The Case for a Universal Basic Income in the Time of COVID-19

The idea of Uni­ver­sal Basic Income (UBI) has been the sub­ject of much debate in the past few years. The can­di­da­cy of Andrew Yang for U.S. Pres­i­dent brought the issue to nation­al promi­nence, where it has remained dur­ing the spread of COVID-19. What is UBI? Put sim­ply, it pro­pos­es that the gov­ern­ment give every cit­i­zen a cer­tain amount of mon­ey each month to cov­er, at the least, basic liv­ing expens­es. As the video above by YouTube chan­nel Kurzge­sagt explains, those cit­i­zens are then free to live their lives as they like.

Unlike most wel­fare state mod­els, UBI usu­al­ly does not involve any means test­ing. In most schemes, every cit­i­zen, no mat­ter their cur­rent wealth or income, receives the ben­e­fit. (Though most stud­ies of the pro­gram have only giv­en it to poor or unem­ployed ben­e­fi­cia­ries.) Those who do not need the mon­ey can do what­ev­er they want with it, but so too can those who need it. UBI ensures that peo­ple do not have go home­less or hun­gry if they lose their liveli­hood, and that they can sur­vive with­out pater­nal­ist state agen­cies breath­ing down their necks.

UBI is not a new idea but dates back at least to Thomas Paine, whose Com­mon Sense inspired the Amer­i­can Rev­o­lu­tion and whose Rights of Man defend­ed the French a few years lat­er. As Paine argued in anoth­er, lit­tle-read, pam­phlet, Agrar­i­an Jus­tice, no one could be tru­ly free if they had no means of sub­sis­tence. Since cap­i­tal­ism had placed most of those means under pri­vate own­er­ship, he rea­soned, cit­i­zens should be com­pen­sat­ed for being deprived of resources that belonged to them by nat­ur­al right as much as to any­one else.

This philo­soph­i­cal jus­ti­fi­ca­tion doesn’t always enter into the con­ver­sa­tion, which is often framed in more prag­mat­ic terms as a polit­i­cal and eco­nom­ic expe­di­ent in times of cap­i­tal­ist cri­sis: in times, for exam­ple, like the present moment. The COVID-19 cri­sis has inten­si­fied calls for a UBI, as mil­lions of lay­offs point toward the inevitabil­i­ty of a depres­sion. Push­ing peo­ple back to work dur­ing the pan­dem­ic seems to be the only thing the U.S. gov­ern­ment plans to do, but no amount of coer­cion can stop the virus from forc­ing clo­sures all over again.

Even the famous­ly lib­er­tar­i­an econ­o­mist Mil­ton Fried­man once embraced a ver­sion of UBI—as an alter­na­tive to the lib­er­al social pro­grams he loathed. Under Richard Nixon, of all peo­ple, such a pol­i­cy almost came into being in 1969. Nei­ther Fried­man nor Nixon believed in the nat­ur­al right of all cit­i­zens to a share in the prof­its of a state’s nat­ur­al resources. But they could see the wis­dom of ensur­ing mil­lions of U.S. cit­i­zens weren’t rel­e­gat­ed to liv­ing in des­ti­tu­tion.

The pro­gram required test­ing, so the admin­is­tra­tion set up a tri­al run. “Tens of mil­lions of dol­lars were bud­get­ed to pro­vide a basic income for more than 8,500 Amer­i­cans” in five states across the coun­try, writes Rut­ger Breg­man at The Cor­re­spon­dent. Researchers want­ed to know: 1. if those who received a basic income would work sig­nif­i­cant­ly less, 2. if the pro­gram would be too expen­sive, and 3. if it would prove “polit­i­cal­ly unfea­si­ble.” The find­ings? “No, no, and maybe.”

The chief objec­tion, idle­ness, held no water. As the chief data ana­lyst for the Den­ver exper­i­ment put it at the time, “The ‘lazi­ness’ con­tention is just not sup­port­ed by our find­ings.” The two groups who did cut back on hours, 20-some­things and moth­ers of young chil­dren, were peo­ple who most need­ed the mon­ey so they could go to col­lege or devote time to their kids. Oth­er­wise, recip­i­ents did not quit their jobs and lay around watch­ing TV.

