Sun Tzu’s The Art of War: An Animated Chapter-by-Chapter Breakdown of the Ancient Chinese Treatise

Though not a long book, The Art of War is nev­er­the­less an intim­i­dat­ing one. Com­posed in the Chi­na of the fifth cen­tu­ry BC, it comes down to us as per­haps the defin­i­tive analy­sis of mil­i­tary strat­e­gy, applic­a­ble equal­ly to East, West, antiq­ui­ty, and moder­ni­ty alike. Hence the minor but still-pro­duc­tive indus­try that puts forth adap­ta­tions, exten­sions, and rein­ter­pre­ta­tions of The Art of War for non-mil­i­tary set­tings, trans­pos­ing its lessons into law, busi­ness, sports, and oth­er realms besides. But if you want a han­dle on what its author, the gen­er­al and strate­gist Sun Tzu, actu­al­ly wrote, watch the illus­trat­ed video above.

A pro­duc­tion of Youtube chan­nel Eudai­mo­nia, pre­vi­ous­ly fea­tured here on Open Cul­ture for a sim­i­lar­ly ani­mat­ed exe­ge­sis of Machi­avel­li’s The Prince, it runs more than two and a half hours in full. Far though it exceeds the length of the aver­age explain­er video, it does reflect the ten­den­cy of Sun Tzu’s suc­cinct obser­va­tions to expand, when seri­ous­ly con­sid­ered, into much wider and more com­plex dis­cus­sions. To each of the orig­i­nal tex­t’s chap­ters the Eudai­mo­nia video devotes a ten-to-fif­teen-minute sec­tion, con­vey­ing not just the con­tent of its lessons but also their rel­e­vance to the his­to­ry of human con­flict in the rough­ly two and a half mil­len­nia since they were writ­ten.

In chap­ter two, on wag­ing war, Sun Tzu writes that “in order to kill the ene­my, our men must be roused to anger.” It was in this spir­it that, dur­ing the Sec­ond World War, the Unit­ed King­dom’s Min­istry of Infor­ma­tion launched a media “anger cam­paign” meant to “increase resolve against the Ger­mans, as until then, the British had lit­tle sense of real hos­til­i­ty towards the aver­age Ger­man.” In the chap­ter on weak­ness­es and strengths, Sun Tzu rec­om­mends “the divine art of sub­tle­ty and secre­cy” as a means of becom­ing invis­i­ble and inaudi­ble to the ene­my — much as Julius Cae­sar did in the Gal­lic Wars, when he sent scout­ing ships “paint­ed in Venet­ian blue, which was a sim­i­lar col­or to that of the sea.”

Oth­er exam­ples come from diverse chap­ters of his­to­ry. These include the Amer­i­can Civ­il War, Gand­hi’s nego­ti­a­tion of Indi­an inde­pen­dence, the Napoleon­ic Wars, the British defeat in Zul­u­land, Joan of Arc’s siege of Orléans, the revolt against the Turk­ish led by T. E. Lawrence (bet­ter known as Lawrence of Ara­bia), and even Steve Jobs’ turn­around of a near­ly bank­rupt Apple. Most of us will nev­er find our­selves in sit­u­a­tions of quite these stakes. But giv­en that none of us can entire­ly avoid deal­ing with con­flict, we’d could do worse than to keep the guid­ance of Sun Tzu on our side.

Relat­ed con­tent:

Machiavelli’s The Prince Explained in an Illus­trat­ed Film

10 Rea­sons Why Hannibal’s Mil­i­tary Genius Still Cap­tures Our Imag­i­na­tion Today

What Ancient Chi­nese Phi­los­o­phy Can Teach Us About Liv­ing the Good Life Today: Lessons from Harvard’s Pop­u­lar Pro­fes­sor, Michael Puett

Hear an Ancient Chi­nese His­to­ri­an Describe The Roman Empire (and Oth­er Voic­es of the Past)

How Many U.S. Marines Could Bring Down the Roman Empire?

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, on Face­book, or on Insta­gram.

Enter the Franz Kafka Caption Contest for a Chance to Win a New Book of the Author’s Drawings (Until June 13)

Imag­ine if Franz Kaf­ka were charged with pick­ing the win­ning entries in The New York­er’s week­ly car­toon cap­tion con­test.

The punch­lines might become a lit­tle more obscure.

If that idea fills you with per­verse plea­sure, per­haps you should tod­dle over to Yale Uni­ver­si­ty Press’s Insta­gram to con­tribute some pos­si­ble cap­tions for eight of the inky draw­ings the tor­tured author made in a black note­book between 1901 and 1907.

The intend­ed mean­ing of these images, includ­ed in the new book, Franz Kaf­ka: The Draw­ings, are as up for grabs as any uncap­tioned car­toon on the back page of The New York­er.

