10 Rules of Self Discipline from the 1930 Self Help/Business Guru Napoleon Hill

It seems ridicu­lous to refer to the Gold­en Rule as a “weapon,” but that is just what it is—a weapon that no resis­tance on earth can with­stand! —Napoleon Hill

Napoleon Hillwhose ear­ly books The Law of Suc­cess (1928), The Mag­ic Lad­der To Suc­cess (1930), and Think and Grow Rich (1937) helped estab­lish the self-help genrewould be con­sid­ered a life coach or moti­va­tion­al speak­er in today’s par­lance.

And were he alive today, he’d like­ly he’d be fac­ing charges, or at the very least, can­celled for some of the behav­iors, schemes, and whop­pers Matt Novak details in an exhaus­tive­ly researched essay for Gizmodo’s Pale­o­fu­ture blog.

We think it’s impor­tant to tip you off to that shady side, because Hill’s “10 Rules for Prof­itable Self Dis­ci­pline,” above, are so sun­ny, they could spur you to dis­sem­i­nate them imme­di­ate­ly, leav­ing you vul­ner­a­ble to harsh words from bet­ter informed friends and, more cru­cial­ly, social media fol­low­ers, who are already het up about any num­ber of things in this elec­tion year, and who enjoy the cathar­sis a good call out affords.

Ergo, if you’re inclined to share, inves­ti­gate the well from which they sprung, and then decide whether or not you want to pro­ceed.

Why did we pro­ceed?

Because prac­ticed with the purest of inten­tions, these rules con­sti­tute extreme­ly human­is­tic advice from a man whose out­ward phi­los­o­phy con­tin­ues to be a touch­stone for many in the busi­ness com­mu­ni­ty.

And as evi­denced by the com­ments left by grate­ful YouTube view­ers, many of whom stum­bled across his words by acci­dent, peo­ple are thirsty for such explic­it­ly pos­i­tive guide­posts to inter­per­son­al deal­ings.

(A good num­ber also seem quite tak­en with the Vir­ginia native’s old timey speech pat­terns and vin­tage lin­go.)

If noth­ing else, apply­ing these rules could sweet­en your next argu­ment with some­one you love, or serve as inspi­ra­tion if you’re ever called upon to give a com­mence­ment speech:

Napoleon Hill’s 10 Rules for Prof­itable Self Dis­ci­pline

  1. Keep a cool head around hot heads. Rage doesn’t have to be con­ta­gious,.
  2. Believe that there are three sides to every argu­ment. If you’re in a dust-up, don’t assume that the fault lays with the oth­er per­son, but rather that you both shoul­der a por­tion of the blame. This is a pret­ty com­pas­sion­ate way of ensur­ing that everyone’s ass will be par­tial­ly cov­ered for both bet­ter and worse.
  3. Nev­er give direc­tives to a sub­or­di­nate when you are angry. Giv­en that swift and deci­sive action is often required of those in lead­er­ship posi­tions, you’ll have to learn to ice your own hot head pret­ty quick­ly to put this one into con­sis­tent play.
  4. Treat every­one as if they were a rich rel­a­tive who might leave you a siz­able inher­i­tance. Which is kind of a gross way of putting it, but oth­er­wise, we agree with Napoleon Hill that treat­ing oth­ers with respect and lov­ing atten­tion is a real “hon­ey” of a con­cept, espe­cial­ly if the oth­er per­son can offer lit­tle beyond their friend­ship.
  5. When you find your­self in an unpleas­ant cir­cum­stance, imme­di­ate­ly start search­ing for the seed of an equiv­a­lent ben­e­fit with­in the expe­ri­ence. If Novak’s Giz­mo­do essay is any indi­ca­tion, Hill prob­a­bly had a lot of oppor­tu­ni­ty to put this one into prac­tice, squeez­ing lemon­ade from lemons of his own mak­ing.
  6. Ask ques­tions and lis­ten to the answer. If you find your­self inclined to dis­agree with a state­ment, employ the phrase, “How do you know?” to get the speak­er to do all the heavy lift­ing. For exam­ple, Napoleon Hill might say to Matt Novak, “How do you know?” which would be Matt Novak’s cue to pro­duce a moun­tain of doc­u­men­ta­tion.
  7. Nev­er say or do any­thing before think­ing if it will ben­e­fit some­one or hurt them. The goal is to refrain from hurt­ing oth­ers. Let those of us are with­out sin cast the first stone here. Hill’s karmic spin on this rule is that any injuries you cause that don’t imme­di­ate­ly come around to bite you in the ass, will bite you in the ass much hard­er at some future point, a la com­pound inter­est.
  8. Learn the dif­fer­ence between friend­ly analy­sis and unfriend­ly crit­i­cisms. His not entire­ly fool­proof method for dis­tin­guish­ing intent is to con­sid­er the nature of your rela­tion­ship with the one offer­ing the obser­va­tions, their tone of voice, man­ner of deliv­ery, and some­what quaint­ly, whether or not they throw in any epi­thets. If it’s friend­ly, you can set some store by it. Oth­er­wise, dis­re­gard.
  9. A good leader knows how to take orders cheer­ful­ly. This pairs nice­ly with Rule Num­ber 3, don’t you think?
  10. Be tol­er­ant of your fel­low humans. Always.

