The Roman Roads of Gaul Visualized as a Modern Subway Map

At a casu­al glance, some trav­el­ers may take the map above for a depic­tion of France’s envi­able inter­ci­ty high-speed rail net­work Train à Grande Vitesse, bet­ter known as TGV. In real­i­ty, its con­tent pre­dates that sys­tem’s inau­gu­ra­tion in the ear­ly 1980s — and by near­ly two mil­len­nia at that. This is in fact a map of Gaul, a region of Europe that, most broad­ly defined, includ­ed mod­ern-day France, Lux­em­bourg, and Bel­gium, as well as parts of Switzer­land, Italy, the Nether­lands, and Ger­many. Ruled by Rome for five cen­turies until the fall of the Roman Empire itself, Gaul was run through with a num­ber of Roman roads, a sub­ject of fas­ci­na­tion for many archae­o­log­i­cal­ly inclined his­to­ri­ans.

They’ve also become a sub­ject of fas­ci­na­tion for a young data sci­en­tist and graph­ic design­er by the name of Sasha Tru­bet­skoy. His work, much fea­tured here on Open Cul­ture, includes maps of the Roman Roads of Britain, Italy, Spain and Por­tu­gal, as well as, at a larg­er scale, those of the entire empire.

“This was an inter­est­ing map to make, but I can’t say it was fun all the time,” writes Tru­bet­skoy. “Gen­er­al­ly I enjoyed the process, but it was far more chal­leng­ing than I had antic­i­pat­ed.” You can hear him describe some of the chal­lenges involved, and even show how solv­ing them played out in his design process, in his three-hour explana­to­ry live stream now archived on Youtube.

You can down­load Tru­bet­skoy’s Roman Roads of Gaul map from his site, and even buy a high-res­o­lu­tion file suit­able for print­ing as a poster (USD $9). “As far as I can tell, it’s done,” writes Tru­bet­skoy of the work, wise­ly — or from frus­trat­ing per­son­al expe­ri­ence — acknowl­edg­ing that, despite or because of the cen­turies of dis­tance between us and the rel­e­vant his­tor­i­cal and geo­graph­i­cal facts, those facts could still change. Just as ancient his­to­ry can­not both make its way to us and main­tain absolute­ly per­fect fideli­ty to the past, so the kind of prac­ti­cal visu­al design embod­ied in a sub­way map neces­si­tates a great deal of sim­pli­fi­ca­tion and approx­i­ma­tion to be use­ful. And speak­ing of the graph­ic arts, just imag­ine how use­ful this par­tic­u­lar map would’ve been to Aster­ix.

Relat­ed Con­tent:

Ancient Rome’s Sys­tem of Roads Visu­al­ized in the Style of Mod­ern Sub­way Maps

The Roman Roads of Britain Visu­al­ized as a Sub­way Map

All the Roman Roads of Italy, Visu­al­ized as a Mod­ern Sub­way Map

The Roman Roads of Spain & Por­tu­gal Visu­al­ized as a Sub­way Map: Ancient His­to­ry Meets Mod­ern Graph­ic Design

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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 69 Pages of Writing Advice Denis Johnson Collected from Flannery O’Connor, Jack Kerouac, Stephen King, Hunter Thompson, Werner Herzog & Many Others

The inter­net is full of inspi­ra­tional quo­ta­tions about writ­ing, many of them from accom­plished and respectable writ­ers. But what need could such writ­ers have of inspi­ra­tional quo­ta­tions them­selves? Sure­ly true lit­er­ary art flows from its authors with­out need of encour­ag­ing words, demand though it may sus­tained peri­ods of labor, frus­tra­tion, and even suf­fer­ing. These days, more than a few who seek to cre­ate such art spend time study­ing not just its past mas­ter­works but its liv­ing mas­ters. “Some years ago,” the nov­el­ist Karan Maha­jan recent­ly tweet­ed, “I was lucky to take a class with Denis John­son, who dressed like a card-shark, in flashy jack­ets and (unlike a card-shark) wept over sen­tences. He gave my class a 69-page list of writ­ing quotes he returned to fre­quent­ly.”