Yet there remains a pow­er­ful species of human busy­body who can­not rest until they’re sure everyone’s work­ing. Such peo­ple con­tin­ue to object—whether in good faith or not—that “just giv­ing peo­ple mon­ey” will turn every­one into a slack­er, as though most peo­ple were only moti­vat­ed by the threat of star­va­tion. And so, tri­als con­tin­ue decades lat­er. Researchers at the Uni­ver­si­ty of Helsin­ki recent­ly con­duct­ed a two-year study in Fin­land with a ran­dom selec­tion of 2,000 unem­ployed peo­ple across the coun­try. Each par­tic­i­pant was giv­en €560 (about $607) a month to ease their bur­den, and received the funds whether or not they sought or found a job.

“The scheme was not strict­ly speak­ing a uni­ver­sal basic income tri­al because the recip­i­ents came from a restrict­ed group and the pay­ments were not enough to live on,” points out Guardian cor­re­spon­dent Jon Hen­ley. Nonethe­less, the researchers found that recip­i­ents were sig­nif­i­cant­ly less stressed than a con­trol group—and that they could make dif­fer­ent choic­es than they might oth­er­wise. “Some said the basic income allowed them to go back to the life they had before they became unem­ployed,” the study authors write. “While oth­ers said it gave them the pow­er to say no to low-paid inse­cure jobs, and thus increased their sense of auton­o­my.”

Oth­er find­ings also showed how UBI could rad­i­cal­ize our rela­tion­ship to work. “Free­lancers and artists and entre­pre­neurs had more pos­i­tive views on the effects of the basic income, which some felt had cre­at­ed oppor­tu­ni­ties for them to start busi­ness­es.” Peo­ple pro­vid­ing unpaid care for oth­ers felt their time was more val­ued. “The secu­ri­ty of the basic income allowed them to do more mean­ing­ful things, as they felt it legit­imized this kind of care work.” The find­ings are being tak­en seri­ous­ly by many Euro­pean gov­ern­ments.

In Spain, Scot­land, and else­where, lead­ers are propos­ing or con­sid­er­ing some form of UBI to com­bat mas­sive unem­ploy­ment due to the pan­dem­ic. While the idea may have lit­tle polit­i­cal future in the U.S. at the moment, where pri­or­i­ties are to use the country’s wealth to fur­ther enrich the wealthy, UBI is becom­ing tremen­dous­ly pop­u­lar else­where. (A recent poll found sup­port among 71% of Euro­peans sur­veyed.) No one believes UBI is a panacea for the world’s ills, but as the Wired video above argues, there may be no bet­ter time than now to make the case for it.

Relat­ed Con­tent:

Hear Alan Watts’s 1960s Pre­dic­tion That Automa­tion Will Neces­si­tate a Uni­ver­sal Basic Income

Buck­min­ster Fuller Rails Against the “Non­sense of Earn­ing a Liv­ing”: Why Work Use­less Jobs When Tech­nol­o­gy & Automa­tion Can Let Us Live More Mean­ing­ful Lives

To Save Civ­i­liza­tion, the Rich Need to Pay Their Tax­es: His­to­ri­an Rut­ger Breg­man Speaks Truth to Pow­er at Davos and to Fox’s Tuck­er Carl­son

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

Take a Virtual Tour of the Mütter Museum and Its Many Anatomically Peculiar Exhibits

A few months before Philaelphia’s Müt­ter Muse­um, exer­cis­ing now famil­iar COVID-19 pre­cau­tions, closed its doors to the pub­lic, it co-spon­sored a parade to hon­or the vic­tims to the pre­vi­ous century’s Span­ish Flu pan­dem­ic, as well as “those who keep us safe today.”

The event was part of a tem­po­rary exhi­bi­tion, Spit Spreads Death: The Influen­za Pan­dem­ic of 1918–19 in Philadel­phia.

Anoth­er tem­po­rary exhi­bi­tion, Going Viral: Infec­tion Through the Ages, opened in Novem­ber, and now seems even stronger proof that the muse­um, whose 19th-cen­tu­ry dis­play cab­i­nets are housed in the his­toric Col­lege of Physi­cians, is as con­cerned with the future as it is with the past.

For now, all tours must be under­tak­en vir­tu­al­ly.

Above, cura­tor Anna Dhody, a phys­i­cal and foren­sic anthro­pol­o­gist and Direc­tor of the Müt­ter Research Insti­tute, gives a brief intro­duc­tion to some of the best known arti­facts in the per­ma­nent col­lec­tion.