Relat­ed Con­tent: 

What Are the Keys to Hap­pi­ness?: Take “The Sci­ence of Well-Being,” a Free Online Ver­sion of Yale’s Most Pop­u­lar Course

How Much Mon­ey Do You Need to Be Hap­py? A New Study Gives Us Some Exact Fig­ures

Har­vard Course on Pos­i­tive Psy­chol­o­gy: Watch 30 Lec­tures from the University’s Extreme­ly Pop­u­lar Course

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join Ayun’s com­pa­ny The­ater of the Apes in New York City  for her book-based vari­ety series, Necro­mancers of the Pub­lic Domain, and the world pre­miere of Greg Kotis’ new musi­cal, I AM NOBODY (March 5 — 28) Fol­low her @AyunHalliday.

Chinese Museums, Closed by the Coronavirus, Put Their Exhibitions Online

Pho­to by Tom Winck­els, via Wiki­me­dia Com­mons

If you hap­pened to have a trip to Chi­na sched­uled for this time of year, chances are you don’t any­more. Trav­el to and from that coun­try has been severe­ly cur­tailed since the Chi­nese city of Wuhan saw a large-scale out­break of the nov­el coro­n­avirus, about which you can get up to speed through the selec­tion of free online cours­es we fea­tured last week. On an inter­ac­tive web site from Johns Hop­kins you can also keep an eye on the virus’ spread, the range and speed of which reminds us of where the expres­sion “going viral” comes from. But a real, bio­log­i­cal virus at least can’t be trans­mit­ted in the dig­i­tal realm, and so into the dig­i­tal realm some of Chi­na’s attrac­tions have begun to migrate.

“Muse­ums around the coun­try have been forced to tem­porar­i­ly close their doors due to the Wuhan coro­n­avirus out­break,” writes CNN.com’s Mag­gie Hiu­fu Wong. “In response, Chi­na’s Nation­al Cul­tur­al Her­itage Admin­is­tra­tion (NCHA) has asked them to stay active on social media and offer their ser­vices dig­i­tal­ly.”

And so “many muse­ums have opened the doors of their gal­leries vir­tu­al­ly, includ­ing Bei­jing’s world-famous Palace Muse­um, which sits inside the For­bid­den City.” Though the devel­op­ing online muse­um por­tal at the Nation­al Cul­tur­al Her­itage Admin­is­tra­tion’s web site isn’t avail­able out­side main­land Chi­na, “100 online exhi­bi­tions and gal­leries are linked to from the NCHA web­site — here and here (both in Chi­nese),” acces­si­ble every­where and some­times includ­ing infor­ma­tion in Eng­lish.