John­son’s list, which you can see in PDF form here, shows that at least one of our era’s most cel­e­brat­ed writ­ers swore by the kind of writ­ing advice most of us scroll past every day. Though some­what eccen­tri­cal­ly for­mat­ted, it rounds up a great deal of valu­able wis­dom from nov­el­ists, poets, and play­wrights — as well as philoso­phers, sculp­tors, film­mak­ers, and oth­er fig­ures besides — from dif­fer­ent lands and dif­fer­ent times.

In it you’ll find these reflec­tions on the art, craft, and life of writ­ing, among many oth­ers:

  • “In genius we per­ceive our own reject­ed thoughts, return­ing to us with a kind of alien­at­ed majesty.” — Ralph Wal­do Emer­son
  • Sim­plic­i­ty is not an end in art, but we usu­al­ly arrive at sim­plic­i­ty as we approach the true sense of things.” — Con­stan­tin Brân­cuși
  • The first and most obvi­ous char­ac­ter­is­tic of fic­tion is that it deals with real­i­ty through what can be seen, heard, smelt, tast­ed, and touched.” ― Flan­nery O’Con­nor
  • “Writ­ing, ide­al­ly, is rec­og­niz­ing your bad writ­ing.” — August Wil­son
  • “One is always seek­ing the touch­stone that will dis­solve one’s defi­cien­cies as a per­son and as a crafts­man. And one is always bump­ing up against the fact that there is none except hard work, con­cen­tra­tion, and con­tin­ued appli­ca­tion.” — Paul William Gal­li­co
  • “But what is art, real­ly, but a good instinct for stay­ing alive in your own alley?” — Hunter S. Thomp­son
  • There is a micro­scop­i­cal­ly thin line between being bril­liant­ly cre­ative and act­ing like the most gigan­tic idiot on earth. — Cyn­thia Heimel
  • “A writer is a per­son for whom writ­ing is more dif­fi­cult than it is for oth­er peo­ple.” — Thomas Mann
  • “I learned nev­er to emp­ty the well of my writ­ing, but always to stop when there was still some­thing there in the deep part of the well, and let it refill at night from the springs that fed it.” — Ernest Hem­ing­way
  • “First thought best thought.” — Jack Ker­ouac
  • “The job boils down to two things: pay­ing atten­tion to how the real peo­ple around you behave and then telling the truth about what you see.” — Stephen King
  • “The impor­tant thing is that there should be a space of time, say four hours a day at least, when a pro­fes­sion­al writer doesn’t do any­thing else but write. He doesn’t have to write, and if he doesn’t feel like it, he shouldn’t try. He can look out of the win­dow or stand on his head or writhe on the floor. But he is not to do any oth­er pos­i­tive thing, not read, write let­ters, glance at mag­a­zines, or write checks. Write or noth­ing.” — Ray­mond Chan­dler
  • “I know this, with a sure and cer­tain knowl­edge: a man’s work is noth­ing but this slow trek to redis­cov­er, through the detours of art, those two or three great and sim­ple images in whose pres­ence his heart first opened.” — Albert Camus
  • “Don’t look back.” – Bob Dylan

Over the course of these 69 pages, cer­tain themes emerge: the impor­tance of writ­ing with one’s “blood,” the unim­por­tance of crit­ics, the val­ue of sim­plic­i­ty, the dan­ger of adjec­tives (and oth­er excess descrip­tion), the neces­si­ty of let­ting noth­ing block the flow of the first draft. While many of these quo­ta­tions offer prac­ti­cal advice — much of it about con­sis­tent­ly putting in the hours, both con­scious and uncon­scious — some approach from a more oblique angle not just “writ­ing” as a pur­suit but the liv­ing of life itself. “To fail to embrace my dreams now would be a dis­grace so great that sin itself could not find a name for it,” writes Wern­er Her­zog in the diary he kept dur­ing the ago­nized mak­ing of Fitz­car­ral­do. If this inspired the author of Jesus’ Son and Tree of Smoke, it ought to inspire the rest of us as well.