The muse­um’s many antique skulls and med­ical odd­i­ties may invite com­par­isons to a ghoul­ish sideshow attrac­tion, an impres­sion Dhody cor­rects with her warm, mat­ter-of-fact deliv­ery and respect­ful acknowl­edg­ment of the humans whose sto­ries have been pre­served along with their remains:

Mary Ash­ber­ry, an achon­droplas­tic dwarf, died from com­pli­ca­tions of a Cesare­an sec­tion, as doc­tors who had yet to learn the impor­tance of ster­il­iz­ing instru­ments and wash­ing hands, attempt­ed to help her deliv­er a baby who proved too big for her pelvis. (The baby’s head was crushed as well. Its skull is dis­played next to its mother’s skele­ton.)

Madame Dimanche is rep­re­sent­ed by a wax mod­el of her face, instant­ly rec­og­niz­able due to the 10-inch cuta­neous horn that began grow­ing from her fore­head when she was in her 70s. (It was even­tu­al­ly removed in an ear­ly exam­ple of suc­cess­ful plas­tic surgery.)

Albert Ein­stein and the con­joined twins Chang and Eng Bunker are among the house­hold names grac­ing the museum’s col­lec­tion.

One of the most recent addi­tions is the skele­ton of artist and dis­abil­i­ty aware­ness advo­cate Car­ol Orzel, who edu­cat­ed the pub­lic and incom­ing Uni­ver­si­ty of Penn­syl­va­nia med­ical stu­dents about fibrodys­pla­sia ossi­f­i­cans pro­gres­si­va (FOP), a rare dis­or­der that turned her mus­cle and con­nec­tive tis­sue to bone. She told her physi­cian, Fred­er­ick Kaplan, below, that she want­ed her skele­ton to go to the Müt­ter, to join that of fel­low FOP suf­fer­er, Har­ry East­lack… pro­vid­ed some of her prized cos­tume jew­el­ry could be dis­played along­side. It is.

Get bet­ter acquaint­ed with the Müt­ter Museum’s col­lec­tion through this playlist.

The exhib­it Spit Spreads Death is cur­rent­ly slat­ed to stay up through 2024. While wait­ing to vis­it in per­son, you can watch an ani­ma­tion of the Span­ish flu’s spread, and explore an inter­ac­tive map show­ing the demo­graph­ics of the infec­tion.

h/t Tanya Elder

Relat­ed Con­tent:

Take a Vir­tu­al Tour of 30 World-Class Muse­ums & Safe­ly Vis­it 2 Mil­lion Works of Fine Art

Take a Long Vir­tu­al Tour of the Lou­vre in Three High-Def­i­n­i­tion Videos

Take a Vir­tu­al Tour of The Uffizi Gallery in Flo­rence, the World-Famous Col­lec­tion of Renais­sance Art

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Here lat­est project is a series of free down­load­able posters, encour­ag­ing cit­i­zens to wear masks in pub­lic and wear them prop­er­ly. Fol­low her @AyunHalliday.

Building Your Resilience: Finding Meaning in Adversity–Take a Free & Timely Course Online

The Great Courses has made avail­able a free and rather time­ly course–Build­ing Your Resilience: Find­ing Mean­ing in Adver­si­ty. Divid­ed into 24 lec­tures and taught by Mol­ly Birk­holm, the course gets intro­duced with the fol­low­ing text:

Recent research shows that we grow into our best and most joy­ful selves not when we avoid our prob­lems but when we embrace them, con­fi­dent that we are resilient enough to work through them to an appro­pri­ate res­o­lu­tion. Our prob­lems are an impor­tant part of our path.

Resilience is our abil­i­ty to phys­i­cal­ly, emo­tion­al­ly, and men­tal­ly bounce back from adverse cir­cum­stances. With­out it, we would be down for the count every time we ran into a prob­lem. Stuck in traf­fic and late for a meet­ing? It’s your resilience that allows you to make the nec­es­sary phone calls and keep mov­ing for­ward, con­fi­dent that you can han­dle this stress­ful sit­u­a­tion as it evolves. With­out it, you’d make a U‑turn and give up. Recov­er­ing from the flu or recent surgery? It’s your resilience that helps you take care of your­self appro­pri­ate­ly and look for­ward to a bet­ter future. Our capac­i­ty to thrive in life depends direct­ly on our resilience.