In Con­ver­sa­tions with Kaf­ka, author Gus­tav Janouch recalled how their sig­nif­i­cance proved elu­sive even to their cre­ator, and also the frus­tra­tion his friend expressed regard­ing his artis­tic abil­i­ties:

I should so like to be able to draw. As a mat­ter of fact, I am always try­ing to. But noth­ing comes of it. My draw­ings are pure­ly per­son­al pic­ture writ­ing, whose mean­ing even I can­not dis­cov­er after a time.

Kaf­ka seems to have gone eas­i­er on him­self in a 1913 let­ter to fiancée Felice Bauer:

I was once a great drafts­man, you know… These draw­ings gave me greater sat­is­fac­tion in those days—it’s years ago—than any­thing else.

Artist Philip Har­ti­gan, who ref­er­enced the draw­ings in a jour­nal and sketch­book class for writ­ing stu­dents nails it when he describes how Kafka’s “quick min­i­mum move­ments … con­vey the typ­i­cal despair­ing mood of his fic­tion in just a few lines.”

You have until June 13 to make explic­it what Kaf­ka did not by leav­ing your pro­posed cap­tion for each draw­ing as a com­ment on Yale Uni­ver­si­ty Press’s Insta­gram, along the hash­tag #Kafka­Cap­tion­Con­test.

Win­ners will receive a copy of  Franz Kaf­ka: The Draw­ings. Entries will be judged by edi­tor Andreas Kilch­er of and the­o­rist Judith But­ler, who con­tributed an essay that you might con­sid­er min­ing for mate­r­i­al:

Was it a muf­fled death? Or per­haps it was no death at all, just a tum­bling of inter­course, a sex­u­al flur­ry?

Yes, that might go nice­ly with Kafka’s draw­ing of a seat­ed fig­ure col­lapsed over a table, below.

https://images.app.goo.gl/mGfZzLcpRXuyqqU68

Some alter­nate pro­pos­als from con­test hope­fuls:

I need­ed to bathe my bat­tered knuck­les with my tears.

He stud­ied his new­ly acquired rare stamp with a pow­er­ful loupe.

How can I make sure that all my let­ters and papers will be destroyed after my death? I know — I’ll ask my clos­est friend to take care of it!

This last is a ref­er­ence to Kafka’s lit­er­ary execu­tor, Max Brod, who defied Kafka’s explic­it wish that all of his work be burned upon his death, save The Meta­mor­pho­sis, and five short sto­ries: The Judg­ment, The Stok­er, In the Penal Colony, A Coun­try Doc­tor and A Hunger Artist.

Brod cut Kafka’s draw­ing of the stand­ing fig­ure, above, from his sketch­book and kept in an enve­lope with a few oth­ers. Some of the cur­rent cap­tion sug­ges­tions for this haunt­ing, nev­er before seen image:

my face is an umbrel­la to my tears

I could­n’t face myself.

I am the Wal­rus goo goo g’joob

https://images.app.goo.gl/e6v8xbuRin3qWcS56

Of the eight draw­ings in the cap­tion con­test, Drinker, may offer the most nar­ra­tive pos­si­bil­i­ties. A rep­re­sen­ta­tive sam­pling of the inven­tive­ness that’s come over the tran­som thus­far:

I, peri­od

Angered by the impu­dence of the caber­net, i had only the courage to berate its shad­ow

Wait­er! There’s a roach in my wine.

Enter Yale Uni­ver­si­ty Press’ Kaf­ka Cap­tion Con­test (or get a feel for the com­pe­ti­tion) here. Entries will be accept­ed through June 13. Full con­test rules are here. Good luck!

Explore the draw­ings and oth­er con­tents of Franz Kafka’s black note­book here.

Pur­chase Franz Kaf­ka: The Draw­ings, the first book to pub­lish the entire­ty of the author’s graph­ic out­put, here.

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Werner Herzog’s New Novel, The Twilight World, Tells the Story of the WWII Japanese Soldier Who Famously Refused to Surrender

As every­one knows, Japan con­ced­ed defeat in the Sec­ond World War on August 15, 1945. But as many also know, cer­tain indi­vid­ual Japan­ese sol­diers refused to sur­ren­der, each con­tin­u­ing to fight the war for decades in his own way. The most famous was Lieu­tenant Ono­da Hiroo, who hid out in the Philip­pines mount­ing guer­ril­la attacks — at first with a few fel­low sol­diers, and final­ly alone — until 1974. Ono­da became a celebri­ty upon retun­ing to his home­land, and his admir­ers weren’t only Japan­ese. In Tokyo to direct an opera in 1997, Wern­er Her­zog request­ed an intro­duc­tion to one man only: the sol­dier who’d fought the war for 30 years.

Now Ono­da has become the sub­ject of one of Her­zog’s lat­est projects: not a film, but a nov­el called The Twi­light World. In his native Ger­man (brought into Eng­lish by trans­la­tor-crit­ic Michael Hof­mann), Her­zog has writ­ten of not just his own meet­ing with Ono­da but nar­rat­ed Onoda’s own long expe­ri­ence in the Philip­pines.