The vari­ety of online exhi­bi­tions high­light­ed by Wong includes one at the Palace Muse­um on “how Spring Fes­ti­val was cel­e­brat­ed in the For­bid­den City in ancient Chi­na”; Bei­jing’s Nation­al Muse­um’s “The Jour­ney Back Home: An Exhi­bi­tion of Chi­nese Arti­facts Repa­tri­at­ed from Italy” (a coun­try with coro­n­avirus chal­lenges of its own); Nan­jing Mas­sacre Memo­r­i­al Hall, which “lets online vis­i­tors access the muse­um from the entrance as if they were real­ly there”; and the ter­ra­cot­ta war­riors at the Mau­soleum of Emper­or Qin­shi­huang’s Mau­soleum, pre­vi­ous­ly fea­tured here on Open Cul­ture. These “new online resources also offer cul­ture seek­ers an oppor­tu­ni­ty to expe­ri­ence muse­ums in less-vis­it­ed cities, includ­ing his­tor­i­cal­ly rich Wuhan”: Wong names the for­mer Site of the Cen­tral Com­mit­tee of the Com­mu­nist Par­ty and the Muse­um of Wuchang Upris­ing of 1911 Rev­o­lu­tion.

The NCHA’s urg­ing of cul­tur­al insti­tu­tions to shore up their pres­ences on the inter­net isn’t the only such mea­sure being tak­en in Chi­na. As the MIT Tech­nol­o­gy Review report­ed last month, “Chi­na has launched a nation­al cloud learn­ing plat­form and start­ed broad­cast­ing pri­ma­ry school class­es to ensure the country’s 180 mil­lion stu­dents can still keep learn­ing even though schools are closed.” The tem­po­rary shut­down of schools, muse­ums, libraries, and oth­er such core facil­i­ties of civ­i­liza­tion in not just Chi­na but an increas­ing num­ber of places around the world offers an occa­sion to reflect on the nature of our world in the 21st cen­tu­ry. Unprece­dent­ed inter­con­nect­ed­ness across the globe has made pos­si­ble unprece­dent­ed cul­tur­al, intel­lec­tu­al, and tech­no­log­i­cal exchange across the globe — but of course, there are always some things we’d rather did­n’t spread world­wide.

Relat­ed Con­tent:

Inter­ac­tive Web Site Tracks the Glob­al Spread of the Coro­n­avirus: Cre­at­ed and Sup­port­ed by Johns Hop­kins

Free Cours­es on the Coro­n­avirus: What You Need to Know About the Emerg­ing Pan­dem­ic

China’s 8,000 Ter­ra­cot­ta War­riors: An Ani­mat­ed & Inter­ac­tive Intro­duc­tion to a Great Archae­o­log­i­cal Dis­cov­ery

Free: Down­load 70,000+ High-Res­o­lu­tion Images of Chi­nese Art from Taipei’s Nation­al Palace Muse­um

Take a Vir­tu­al Tour of Brazil’s Nation­al Muse­um & Its Arti­facts: Google Dig­i­tized the Museum’s Col­lec­tion Before the Fate­ful Fire

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 Documentary Miles Davis: Birth of the Cool Is Streaming Free for a Limited Time

PBS’ Amer­i­can Mas­ters series has released the new doc­u­men­tary, Miles Davis: Birth of the Cool, and it’s stream­ing free online for a lim­it­ed time. (Some geo-restric­tions may apply.) With full access to the Miles Davis Estate, “the film fea­tures nev­er-before-seen footage, includ­ing stu­dio out­takes from his record­ing ses­sions, rare pho­tos and new inter­views.” Watch the trail­er above. Stream the full doc­u­men­tary here.

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:

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Miles Davis Icon­ic 1959 Album Kind of Blue Turns 60: Revis­it the Album That Changed Amer­i­can Music

1959: The Year That Changed Jazz

Kind of Blue: How Miles Davis Changed Jazz

Her­bie Han­cock Explains the Big Les­son He Learned From Miles Davis: Every Mis­take in Music, as in Life, Is an Oppor­tu­ni­ty

The Influ­ence of Miles Davis Revealed with Data Visu­al­iza­tion

Free: Read the Original 23,000-Word Essay That Became Hunter S. Thompson’s Fear and Loathing in Las Vegas (1971)

Because my sto­ry was true. I was cer­tain of that. And it was extreme­ly impor­tant, I felt, for the mean­ing of our jour­ney to be made absolute­ly clear. 