Shar­ing her own fas­ci­nat­ing jour­ney, as well as the lat­est research by neu­rol­o­gists and psy­chol­o­gists, trau­ma spe­cial­ist Mol­ly Birk­holm shows us how to gauge our cur­rent lev­el of resilience and improve from there. In Build­ing Your Resilience: Find­ing Mean­ing in Adver­si­ty, you’ll learn how all of our challenges—from every­day stress­es to life-alter­ing traumas—can bring wis­dom and growth. In 17 fas­ci­nat­ing class­es and 7 “hands-on” prac­tice ses­sions, you’ll learn about and expe­ri­ence the process of build­ing the inner calm and clar­i­ty of mind that cre­ate greater resilience. With Ms. Birkholm’s warm and opti­mistic demeanor, you’ll feel her encour­age­ment every step of the way as you move toward build­ing your best and most ful­fill­ing life.

Watch all 24 lec­tures above, or over on YouTube. Build­ing Your Resilience: Find­ing Mean­ing in Adver­si­ty will be added to our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Find more cours­es in The Great Courses cat­a­logue 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:

How Bud­dhism & Neu­ro­science Can Help You Change How Your Mind Works: A New Course by Best­selling Author Robert Wright

Pos­i­tive Psy­chol­o­gy: A Free Course from Har­vard Uni­ver­si­ty 

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

How to Find Emo­tion­al Strength & Resilience Dur­ing COVID-19: Advice from Eliz­a­beth Gilbert, Jack Korn­field, Susan David & Oth­er Experts

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Masterclass Is Running a “Buy One, Share One Free” Deal (Until the End of the Weekend)

FYI: Mas­ter­class is run­ning a Buy One, Share One Free through this week­end.

Here’s the gist: If you buy an All-Access pass to their 80+ cours­es, you will receive anoth­er All-Access Pass to give to some­one else at no addi­tion­al charge. An All-Access pass costs $180, and lasts one year. For that fee, you–and a fam­i­ly mem­ber or friend–can watch cours­es cre­at­ed by Annie Lei­bovitz, Neil Gaiman, Mal­colm Glad­well, Wern­er Her­zog, Mar­tin Scors­ese, David Mamet, Jane Goodall, Mar­garet Atwood, Helen Mir­ren, Her­bie Han­cock, Alice Waters, Bil­ly Collins and so many more. If you’re think­ing this sounds like a pret­ty good way to get through quar­an­tine, we’d have to agree. The deal is avail­able now.

Note: If you sign up for a Mas­ter­Class course by click­ing on the links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

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Robert Fripp Releases Free Ambient Music to Get You Through the Lockdown: Enjoy “Music for Quiet Moments”

King Crimson’s mas­ter gui­tarist Robert Fripp has had a career long rep­u­ta­tion as an auto­crat, and exact­ing, dif­fi­cult taskmas­ter. He’s named an album, a band, and a record com­pa­ny “Dis­ci­pline.” Drum­mer Bill Bru­ford once described him as an “an amal­gam of Stal­in, Gand­hi and the Mar­quis de Sade,” accord­ing to The Tele­graph.

But recent­ly, there’s been some activ­i­ty on Fripp’s social media that can only be described as “sil­ly.” In lock­down with his wife of 34 years, singer and actor Toy­ah Wilcox, we’ve seen them shim­my­ing to the Twist on East­er Sun­day:

They dressed up as bees and ran around their Worces­ter­shire gar­den:

And per­formed a bal­let with stuffed uni­corns set to Ravel’s Bolero:


Very sil­ly indeed. But there is some music being made dur­ing all this mad­ness, as can be heard at the top of this post.

Last Fri­day, Fripp dropped the first in a 50-track series, Music for Qui­et Moments. These ambi­ent pieces will be drawn from all dif­fer­ent years of the guitarist’s career, and will appear on most stream­ing plat­forms (includ­ing YouTube and Spo­ti­fy), one a week, every Fri­day.

“My own qui­et moments,” he says in a blog post announce­ment, “over fifty-one years of being a tour­ing play­er, have been most­ly in pub­lic places where, increas­ing­ly, a lay­er of noise has inten­tion­al­ly over­laid and sat­u­rat­ed the son­ic envi­ron­ment.” He con­tin­ues: “Some of these Sound­scapes are inward-look­ing, reflec­tive. Some move out­wards, with affir­ma­tion. Some go nowhere, sim­ply being where they are.”