Relat­ed Con­tent:

19 Quotes on Writ­ing by Gore Vidal. Some Wit­ty, Some Acer­bic, Many Spot On

Stephen King’s 20 Rules for Writ­ers

Kurt Vonnegut’s Eight Tips on How to Write a Good Short Sto­ry

7 Tips From Ernest Hem­ing­way on How to Write Fic­tion

Write Only 500 Words Per Day and Pub­lish 50+ Books: Gra­ham Greene’s Writ­ing Method

To Make Great Films, You Must Read, Read, Read and Write, Write, Write, Say Aki­ra Kuro­sawa and Wern­er Her­zog

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Anthony Bourdain Talks About the Big Break That Changed His Life–at Age 44

In 1999, Antho­ny Bourdain’s career seemed to have stalled. While his “prin­ci­pal voca­tion remained his posi­tion as exec­u­tive chef” at New York’s Les Halles, rest­less intel­li­gence and wan­der­lust kept him look­ing for oth­er oppor­tu­ni­ties. “He was 43 years old, rode hard and put up wet,” writes Eliz­a­beth Nel­son at The Ringer, “a recov­er­ing addict with a num­ber of debts and a pen­chant for find­ing trou­ble in fail­ing restau­rants across the city.” He had fought for and won an unde­ni­able mea­sure of suc­cess, but he hard­ly seemed on the thresh­old of the major celebri­ty chef­dom he would main­tain until his death twen­ty years lat­er in 2018.

Then, “in the spring of 2000, his sub­li­mat­ed lit­er­ary ambi­tions sud­den­ly caught up with and then quick­ly sur­passed his cook­ing.” Bourdain’s mem­oir Kitchen Con­fi­den­tial “became an imme­di­ate sen­sa­tion,” intro­duc­ing his icon­o­clasm, acer­bic wit, and out­ra­geous con­fes­sion­al style to mil­lions of read­ers, who would soon become view­ers of his try-any­thing trav­el­ogue series, A Cook’s Tour, No Reser­va­tionsThe Lay­over, and Parts Unknown, as well as loy­al read­ers of his sub­se­quent books, and even fic­tion like as Gone Bam­boo, a crime nov­el soon to become a TV series.

How did Bour­dain first get his win­ning per­son­al­i­ty before the mass­es? It all start­ed with a 1999 New York­er arti­cle called “Don’t Eat Before Read­ing This,” the pre­de­ces­sor to Kitchen Con­fi­den­tial and an essay that begins with what we might now rec­og­nize as a pro­to­typ­i­cal­ly Bour­dain­ian sen­tence: “Good food, good eat­ing, is all about blood and organs, cru­el­ty and decay.” In the inter­view clip above, from Bourdain’s final, 2017 inter­view with Fast Com­pa­ny, he talks about how the sto­ry led to his “huge break” just a cou­ple days after it ran, when a Blooms­bury edi­tor called with an offer of “the stag­ger­ing­ly high price of fifty thou­sand dol­lars to write a book.”

Every­one who loves Bourdain’s writing—and who loved his gen­er­ous, ecu­meni­cal culi­nary spirit—knows why Kitchen Con­fi­den­tial changed his life overnight, as he says. Yes, “food is pain,” as he writes in the book’s “First Course,” but also, “food is sex”—”the delights of Por­tuguese squid stew, of Well­fleet oys­ters on the half­shell, New Eng­land clam chow­der, of greasy, won­der­ful, fire-red chori­zo sausages, kale soup, and a night when the striped bass jumped right out of the water and onto Cape Cod’s din­ner tables.” Bourdain’s prose lingers over every delight, prepar­ing us for the escapades to come.