The pub­li­ca­tion his­to­ry of Hunter S. Thompson’s Fear and Loathing in Las Vegas is the sto­ry of gonzo jour­nal­ism itself, a form depen­dent upon the unre­li­a­bil­i­ty of its nar­ra­tor, who becomes a cen­tral char­ac­ter in the osten­si­bly real-life dra­ma. In Thompson’s hal­lu­cino­genic tales of his trav­els to Las Vegas with attor­ney and Chi­cano activist Oscar Zeta Acos­ta, the reporter went so far as to become a fic­tion­al char­ac­ter.

The jour­ney began with a com­mis­sion from Rolling Stone to report on the death of reporter Ruben Salazar, killed by a Los Ange­les police tear gas grenade at an anti-Viet­nam War protest. This trip divert­ed, how­ev­er, to Las Vegas, where Thomp­son drove to report on the Mint 400 desert race for Sports Illus­trat­ed. Rather than sub­mit­ting the 250-word piece the mag­a­zine request­ed, he gave them a 2,500-word psy­che­del­ic fugue, the very begin­nings of Fear and Loathing. The piece, Thomp­son lat­er wrote, was “aggres­sive­ly reject­ed.”

Instead, Jann Wen­ner liked what he saw enough to even­tu­al­ly pub­lish it in the Novem­ber 1971 issue of Rolling Stone as a 23,000-word essay bear­ing the title of the nov­el it would become, “Fear and Loathing in Las Vegas: A Sav­age Jour­ney to the Heart of the Amer­i­can Dream.” You can read that by-now famil­iar­ly wild account, here. In it, Thomp­son gave the magazine’s read­ers a suc­cinct def­i­n­i­tion of his report­ing style:

But what was the sto­ry? Nobody had both­ered to say. So we would have to drum it up on our own. Free Enter­prise. The Amer­i­can Dream. Hor­a­tio Alger gone mad on drugs in Las Vegas. Do it now: pure Gonzo jour­nal­ism.

The term defines the form as the mir­ror obverse of the Amer­i­can Dream, Thompson’s excess­es no more than illic­it ver­sions of the cul­ture he picked apart, one that pro­duced an event like the Mint 400, “the rich­est off-the-road race for motor­cy­cles and dune-bug­gies in the his­to­ry of orga­nized sport,” he wrote, and “a fan­tas­tic spec­ta­cle….”

What were Thomp­son and Acos­ta (or Raoul Duke and Dr. Gonzo) doing if not hold­ing the main event of dis­or­ga­nized sport in their race across the desert against their own para­noid delu­sions? The truths Thomp­son told need nev­er have been factual—they were the out­ra­geous truths we find in any good sto­ry, well told: about the bats—as in the famous Goya etch­ing—swarm­ing around the passed-out head of Rea­son.

Read Thomp­son’s orig­i­nal, now icon­ic essay here.

Relat­ed Con­tent:

Hunter Thomp­son Died 15 Years Ago: Hear Him Remem­bered by Tom Wolfe, John­ny Depp, Ralph Stead­man, and Oth­ers

Read 11 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

How Hunter S. Thomp­son Gave Birth to Gonzo Jour­nal­ism: Short Film Revis­its Thompson’s Sem­i­nal 1970 Piece on the Ken­tucky Der­by

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

The Story of Physics Animated in 4 Minutes: From Galileo and Newton, to Einstein

No mat­ter how well you remem­ber your physics class­es, you most like­ly don’t remem­ber learn­ing any sto­ries in them. The­o­ries and equa­tions, yes, but not sto­ries — yet each of those the­o­ries and equa­tions has a sto­ry behind it, as does the entire sci­en­tif­ic enter­prise of physics they con­sti­tute. The video above from the BBC’s Dara Ó Bri­ain’s Sci­ence Club pro­vides an overview of the lat­ter sto­ry in an ani­mat­ed four min­utes, mak­ing it ide­al for young­sters just start­ing to learn about physics. It will also do the job for those of us not-so-young­sters cir­cling back to get a bet­ter grasp of physics, its dis­cov­er­ies and dri­ving ques­tions.