David Sin­gle­ton, pro­duc­er and Fripp’s busi­ness part­ner, added “a year at home with­out tour­ing offers the chance to lis­ten for the first time in many cas­es to exist­ing live record­ings.”

The cov­er art for the first track fea­tures sculp­ture from Fripp’s gar­den by artist Althea Wynne. (You may not see it at first, but the sculp­ture is a take on Manet’s Le Déje­uner sur l’herbe.)

By the way, Fripp’s online diary is just as thor­ough and fas­ci­nat­ing as the man him­self, as well as reveal­ing the sop­py ol’ roman­tic when­ev­er he describes his wife. It’s very endearing…another word I bet you didn’t expect to pop up in this post.

As of this writ­ing, his lat­est entry offers a pre­view of Music for Qui­et Moments #2:

Qui­et Moments 2 is a son­ic med­i­ta­tion on dying, loss and accept­ing, dis­guised as loop­ing; so it is bet­ter equipped and able to go out and present itself in pub­lic; so more like­ly to escape the expec­ta­tion and qual­i­ty of atten­tion that would oth­er­wise under­mine the reflection/event were it for­mal­ly billed as Med­i­ta­tion On Loss, Griev­ing & An Accep­tance Of Suf­fer­ing As Both Nec­es­sary & Inevitable In The Human Con­di­tion.

Boy. That’s a show I’d avoid.

But it just might be what we need right now.

Relat­ed Con­tent:

Moby Lets You Down­load 4 Hours of Ambi­ent Music to Help You Sleep, Med­i­tate, Do Yoga & Not Pan­ic

Peter Gabriel’s First Solo Con­cert, Post-Gen­e­sis: Hear the Com­plete Audio Record­ing (1977)

Talk­ing Heads Live in Rome, 1980: The Con­cert Film You Haven’t Seen

David Bowie’s “Heroes” Delight­ful­ly Per­formed by the Ukulele Orches­tra of Great Britain

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

A Virtual Tour Inside the Hayao Miyazaki’s Studio Ghibli Museum

Let us pray that orga­ni­za­tion expert Marie Kon­do nev­er comes with­in spit­ting dis­tance of A Boy’s Room, part of the Stu­dio Ghi­b­li muse­um’s Where a Film is Born instal­la­tion.

It’s not like­ly that every sin­gle item in the mas­sive (and no doubt well dust­ed) col­lec­tion of books, post­cards, hand tools, pic­tures, fig­urines, and oth­er assort­ed tchotchkes pic­tured above sparks joy, but the sug­ges­tion is that any one of them might prove the gate­way to a fan­tas­ti­cal tale, such as those spun by the museum’s exec­u­tive direc­tor, mas­ter ani­ma­tor Hayao Miyaza­ki:

The room seems to belong to some­one who was sketch­ing at the desk just a few min­utes ago. The room is filled with books and toys. The walls are all cov­ered with illus­tra­tions and sketch­es. Hang­ing from the ceil­ing are a mod­el of an air­plane and a mod­el of a Pter­a­n­odon. It’s a place where the own­er of the room has stored his favorite things. This room pro­vides lots of inspi­ra­tion for what will go on to the blank piece of paper on the desk to become the ori­gin of an actu­al film.

The Muse­um, which announced it would delay its reopen­ing out of ongo­ing con­cerns relat­ed to social dis­tanc­ing dur­ing the COVID-19 cri­sis, recent­ly shared some brief video tours of the Miyaza­ki-designed space, per­haps all the more mag­i­cal for being emp­ty.

One lucky view­er, who had trekked to the Tokyo sub­urb of Mita­ka for an in-per­son vis­it, recalled the expe­ri­ence of actu­al­ly being in A Boy’s Room:

Open up the draw­ers in this room, take the books off shelves to look at them, touch things, look through trunks—you might find lit­tle secrets to be dis­cov­ered. One time I took an art book from the shelf and one of the employ­ees came over to me. I was expect­ing to get rep­ri­mand­ed, but instead she kind­ly guid­ed me over to a couch so that I could read the book. Miyaza­ki took care to design the space to be friend­ly to the explorato­ry nature of chil­dren, mak­ing sure that they could play unob­struct­ed. It’s one of the rea­sons why you aren’t allowed to take pho­tos inside—he did­n’t want par­ents inter­rupt­ing their expe­ri­ence to pose for pho­tos they could care less about.