In Kitchen Con­fi­den­tial, the exhaus­tion, “sheer weird­ness,” and con­stant “threat of dis­as­ter,” that attend New York kitchen life (and life “inside the CIA”—the Culi­nary Insti­tute of Amer­i­ca, that is), becomes fleshed out with scenes of culi­nary deca­dence the likes of which most read­ers had nev­er seen, smelled, or tast­ed. Fans craved more and more from the chef who wrote, in 1999, just before he would become a best­selling house­hold name, “my career has tak­en an eeri­ly appro­pri­ate turn: these days, I’m the chef de cui­sine of a much loved, old-school French brasserie/bistro where… every part of the animal—hooves, snout, cheeks, skin, and organs—is avid­ly and appre­cia­tive­ly pre­pared and con­sumed.”

Read Bourdain’s New York­er essay here and see his full 2017 inter­view with Fast Com­pa­ny just above.

via @Yoh31

Relat­ed Con­tent:

Life Lessons from Antho­ny Bour­dain: How He Devel­oped His Iron Pro­fes­sion­al­ism, Achieved Cre­ative Free­dom & Learned from Fail­ure

Watch Antho­ny Bourdain’s Free Show, Raw Craft Where He Vis­its Crafts­men Mak­ing Gui­tars, Tat­toos, Motor­cy­cles & More (RIP)

Michael Pol­lan Explains How Cook­ing Can Change Your Life; Rec­om­mends Cook­ing Books, Videos & Recipes

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

The Oldest Known Globe to Depict the New World Was Engraved on an Ostrich Egg, Maybe by Leonardo da Vinci (1504)

Image by Davidguam via Wiki­me­dia Com­mons

Every time you think you’ve got a han­dle on Leonar­do da Vinci’s genius (which is to say, you think you’ve heard about the most impor­tant things he paint­ed, wrote, and invent­ed), yet more evi­dence comes to light of the many ways he meets the stan­dard for the adjec­tive “genius”.… Recent­ly, Leonar­do re-appeared not only as an inven­tor of futur­is­tic mil­i­tary tech­nol­o­gy or dis­cov­er­er of com­plex human anato­my, but also as the first Euro­pean to depict the “New World” on a globe–proving he knew about Colum­bus’ voy­ages when the globe was made in 1504.

The dis­cov­ery “marks the first time ever that the names of coun­tries such as Brazil, Ger­ma­nia, Ara­bia and Judea have appeared on a globe,” notes Cam­bridge Schol­ars Pub­lish­ing, who released a book by the globe’s dis­cov­er­er and pri­ma­ry researcher, Ste­faan Missinne. The arti­fact attrib­uted to Leonar­do is engraved, “with immac­u­late detail,” writes Meeri Kim at The Wash­ing­ton Post, “on two con­joined halves of ostrich eggs.” And it fea­tures a sin­gle sen­tence, in Latin, above South­east Asia: Hic Sunt Dra­cones–“Here be drag­ons.”

We’ll notice oth­er unique fea­tures of the engraved egg Missinne calls, sim­ply, “the Da Vin­ci Globe,” such as the fact that in place of Cen­tral and North Amer­i­ca are the islands of Colum­bus’ “dis­cov­ery,” sur­round­ed by a vast ocean in which Pacif­ic and Atlantic join. Why ostrich eggs? Humans have used them for dec­o­ra­tive pur­pos­es for mil­len­nia. Also, “in that time peri­od,” says Thomas Sander, edi­tor of the Wash­ing­ton Map Society’s jour­nal, Por­tolan, “the ostrich was quite the ani­mal, and it was a big thing for the noble peo­ple to have ostrich­es in their back gar­dens.”

Missinne, a real estate devel­op­er, col­lec­tor, and globe expert orig­i­nal­ly from Bel­gium, dis­cov­ered the globe in 2012 at the Lon­don Map Fair. It was pur­chased “from a deal­er who said it had been part of an impor­tant Euro­pean col­lec­tion for decades,” and its buy­er and own­er remain anony­mous. After the globe appeared, Missinne “con­sult­ed more than 100 schol­ars and experts in his year-long analy­sis,” putting “about five years of research into one year,” says Sander, call­ing the research “an incred­i­ble detec­tive sto­ry.”