“The sto­ry of physics is, for the most part, a tale of ever-increas­ing con­fi­dence,” says Ó Bri­ain, a come­di­an as well as a tele­vi­sion host and writer on var­i­ous sub­jects. This ver­sion of the sto­ry begins with rolling balls and falling objects, observed with a new rig­or by such 17th-cen­tu­ry Ital­ians as Galileo Galilei. Galileo’s work became “the rock on which mod­ern physics is found­ed,” and those who first built upon that rock includ­ed Isaac New­ton, who start­ed by notic­ing how apples fall and end­ed up with a the­o­ry of grav­i­ty. New­ton’s work would lat­er pre­dict the exis­tence of Nep­tune; James Clerk Maxwell, work­ing in the 19th cen­tu­ry, made dis­cov­er­ies about elec­tro­mag­net­ism that would lat­er give us radio and tele­vi­sion.

For quite a while, physics seemed to go from strength to strength. But as the 20th cen­tu­ry began, “the lat­est dis­cov­er­ies did­n’t build on the old ones. Things like x‑rays and radioac­tiv­i­ty were just plain weird, and in a bad way.” But in 1905, onto the scene came a 26-year-old Albert Ein­stein, who “tore up the script by” claim­ing that “light is a kind of wave but also comes in pack­ets, or par­ti­cles.” That same year he pub­lished an equa­tion you’ll cer­tain­ly remem­ber from your school days: E = mc2, which holds “that mass and ener­gy are equiv­a­lent.” Ein­stein pro­posed that, if “some­one watch­es a space­ship fly­ing very fast, what they would see is the ship’s clocks run­ning slow­er than their own watch — and the ship will actu­al­ly shrink in size. But for the astro­nauts inside, all would be nor­mal.”

In oth­er words, “time and space can change: they are rel­a­tive depend­ing on who’s observ­ing.” Ein­stein called this “spe­cial rel­a­tiv­i­ty,” and he also had a the­o­ry of “gen­er­al rel­a­tiv­i­ty.” That showed “how balls and apples weren’t the only thing sub­ject to grav­i­ty: light, time, and space were also affect­ed. Grav­i­ty slows down time and it warps space.” No mat­ter how dim­ly we under­stand physics itself, we all know the major play­ers in its sto­ry: Galileo and New­ton made impor­tant ear­ly dis­cov­er­ies, but it was Ein­stein who “shat­tered tra­di­tion­al physics” and revealed just how much we still have to learn about phys­i­cal real­i­ty. Still today, physi­cists labor to rec­on­cile Ein­stein’s dis­cov­er­ies with all oth­er known facts of that real­i­ty. As frus­trat­ing as that task often proves, the kids who take an inter­est of their own in physics after watch­ing the video will sure­ly be heart­ened to know that the sto­ry of physics goes on.

via The Kids Should See This

Relat­ed Con­tent:

Free Online Physics Cours­es (part of our larg­er col­lec­tion, 1,500 Free Online Cours­es from Top Uni­ver­si­ties)

The Map of Physics: Ani­ma­tion Shows How All the Dif­fer­ent Fields in Physics Fit Togeth­er

The Case for Study­ing Physics in a Charm­ing Ani­mat­ed Video

Physics & Caf­feine: Stop Motion Film Uses a Cup of Cof­fee to Explain Key Con­cepts in Physics

The Feyn­man Lec­tures on Physics, The Most Pop­u­lar Physics Book Ever Writ­ten, Is Now Com­plete­ly Online

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 Photos That Ended Child Labor in the US: See the “Social Photography” of Lewis Hine (1911)