That phi­los­o­phy is enact­ed through­out the muse­um. Kids can climb all over a life-size plush recre­ation of My Neigh­bor Totoro’s cat bus, but would-be Insta­gram­mers are S.O.L.

A peek at the Space of Won­der room reveals Thum­be­li­na-sized char­ac­ters from My Neigh­bor TotoroNau­si­caä of the Val­ley of the Wind, and Kik­i’s Deliv­ery Ser­vice frol­ick­ing in a fres­co of fruit, flow­ers, and vines.

The archi­tec­tur­al ele­ments are a par­tic­u­lar treat, and sug­gest that there’s seri­ous bank to be made, should Miyaza­ki ever con­sid­er extend­ing the brand into a theme park-style hotel. (Some­thing tells us he won’t.)

Once hav­ing seen a pho­to essay fea­tur­ing some of the fan­cy refresh­ments oth­ers have enjoyed there, the tour of the emp­ty Straw Hat Café does under­whelm a bit. Those cute lit­tle plates are just call­ing out for a slice of straw­ber­ry short­cake…

We’re unsure if muse­um staffers will be releas­ing more videos dur­ing their down­time, though we’re hope­ful, espe­cial­ly since sev­er­al in-per­son vis­i­tors have not­ed that the museum’s toi­lets are pret­ty note­wor­thy.

That said we’d hap­pi­ly set­tle for some of the short films that screen in the museum’s Sat­urn The­ater.

You can fol­low the Museum’s YouTube chan­nel just in case.

Mean­while, here is Miyazaki’s man­i­festo detail­ing the kind of muse­um he want­ed to make, right down to the café and the gift shop:

A muse­um that is inter­est­ing and which relax­es the soul
A muse­um where much can be dis­cov­ered
A muse­um based on a clear and con­sis­tent phi­los­o­phy
A muse­um where those seek­ing enjoy­ment can enjoy, those seek­ing to pon­der can pon­der, and those seek­ing to feel can feel
A muse­um that makes you feel more enriched when you leave than when you entered!

To make such a muse­um, the build­ing must be…
Put togeth­er as if it were a film
Not arro­gant, mag­nif­i­cent, flam­boy­ant, or suf­fo­cat­ing
Qual­i­ty space where peo­ple can feel at home, espe­cial­ly when it’s not crowd­ed
A build­ing that has a warm feel and touch
A build­ing where the breeze and sun­light can freely flow through

The muse­um must be run in such a way that…
Small chil­dren are treat­ed as if they were grown-ups
Vis­i­tors with dis­abil­i­ties are accom­mo­dat­ed as much as pos­si­ble
The staff can be con­fi­dent and proud of their work
Vis­i­tors are not con­trolled with pre­de­ter­mined cours­es and fixed direc­tions
It is suf­fused with ideas and new chal­lenges so that the exhibits do not get dusty or old, and that invest­ments are made to real­ize that goal

The dis­plays will be…
Not only for the ben­e­fit of peo­ple who are already fans of Stu­dio Ghi­b­li
Not a pro­ces­sion of art­work from past Ghi­b­li films as if it were “a muse­um of the past”
A place where vis­i­tors can enjoy by just look­ing, can under­stand the artists’ spir­its, and can gain new insights into ani­ma­tion

Orig­i­nal works and pic­tures will be made to be exhib­it­ed at the muse­um
A project room and an exhib­it room will be made, show­ing move­ment and life
(Orig­i­nal short films will be pro­duced to be released in the muse­um!)
Ghi­b­li’s past films will be probed for under­stand­ing at a deep­er lev­el

The café will be…
An impor­tant place for relax­ation and enjoy­ment
A place that does­n’t under­es­ti­mate the dif­fi­cul­ties of run­ning a muse­um café
A good café with a style all its own where run­ning a café is tak­en seri­ous­ly and done right

The muse­um shop will be…
Well-pre­pared and well-pre­sent­ed for the sake of the vis­i­tors and run­ning the muse­um
Not a bar­gain shop that attach­es impor­tance only to the amount of sales
A shop that con­tin­ues to strive to be a bet­ter shop
Where orig­i­nal items made only for the muse­um are found

The muse­um’s rela­tion to the park is…
Not just about car­ing for the plants and sur­round­ing green­ery but also plan­ning for how things can improve ten years into the future
Seek­ing a way of being and run­ning the muse­um so that the sur­round­ing park will become even lush­er and bet­ter, which will in turn make the muse­um bet­ter as well!