Missinne’s inves­ti­ga­tion seems to sub­stan­ti­ate his claims that the globe was made by Leonar­do or his work­shop. The evi­dence, some of which you can find on the Cam­bridge Schol­ars Pub­lish­ing site, includes a 1503 prepara­to­ry map in da Vinci’s papers; the pres­ence of arsenic, which only Leonar­do was known to use at the time in cop­per to keep it from los­ing its lus­tre; “The use of chiaroscuro, pen­ti­en­ti, tri­an­gu­lar shapes, the math­e­mat­ics of the scale reflect­ing Leonardo’s writ­ten dimen­sion of plan­et earth”; and a 1504 let­ter from Leonar­do him­self stat­ing, “my world globe I want returned back from my friend Gio­van­ni Ben­ci.”

Missinne and Geert Ver­ho­even, of the Lud­wig Boltz­mann Insti­tute for Archae­o­log­i­cal Prospec­tion & Vir­tu­al Arche­ol­o­gy, have pub­lished a paper on the “unfold­ing” of Leonardo’s globe into the two-dimen­sion­al image above (see an inter­ac­tive ver­sion here). “This minia­ture egg globe is not only the old­est extant engraved globe,” the authors write, “but it is also the old­est post-Columbian globe of the world and the first ever to depict New­found­land and many oth­er ter­ri­to­ries.” Pre­vi­ous­ly, the Hunt-Lenox Globe, a small cop­per globe, was thought to be the old­est known such arti­fact. Dat­ed to around 1510, this globe, Missinne dis­cov­ered, is actu­al­ly a copy made from a cast of the old­er, orig­i­nal ostrich-egg globe.

Missinne’s find­ings have their detrac­tors, includ­ing John W. Hessler of the Library of Con­gress, who claims Missinne him­self is the anony­mous own­er of the globe, which rais­es issues of con­flict of inter­est. “Where this thing comes from needs to be clar­i­fied,” says Renais­sance car­tog­ra­phy expert Chet Van Duzer of the John Carter Brown Library in Prov­i­dence, R.I., though he adds, “It is an excit­ing dis­cov­ery, no ques­tion.” Missinne’s claims for the egg’s prove­nance are more mod­est than his mar­ket­ing. He “spec­u­lates,” writes Kim, “ the egg could have loose con­nec­tions to the work­shop of Leonar­do da Vin­ci.” Hessler’s view is less equiv­o­cal: “The Leonar­do con­nec­tion is pure non­sense.”

A layper­son like Missinne, what­ev­er his per­son­al invest­ment, might be inclined to over­in­ter­pret evi­dence or make ten­u­ous con­nec­tions a trained schol­ar would avoid. The many schol­ars he cites in sup­port of his claims for the globe are also vul­ner­a­ble to these charges, how­ev­er, though to a less­er degree. What do we make of French Mona Lisa expert Pas­cal Cotte’s tes­ti­mo­ni­al, “I here­by con­firm the evi­dence of the left-hand­ed­ness of the engrav­ings on the Ostrich Egg Globe. As Leonar­do was the only left-hand­ed artist in his work­shop, I here­by endorse the hypoth­e­sis of Leonar­do da Vinci’s author­ship”? As in all such aca­d­e­m­ic debates, “Here be drag­ons.” Weigh the case in full in Missinne’s 2018 book, The Da Vin­ci Globe.