The aver­age per­son believes implic­it­ly that the pho­to­graph can­not fal­si­fy. Of course, you and I know that this unbound­ed faith in the integri­ty of the pho­to­graph is often rude­ly shak­en, for, while pho­tographs may not lie, liars may pho­to­graph.  —Lewis Wick­es Hine, “Social Pho­tog­ra­phy: How the Cam­era May Help in the Social Uplift” (1909)

Long before Bran­don Stanton’s wild­ly pop­u­lar Humans of New York project tapped into the public’s capac­i­ty for com­pas­sion by com­bin­ing pho­tos of his sub­jects with some telling nar­ra­tive about their lives, edu­ca­tor and soci­ol­o­gist Lewis Wick­es Hine was using his cam­era as a tool to pres­sure the pub­lic into demand­ing an end to child labor in the Unit­ed States.

In a time when the US Fed­er­al Cen­sus report­ed that one in five chil­dren under the age of 16over 1.75 mil­lionwas gain­ful­ly employed, Hines tra­versed the coun­try under the aus­pices of the Nation­al Child Labor Com­mit­tee, gath­er­ing infor­ma­tion and mak­ing por­traits of the under­age work­ers.

His images, made between 1911 and 1916, intro­duced view­ers to young boys break­ing up coal in Penn­syl­va­nia mines, tiny Louisiana oys­ter shuck­ers and Maine sar­dine cut­ters, child pick­ers in Ken­tucky tobac­co fields and Mass­a­chu­setts cran­ber­ry bogs, and news­boys in a num­ber of cities.

Their employ­ers active­ly recruit­ed kids from poor fam­i­lies, wager­ing that they would per­form repet­i­tive, often dan­ger­ous tasks for a pit­tance, with lit­tle chance of union­iz­ing.

Hine was a scrupu­lous doc­u­men­tar­i­an, label­ing each pho­to with cru­cial infor­ma­tion gleaned from con­ver­sa­tions with the child pic­tured there­in: name, age, loca­tion, occu­pa­tion, wages, andhor­rif­i­cal­lyany work­place injuries.

In an essay in the anthol­o­gy Major Prob­lems in the Gild­ed Age and the Pro­gres­sive Era, his­to­ri­an Robert West­brook lauds Hines’ way of inter­act­ing with his sub­jects with “deco­rum and tact,” accord­ing them a dig­ni­ty that few of the period’s “con­de­scend­ing” mid­dle-class reform­ers did.

As the Vox Dark­room seg­ment, above, explains, Hine’s for­mal com­po­si­tions lent addi­tion­al pow­er to his images of smudged child work­ers pos­ing in their places of employ­ment. Shal­low depth of field to ensure that the viewer’s eyes would not become absorbed in the back­ground, but rather engage with those of his sub­ject.

But it was the accom­pa­ny­ing nar­ra­tives, which he referred to var­i­ous­ly as “pic­ture sto­ries” or “pho­to-inter­pre­ta­tions,” that he cred­it­ed with real­ly get­ting through to the hearts and minds of an indif­fer­ent pub­lic.

The text pre­vent­ed view­ers from eas­i­ly brush­ing the chil­dren off as anony­mous, scruffy urchins.

Here for instance is “Manuel, the young shrimp-pick­er, five years old, and a moun­tain of child-labor oys­ter shells behind him. He worked last year. Under­stands not a word of Eng­lish. Dun­bar, Lopez, Dukate Com­pa­ny. Loca­tion: Biloxi, Mis­sis­sip­pi.”

“Lau­ra Pet­ty, a 6 year old berry pick­er on Jenk­ins farm, Rock Creek near Bal­ti­more, Md. ‘I’m just begin­nin.’ Picked two box­es yes­ter­day. (2 cents a box).”

“Ange­lo Ross, 142 Pana­ma Street, Hughestown Bor­ough, a young­ster who has been work­ing in Break­er #9 Penn­syl­va­nia Co. for four months, said he was 13 years old, but very doubt­ful. He has a broth­er, Tony, prob­a­bly under 14 work­ing. Loca­tion: Pittston, Penn­syl­va­nia.”

