepts in the aver­age over­priced col­lege eco­nom­ics text­book, “such as cred­it, inter­est, rates, lever­ag­ing, and delever­ag­ing.” And it does so in that most engag­ing means of learn­ing things online, an ani­mat­ed video, nar­rat­ed by an expert.

All that’s well and good, but can we real­ly under­stand such a volatile beast as “the economy”—an abstrac­tion that some­times seems like a cru­el­ly rigged game and some­times like a not-par­tic­u­lar­ly-benev­o­lent (to most peo­ple) deity—in only half an hour? Should we trust Dalio to sum­ma­rize its com­plex­i­ty? The bil­lion­aire hedge-fund man­ag­er did, he tells us, man­age “to antic­i­pate and to side­step the glob­al finan­cial cri­sis.” And he has made quite an impres­sion on peo­ple like Forbes Senior Con­trib­u­tor Carmine Gal­lo with his “7,500-word LinkedIn arti­cle titled ‘Why and How Cap­i­tal­ism Needs to be Reformed.’”

In that piece, the “vora­cious learn­er who stud­ies nar­ra­tive and com­mu­ni­ca­tion… turns an enor­mous­ly com­plex sub­ject into a sim­ple, com­pelling nar­ra­tive.” He also makes it clear right in the title that by “the econ­o­my” he means a cap­i­tal­ist econ­o­my. It’s a point large­ly tak­en for grant­ed in the ani­mat­ed explain­er but an impor­tant one nonethe­less giv­en the under­ly­ing assump­tions of the the­o­ry. Seri­ous cri­tiques of cap­i­tal­ism seem much hard­er to con­dense because they’re tasked with unpack­ing all those assump­tions.

Marx’s Das Kap­i­tal spans three vol­umes, though he only lived to pub­lish the first one, itself a mon­ster of a read. Thomas Piketty’s Cap­i­tal in the 21st Cen­tu­ry is maybe a lit­tle breezi­er, at 696 pages (though if you let The Econ­o­mist read it for you, they can sum it up in four para­graphs). By con­trast, Dalio offers a com­pre­hen­sive primer in brief for those of us who skipped that macro­eco­nom­ics course, or who nev­er got the chance to sign up for one. But else­where he has matched cap­i­tal­is­m’s biggest crit­ics with his own best-sell­ing book Prin­ci­ples: Life and Work, a huge and high­ly-praised look at eco­nom­ic crises of debt, gross inequal­i­ty, stag­nant wages, etc. See him describe the book, in five min­utes, on 60 Min­utes, just above.

Cap­i­tal­is­m’s best-known crit­ics, even those who want to see the cur­rent sys­tem swapped out for a more equi­table, sus­tain­able mod­el, have known they must begin by learn­ing how the cur­rent sys­tem works, or how it doesn’t. Dalio him­self isn’t set­ting out to build a worker’s par­adise or to make financiers like him­self obso­lete, but he does have some tren­chant thoughts on capitalism’s failures—and they are many, in his esti­ma­tion. Still, he believes he knows how it can be reformed “to pro­duce bet­ter out­comes.” Learn more in his com­pelling­ly-writ­ten essay here.

Relat­ed Con­tent:

How The Eco­nom­ic Machine Works: A 30-Minute Ani­mat­ed Primer by Hedge Fund Investor Ray Dalio

Free Online Eco­nom­ics Cours­es

David Harvey’s Course on Marx’s Cap­i­tal: Vol­umes 1 & 2 Now Avail­able Free Online

Piketty’s Cap­i­tal in a Nut­shell

Free Online Eco­nom­ics Cours­es 

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

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Open Culture was founded by Dan Colman.