Relat­ed Con­tent:

Leonar­do da Vinci’s Ele­gant Stud­ies of the Human Heart Were 500 Years Ahead of Their Time

Leonar­do da Vin­ci Draws Designs of Future War Machines: Tanks, Machine Guns & More

Leonar­do da Vinci’s Ear­li­est Note­books Now Dig­i­tized and Made Free Online: Explore His Inge­nious Draw­ings, Dia­grams, Mir­ror Writ­ing & More

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

Bruce Springsteen & Barack Obama Release a New Podcast, “Renegades: Born in the USA”

Yes­ter­day, Barack Oba­ma and Bruce Spring­steen unveiled the first two episodes of an 8‑part pod­cast called “Rene­gades: Born In The USA.”  The pod­cast (avail­able on Spo­ti­fy) is “a series of con­ver­sa­tions between Pres­i­dent Barack Oba­ma and Bruce Spring­steen about their lives, music, and endur­ing love of America—despite all its chal­lenges.” The con­ver­sa­tions were taped at Spring­steen’s home between July and Decem­ber of 2020. To hear the episodes, you will seem­ing­ly need to cre­ate a Spo­ti­fy account, if you don’t have one already.

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 and BlueSky.

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:

The 150 Best Pod­casts to Enrich Your Mind

Bruce Spring­steen Lists 20 of His Favorite Books: The Books That Have Inspired the Song­writer & Now Mem­oirist

Pres­i­dent Oba­ma Names His Favorite Books, Movies & Songs of 2018

Bruce Spring­steen and the E Street Band Impro­vis­es and Plays, Com­plete­ly Unre­hearsed, Chuck Berry’s “You Nev­er Can Tell,” Live Onstage (2013)

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The Life & Death of an Espresso Shot in Super Slow Motion

Some YouTu­ber post­ed online a pret­ty nice clip of an espres­so shot being pulled from a La Mar­zoc­co FB80 espres­so machine at 120 frames per sec­ond. They rec­om­mend mut­ing the sound, then putting on your own music. I gave it a quick shot with the famous sound­track for Kubrick­’s 2001: A Space Odyssey. And I’ll be damned, it syncs up pret­ty well. Have a bet­ter sound­track to rec­om­mend? Feel free to let us know in the com­ments sec­tion 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 and BlueSky.

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:

An Espres­so Mak­er Made in Le Corbusier’s Bru­tal­ist Archi­tec­tur­al Style: Raw Con­crete on the Out­side, High-End Parts on the Inside

Cof­fee Entre­pre­neur Rena­to Bialet­ti Gets Buried in the Espres­so Mak­er He Made Famous

How William S. Bur­roughs Used the Cut-Up Tech­nique to Shut Down London’s First Espres­so Bar (1972)

The Hertel­la Cof­fee Machine Mount­ed on a Volk­swa­gen Dash­board (1959): The Most Euro­pean Car Acces­so­ry Ever Made

Philoso­phers Drink­ing Cof­fee: The Exces­sive Habits of Kant, Voltaire & Kierkegaard

“The Vertue of the COFFEE Drink”: An Ad for London’s First Cafe Print­ed Cir­ca 1652

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Wired Co-Founder Kevin Kelly Gives 36 Lectures on Our Future World: Education, Movies, Robots, Autonomous Cars & More

Giv­en recent events, 2019 may now seem to us like the dis­tant past. But to those who were think­ing hard about the future the year before last, noth­ing that has hap­pened since has been whol­ly unex­pect­ed — and espe­cial­ly not to those who’d already been think­ing hard about the future for decades. Take Kevin Kel­ly, co-founder of Wired mag­a­zine and writer on tech­nol­o­gy as well as a host of oth­er sub­jects. It was in 2019 that state telecom­mu­ni­ca­tions com­pa­ny Chi­na Mobile com­mis­sioned him to give a series of 36 short video lec­tures on the “Future of X”: not the future of the inter­net in Chi­na and the future of India in com­pe­ti­tion with Chi­na, but a range of top­ics that will sure­ly affect us all, no mat­ter our part of the world.

Self-dri­ving cars, vir­tu­al real­i­ty, 5G, robots: Kel­ly has giv­en con­sid­er­a­tion to all these much-dis­cussed tech­nolo­gies and the roles they may come to play in our lives. But the impor­tant thing about them isn’t to know what form they’ll take in the future, since by def­i­n­i­tion no one can, but to devel­op habits of mind that allow you to grasp as wide a vari­ety of their pos­si­bil­i­ties as you can right now.