Hine cor­rect­ly fig­ured that the com­bi­na­tion of pho­to and bio­graph­i­cal infor­ma­tion was a “lever for the social uplift.”

Once the pic­tures were pub­lished in Pro­gres­sive mag­a­zines, state leg­is­la­tures came under immense pres­sure to impose min­i­mum age require­ments in the work­place, effec­tive­ly end­ing child labor, and return­ing many for­mer work­ers to school.

View the entire col­lec­tion of Lewis Hine’s Nation­al Child Labor Com­mit­tee pho­tos here.

Relat­ed Con­tent: 

How Dorothea Lange Shot, Migrant Moth­er, Per­haps the Most Icon­ic Pho­to in Amer­i­can His­to­ry

Ansel Adams, Dorothea Lange, Clem Albers & Fran­cis Stewart’s Cen­sored Pho­tographs of a WWII Japan­ese Intern­ment Camp

Meet Ger­da Taro, the First Female Pho­to­jour­nal­ist to Die on the Front Lines

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC this March, when her com­pa­ny, The­ater of the Apes, presents the world pre­miere of Tony Award win­ner Greg Kotis’ new low-bud­get, gui­tar-dri­ven musi­cal, I AM NOBODY.  Fol­low her @AyunHalliday.

The Smithsonian Puts 2.8 Million High-Res Images Online and Into the Public Domain

No mat­ter how many pub­lic insti­tu­tions you vis­it in a day—schools, libraries, muse­ums, or the dread­ed DMV—you may still feel like pri­va­tized ser­vices are clos­ing in. And if you’re a fan of nation­al parks and pub­lic lands, you’re keen­ly aware they’re at risk of being eat­en up by devel­op­ers and ener­gy com­pa­nies. The com­mons are shrink­ing, a trag­ic fact that is hard­ly inevitable but, as Mat­to Milden­berg­er argues at Sci­en­tif­ic Amer­i­can, the result of some very nar­row ideas.

But we can take heart that one store of com­mon wealth has major­ly expand­ed recent­ly, and will con­tin­ue to grow each year since Jan­u­ary 1, 2019—Pub­lic Domain Day—when hun­dreds of thou­sands of works from 1923 became freely avail­able, the first time that hap­pened in 21 years. This year saw the release of thou­sands more works into the pub­lic domain from 1924, and so it will con­tin­ue ad infini­tum.

And now—as if that weren’t enough to keep us busy learn­ing about, shar­ing, adapt­ing, and repur­pos­ing the past into the future—the Smith­son­ian has released 2.8 mil­lion images into the pub­lic domain, mak­ing them search­able, share­able, and down­load­able through the museum’s Open Access plat­form.

This huge release of “high res­o­lu­tion two- and three-dimen­sion­al images from across its col­lec­tions,” notes Smith­son­ian Mag­a­zine, “is just the begin­ning. Through­out the rest of 2020, the Smith­son­ian will be rolling out anoth­er 200,000 or so images, with more to come as the Insti­tu­tion con­tin­ues to dig­i­tize its col­lec­tion of 155 mil­lion items and count­ing.”

There are those who would say that these images always belonged to the pub­lic as the hold­ings of a pub­licly-fund­ed insti­tu­tion some­times called “the nation’s attic.” It’s a fair point, but shouldn’t take away from the excite­ment of the news. “Smith­son­ian” as a con­ve­nient­ly sin­gu­lar moniker actu­al­ly names “19 muse­ums, nine research cen­ters, libraries, archives, and the Nation­al Zoo,” an enor­mous col­lec­tion of art and his­toric arti­facts.

That’s quite a lot to sift through, but if you don’t know what you’re look­ing for, the site’s high­lights will direct you to one fas­ci­nat­ing image after anoth­er, from Moham­mad Ali’s 1973 head­gear to the his­toric Eliz­a­bethan por­trait of Poc­a­hon­tas, to the col­lec­tion box of the Rhode Island Anti-Slav­ery Soci­ety owned by William Lloyd Garrison’s fam­i­ly, to Walt Whit­man in 1891, as pho­tographed by the painter Thomas Eakins, to just about any­thing else you might imag­ine.