This is what I expect the muse­um to be, and there­fore I will find a way to do it.

This is the kind of muse­um I don’t want to make!
A pre­ten­tious muse­um
An arro­gant muse­um
A muse­um that treats its con­tents as if they were more impor­tant than peo­ple
A muse­um that dis­plays unin­ter­est­ing works as if they were sig­nif­i­cant

Relat­ed Con­tent: 

Stu­dio Ghi­b­li Releas­es Tan­ta­liz­ing Con­cept Art for Its New Theme Park, Open­ing in Japan in 2022

Hayao Miyazaki’s Stu­dio Ghi­b­li Releas­es Free Back­grounds for Vir­tu­al Meet­ings: Princess Mononoke, Spir­it­ed Away & More

For the First Time, Stu­dio Ghibli’s Entire Cat­a­log Will Soon Be Avail­able for Dig­i­tal Pur­chase

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Here lat­est project is a series of free down­load­able posters, encour­ag­ing cit­i­zens to wear masks in pub­lic and wear them prop­er­ly. Fol­low her @AyunHalliday.

Download Free Doctor Who Backgrounds for Virtual Meetings (Plus Many Other BBC TV Shows)

Enthu­si­asm for British tele­vi­sion is a force of nature. That goes even more so for British tele­vi­sion fan­dom out­side Britain. All of us have known some­one, or indeed been some­one, who shift­ed their cul­tur­al alle­giances whole­sale after watch­ing a sin­gle episode of, say, Mon­ty Python’s Fly­ing Cir­cus. But even that huge­ly influ­en­tial com­e­dy series com­mands only low-inten­si­ty world­wide devo­tion when set along­side Doc­tor Who, which has aired on the BBC in one form or anoth­er since 1963. One can express one’s mem­ber­ship in the glob­al Doc­tor Who fan­dom in many ways, now includ­ing, in this peri­od of all-dig­i­tal pro­fes­sion­al and social inter­ac­tion, one’s choice of vir­tu­al back­grounds on Zoom or oth­er video­con­fer­enc­ing soft­ware.

You can, in oth­er words, make a call from inside the TARDIS. The expan­sive inte­ri­or of the Doc­tor’s time-trav­el­ing space ship — which, as fans know, mate­ri­al­izes in dif­fer­ent lands and eras as a hum­ble Lon­don police box — is just one of the free vir­tu­al back­grounds now offered by the BBC.

In fact, they’ve made avail­able not just one TARDIS back­ground but six: the 1980 ver­sion, the 1983 ver­sion, two views of the 2019 ver­sion, and two views of it as it appeared in the 1976 ser­i­al-with­in-the-series The Masque of Man­drago­ra. If none of this means any­thing to you, you might con­sid­er brows­ing the BBC’s oth­er vir­tu­al-back­ground cat­e­gories, which fea­ture emp­ty sets from the net­work’s oth­er sci­ence-fic­tion pro­duc­tions as well as its sit­coms, light-enter­tain­ment pro­grams, chil­dren’s shows, and sports broad­casts.

No Brits will be sur­prised at the pres­ence of an entire cat­e­go­ry of back­grounds from the long-run­ning soap opera Eas­t­En­ders: the laun­drette, the Bran­ning Broth­ers car lot, and of course the Queen Vic­to­ria pub. But non-Brits will prob­a­bly opt to make their video calls from famil­iar places cre­at­ed for more wide­ly trav­eled pro­grams, like the din­ing room at Fawl­ty Tow­ers or Eddy and Pat­sy’s wine-filled refrig­er­a­tor. Per­son­al­ly, I yield to none — or at least to no oth­er Amer­i­can — in my appre­ci­a­tion of Yes Min­is­ter, a polit­i­cal satire that has only grown more inci­sive over the decades; I’d sure­ly make my calls from one of the five White­hall office sets the BBC has put up. Brows­ing its com­plete selec­tion of vir­tu­al back­grounds, even the most obses­sive British-TV afi­ciona­dos will come across sets from shows of which they’ve nev­er even heard. Luck­i­ly, many of us now have the time to binge-watch them all.