The future, as Kel­ly frames it in his talk on uncer­tain­ties, con­sists of “known knowns,” “known unknowns,” and “unknown unknowns.” Those last, bet­ter known as “black swans,” are events “com­plete­ly unex­pect­ed by any­body” that “change the world for­ev­er.” As exam­ples of pos­si­ble black swans to come he names World War Three, the dis­cov­ery of cheap fusion ener­gy, and, yes, a pan­dem­ic.

Soci­etal prepa­ra­tion for the future, to Kel­ly’s mind, will involve devel­op­ing “a very sys­tem­at­ic way of col­lect­ing these unknown unknowns and turn­ing them into known unknowns.” Per­son­al prepa­ra­tion for the future, accord­ing to his talk on schools and learn­ing, will involve cease­less acqui­si­tion and refine­ment of knowl­edge and under­stand­ing.

If we want to thrive in an uncer­tain future, he argues, we should “adopt a method of learn­ing called delib­er­ate prac­tice, falling for­ward or fail­ing for­ward,” in which we keep push­ing our­selves into unknown intel­lec­tu­al ter­ri­to­ry, always remain­ing “new­bies” at some­thing, assist­ed all the while by tech­nol­o­gy.

Just a cou­ple of decades into the 21st cen­tu­ry, we’ve already caught a glimpse of what tech­nol­o­gy can do to opti­mize our learn­ing process — or sim­ply to enable learn­ing where it would­n’t hap­pen oth­er­wise. “I don’t imag­ine that we’re going to go away from a class­room,” Kel­ly says, but we also “have the online video world, and more and more peo­ple today are learn­ing how to do an amaz­ing vari­ety of things, that we would­n’t have thought would work on video.”

Of course, since he spoke those words, one black swan in par­tic­u­lar has pushed much of human­i­ty away from the class­room, and we’ve found out a good deal more about what kind of learn­ing works (and does­n’t) over the inter­net. The future, it seems, is now.

You can watch the full playlist of videos, all 36 of them, below. We also rec­om­mend his very insight­ful book, The Inevitable: Under­stand­ing the 12 Tech­no­log­i­cal Forces That Will Shape Our Future.

Relat­ed Con­tent:

What Tech­nol­o­gy Wants: Kevin Kel­ly @ Google

The Best Mag­a­zine Arti­cles Ever, Curat­ed by Kevin Kel­ly

What Books Could Be Used to Rebuild Civ­i­liza­tion?: Lists by Bri­an Eno, Stew­art Brand, Kevin Kel­ly & Oth­er For­ward-Think­ing Minds

Octavia Butler’s Four Rules for Pre­dict­ing the Future

9 Sci­ence-Fic­tion Authors Pre­dict the Future: How Jules Verne, Isaac Asi­mov, William Gib­son, Philip K. Dick & More Imag­ined the World Ahead

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

How the Internet Archive Digitizes 3,500 Books a Day–the Hard Way, One Page at a Time

Does turn­ing the pages of an old book excite you? How about 3 mil­lion pages? That’s how many pages Eliza Zhang has scanned over her ten years with the Inter­net Archive, using Scribe, a spe­cial­ized scan­ning machine invent­ed by Archive engi­neers over 15 years ago. “Lis­ten­ing to 70s and 80s R&B while she works,” Wendy Hana­mu­ra writes at the Inter­net Archive blog, “Eliza spends a lit­tle time each day read­ing the dozens of books she han­dles. The most chal­leng­ing part of her job? ‘Work­ing with very old, frag­ile books.”

The frag­ile state and wide vari­ety of the mil­lions of books scanned by Zhang and the sev­en­ty-or-so oth­er Scribe oper­a­tors explains why this work has not been auto­mat­ed. “Clean, dry human hands are the best way to turn pages,” says Andrea Mills, one of the lead­ers of the dig­i­ti­za­tion team. “Our goal is to han­dle the book once and to care for the orig­i­nal as we work with it.”