Enter the Smithsonian’s Open Access archive here and browse and search its mil­lions of new­ly-pub­lic domain images, a mas­sive col­lec­tion that may help expand the def­i­n­i­tion of com­mon knowl­edge.

Relat­ed Con­tent:

Pub­lic Domain Day Is Final­ly Here!: Copy­right­ed Works Have Entered the Pub­lic Domain Today for the First Time in 21 Years

The Library of Con­gress Launch­es the Nation­al Screen­ing Room, Putting Online Hun­dreds of His­toric Films

The Smith­son­ian Design Muse­um Dig­i­tizes 200,000 Objects, Giv­ing You Access to 3,000 Years of Design Inno­va­tion & His­to­ry

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

A Trip Through New York City in 1911: Vintage Video of NYC Gets Colorized & Revived with Artificial Intelligence

Denis Shi­rayev is at it again! The man who only a few weeks ago put one of the most famous pieces of film his­to­ry–the Lumiere Bros. footage of a train arriv­ing at La Cio­tat sta­tion–through a neur­al net­work to bring it “to life,” so to speak, has turned to anoth­er fas­ci­nat­ing slice of his­to­ry.

For his next install­ment, he has tak­en footage of New York City dai­ly life in 1911, eight min­utes of tram rides, horse-drawn wag­ons, the ele­vat­ed train, and the rush of crowd­ed streets, and applied the same deep learn­ing algo­rithms to make it all look like it was shot yes­ter­day. This time he had a bit of help from anoth­er YouTube historian/technician Guy Jones, who had already speed cor­rect­ed and tweaked the footage, as well as adding envi­ron­men­tal sounds. Shi­rayev has used AI to upscale the footage to 4K and to 60p.

The orig­i­nal footage was shot by Sven­s­ka Biografteatern, a Swedish news­reel com­pa­ny, and begins with a shot of the Stat­ue of Lib­er­ty as if seen through a spy­glass. The film con­tin­ues as trav­el­ogue and as an intro­duc­tion to the immi­grant expe­ri­ence, as the cam­era shows boats dock­ing, pas­sen­gers dis­em­bark­ing, and then the over­whelm­ing expe­ri­ence of New York City.

The footage is clear enough to take in store­fronts and adver­tis­ing on trams and the sides of build­ings. But the atmos­phere is too clogged with dai­ly smoke to get a real clear vista of the sky­line from the Brook­lyn Bridge.

At the time, Man­hat­tan had a pop­u­la­tion about 2 mil­lion. Inter­est­ing­ly, that was its height. Over a hun­dred years lat­er, that has declined to 1.6 mil­lion, with a sig­nif­i­cant decrease in pop­u­la­tion den­si­ty. This Observ­er arti­cle ascribes that to gen­tri­fi­ca­tion, and a change of res­i­den­tial areas to com­mer­cial ones.

And let’s repeat what we said about Shirayev’s pre­vi­ous 4K footage: this is not a “remas­ter”. This is not a “restora­tion.” This is using the pow­er of com­put­ing to inter­pret frames of film and cre­ate in between frames, as well as cre­ate detail from blur­ry footage. (I’m not too sure about the colorization–it doesn’t real­ly work as well as all the oth­er software…yet).

Now we know that Shi­rayev is mak­ing this a thing, please note his pinned mes­sage in the YouTube com­ments: he’s tak­ing requests.

via Laugh­ing Squid

Relat­ed Con­tent:

Icon­ic Film from 1896 Restored with Arti­fi­cial Intel­li­gence: Watch an AI-Upscaled Ver­sion of the Lumière Broth­ers’ The Arrival of a Train at La Cio­tat Sta­tion

Pris­tine Footage Lets You Revis­it Life in Paris in the 1890s: Watch Footage Shot by the Lumière Broth­ers

Immac­u­late­ly Restored Film Lets You Revis­it Life in New York City in 1911

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.

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Open Culture was founded by Dan Colman.