Relat­ed Con­tent:

Brit­Box Now Stream­ing Now Stream­ing 550 Episodes Doc­tor Who and Many Oth­er British TV Shows

30 Hours of Doc­tor Who Audio Dra­mas Now Free to Stream Online

The BBC Cre­ates Step-by-Step Instruc­tions for Knit­ting the Icon­ic Doc­tor Who Scarf: A Doc­u­ment from the Ear­ly 1980s

42 Hours of Ambi­ent Sounds from Blade Run­ner, Alien, Star Trek and Doc­tor Who Will Help You Relax & Sleep

Cus­tomize Your Zoom Vir­tu­al Back­ground with Free Works of Art

Hayao Miyazaki’s Stu­dio Ghi­b­li Releas­es Free Back­grounds for Vir­tu­al Meet­ings: Princess Mononoke, Spir­it­ed Away & More

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, on Face­book, or on Insta­gram.

The Earliest Known Motion Picture, 1888’s Roundhay Garden Scene, Restored with Artificial Intelligence

No image is more close­ly asso­ci­at­ed with the birth of the motion pic­ture than a train pulling into the French coastal town of La Cio­tat. Cap­tured by cin­e­ma pio­neers Auguste and Louis Lumière, the 50-sec­ond clip fright­ened the audi­ence at its first screen­ing in 1896, who thought a real loco­mo­tive was hurtling toward them — or so the leg­end goes. Those ear­ly view­ers may sim­ply have felt a tech­no­log­i­cal aston­ish­ment we can no longer muster today, and cer­tain­ly not in response to such a mun­dane sight. That goes dou­ble for the slight­ly short­er and old­er Lumière Broth­ers pro­duc­tion La Sor­tie de l’U­sine Lumière a Lyon. Though it depicts noth­ing more than work­ers leav­ing a fac­to­ry at the end of the day, it has long been referred to as “the first real motion pic­ture ever made.”

That qual­i­fi­er “real,” of course, hints at the exis­tence of a pre­de­ces­sor. Where­as La Sor­tie de l’U­sine Lumière a Lyon pre­miered in 1895, Louis Le Prince’s Round­hay Gar­den Scene dates to 1888. With its run­time under two sec­onds, this depic­tion of a moment in the life of four fig­ures, a younger man and woman and an old­er man and woman, would even by the stan­dards of the Lumière Broth­ers’ day bare­ly count as a movie at all.

Equal­ly dis­qual­i­fy­ing is its low frame rate: just sev­en to twelve per sec­ond (which one it is has been a mat­ter of some dis­pute), which strikes our eyes more as a rapid sequence of still pho­tographs than as con­tin­u­ous motion. Even so, it must have been a thrill of a result for Le Prince, an Eng­land-based French artist-inven­tor who had been devel­op­ing his motion-pho­tog­ra­phy sys­tem in secre­cy since ear­ly in the decade.

We now have a clear­er sense of the action cap­tured in Round­hay Gar­den Scene thanks to the efforts Youtube-based film restora­tionist Denis Shiryaev, who’s used neur­al net­works to bring the his­toric film more ful­ly to life. Tak­ing a scan of Le Prince’s orig­i­nal paper film, Shiryaev “man­u­al­ly cut this scan into indi­vid­ual frames and cen­tered each image in the frame,” he says in the video at the top of the post. He then “added a sta­bi­liza­tion algo­rithm and applied an aggres­sive face recog­ni­tion neur­al net­work in order to add more details to the faces.” There fol­lowed adjust­ments for con­sis­ten­cy in bright­ness, dam­age repairs, and the work of “an ensem­ble of neur­al net­works” to upscale the footage to as high a res­o­lu­tion as pos­si­ble, inter­po­lat­ing as many frames as pos­si­ble. We may feel star­tled by the life­like qual­i­ty of the result in much the same way as 19th-cen­tu­ry view­ers by the Lumière Broth­ers’ train — which, as we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture, has also received the Shiryaev treat­ment.

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

Watch Scenes from Belle Époque Paris Vivid­ly Restored with Arti­fi­cial Intel­li­gence (Cir­ca 1890)

Watch Scenes from Czarist Moscow Vivid­ly Restored with Arti­fi­cial Intel­li­gence (May 1896)

Watch AI-Restored Film of Labor­ers Going Through Life in Vic­to­ri­an Eng­land (1901)

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

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, on Face­book, or on Insta­gram.

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Open Culture was founded by Dan Colman.