Rais­ing the glass with a foot ped­al, adjust­ing the two cam­eras, and shoot­ing the page images are just the begin­ning of Eliza’s work. Some books, like the Bureau of Land Man­age­ment pub­li­ca­tion fea­tured in the video, have myr­i­ad fold-outs. Eliza must insert a slip of paper to remind her to go back and shoot each fold-out page, while at the same time inputting the page num­bers into the item record. The job requires keen con­cen­tra­tion.

If this expe­ri­enced dig­i­tiz­er acci­den­tal­ly skips a page, or if an image is blur­ry, the pub­lish­ing soft­ware cre­at­ed by our engi­neers will send her a mes­sage to return to the Scribe and scan it again.

It’s not a job for the eas­i­ly bored; “It takes con­cen­tra­tion and a love of books,” says Inter­net Archive founder Brew­ster Kahle. The painstak­ing process allows dig­i­tiz­ers to pre­serve valu­able books online while main­tain­ing the integri­ty of phys­i­cal copies. “We do not dis­bind the books,” says Kahle, a method that has allowed them to part­ner with hun­dreds of insti­tu­tions around the world, dig­i­tiz­ing 28 mil­lion texts over two decades. Many of those books are rare and valu­able, and many have been deemed of lit­tle or no val­ue. “Increas­ing­ly,” writes the Archive’s Chris Free­land, “the Archive is pre­serv­ing many books that would oth­er­wise be lost to his­to­ry or the trash bin.”

In one exam­ple, Free­land cites The dic­tio­nary of cos­tume, “one of the mil­lions of titles that reached the end of its pub­lish­ing life­cy­cle in the 20th cen­tu­ry.” It is also a work cit­ed in Wikipedia, a key source for “stu­dents of all ages… in our con­nect­ed world.” The Inter­net Archive has pre­served the only copy of the book avail­able online, mak­ing sure Wikipedia edi­tors can ver­i­fy the cita­tion and researchers can use the book in per­pe­tu­ity. If look­ing up the def­i­n­i­tion of “pet­ti­coat” in an out-of-print ref­er­ence work seems triv­ial, con­sid­er that the Archive dig­i­tizes about 3,500 books every day in its 18 dig­i­ti­za­tion cen­ters. (The dic­tio­nary of cos­tume was iden­ti­fied as the Archive’s 2 mil­lionth “mod­ern book.”)

Libraries “have been vital in times of cri­sis,” writes Alis­tair Black, emer­i­tus pro­fes­sor of Infor­ma­tion Sci­ences at the Uni­ver­si­ty of Illi­nois, and “the coro­n­avirus pan­dem­ic may prove to be a chal­lenge that dwarfs the many episodes of anx­i­ety and cri­sis through which the pub­lic library has lived in the past.” A huge part of our com­bined glob­al crises involves access to reli­able infor­ma­tion, and book scan­ners at the Inter­net Archive are key agents in pre­serv­ing knowl­edge. The col­lec­tions they dig­i­tize “are crit­i­cal to edu­cat­ing an informed pop­u­lace at a time of mas­sive dis­in­for­ma­tion and mis­in­for­ma­tion,” says Kahle. When asked what she liked best about her job, Zhang replied, “Every­thing! I find every­thing inter­est­ing…. Every col­lec­tion is impor­tant to me.”

The Inter­net Archive offers over 20,000,000 freely down­load­able books and texts. Enter the col­lec­tion here.

Relat­ed Con­tent: 

Libraries & Archivists Are Dig­i­tiz­ing 480,000 Books Pub­lished in 20th Cen­tu­ry That Are Secret­ly in the Pub­lic Domain

10,000 Vin­tage Recipe Books Are Now Dig­i­tized in The Inter­net Archive’s Cook­book & Home Eco­nom­ics Col­lec­tion

Clas­sic Children’s Books Now Dig­i­tized and Put Online: Revis­it Vin­tage Works from the 19th & 20th Cen­turies

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

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