“Onoda’s war is of no mean­ing for the cos­mos, for his­to­ry, for the course of the war,” goes one pas­sage quot­ed by A. O. Scott in The Atlantic. “Onoda’s war is formed from the union of an imag­i­nary noth­ing and a dream, but Onoda’s war, sired by noth­ing, is nev­er­the­less over­whelm­ing, an event extort­ed from eter­ni­ty.”

One thinks of the pro­tag­o­nists of Her­zog’s films, both imag­ined and real: the steamship-drag­ging rub­ber baron Bri­an Sweeney Fitzger­ald, the downed Navy pilot Dieter Den­gler, the delud­ed con­quis­ta­dor Lope de Aguirre, the ill-fat­ed wildlife activist Tim­o­thy Tread­well. In Onoda’s case as well, Scott writes, “Her­zog declines to treat him as a joke. He is clear­ly fas­ci­nat­ed by the absur­di­ty of this hero’s sit­u­a­tion, and also deter­mined to defend the dig­ni­ty of a man who had no choice but to per­se­vere in an impos­si­ble mis­sion.” Any­one famil­iar with Her­zog’s career, full of har­row­ing encoun­ters and unpre­dictable turns but clear­ly oper­at­ing by an iron log­ic all its own, can imag­ine why he saw in Ono­da a kin­dred spir­it.

Eight years after his death at the age of 91, Ono­da remains a fig­ure of gen­er­al fas­ci­na­tion, the sub­ject of his­to­ry videos viewed by mil­lions as well as last year’s Ono­da: 10,000 Nights of the Jun­gle, a fea­ture by French direc­tor Arthur Harari. Of course,  “the guy who stays in the field long after the war is over is, to mod­ern eyes, a com­i­cal, cau­tion­ary fig­ure, an avatar of patri­o­tism car­ried to ridicu­lous extremes,” writes Scott. “We rarely pause to look for motives oth­er than blind obe­di­ence, or to imag­ine what those years of phan­tom com­bat in the wilder­ness must have felt like.” Per­haps we twen­ty-first cen­tu­ry West­ern­ers sim­ply lack the imag­i­na­tive pow­er nec­es­sary to do so — all of us, that, is except Wern­er Her­zog. You can pre-order his nov­el, The Twi­light World, now. It hits the shelves next week, on June 14th.

Relat­ed con­tent:

Wern­er Her­zog Offers 24 Pieces of Film­mak­ing and Life Advice

Wern­er Her­zog Tells a Book Club Why The Pere­grine Is One of His Favorite Books, a 20th-Cen­tu­ry Mas­ter­piece

Wern­er Her­zog Dis­cov­ers the Ecsta­sy of Skate­board­ing: “That’s Kind of My Peo­ple”

The Dream Dri­ven Film­mak­ing of Wern­er Her­zog: Watch the Video Essay, “The Inner Chron­i­cle of What We Are: Under­stand­ing Wern­er Her­zog”

Time Trav­el Back to Tokyo After World War II, and See the City in Remark­ably High-Qual­i­ty 1940s Video

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, on Face­book, or on Insta­gram.

What Happened to the Missing Half of the Roman Colosseum?

What hap­pened to the miss­ing half of the Colos­se­um? It may be a ques­tion about ancient Rome you were afraid to ask in school, as the title of Dr. Gar­ret Ryan’s video above sug­gests. Or maybe, after see­ing the mas­sive ancient ruin’s jagged pro­file all your life on piz­za box­es and soft­ball t‑shirts spon­sored by your local Ital­ian eatery, you nev­er thought much of the Colos­se­um’ shape at all. You could spend hun­dreds of dol­lars and build a LEGO Colos­se­um, hun­dreds more and vis­it it your­self, or dri­ve past it every day on your com­mute, and nev­er think much about it.

Despite cur­rent­ly host­ing more vis­i­tors per year than Tre­vi Foun­tain and the Sis­tine Chapel com­bined, the mon­u­ment to bread and cir­cus impe­r­i­al Rome suf­fered from severe neglect in the mil­len­nia and a‑half after it was used as a glad­i­a­tor are­na – “some 1,500 years of neglect and hap­haz­ard con­struc­tion projects,” Tom Mueller writes at Smith­son­ian, “lay­ered one upon anoth­er.” Used as a quar­ry after the 6th cen­tu­ry, for most of its long, decay­ing life, the amphithe­ater and its “hypogeum” (the intri­cate sys­tem of tun­nels and earth­works under­neath) went ful­ly to seed.

For most of its his­to­ry, that is to say, humans most­ly ignored the Colos­se­um. But curios­i­ty about its his­to­ry pays:

Down through the cen­turies, peo­ple filled the hypogeum with dirt and rub­ble, plant­ed veg­etable gar­dens, stored hay and dumped ani­mal dung. In the amphithe­ater above, the enor­mous vault­ed pas­sages shel­tered cob­blers, black­smiths, priests, glue-mak­ers and mon­ey-chang­ers, not to men­tion a fortress of the Frangi­pane, 12th-cen­tu­ry war­lords. By then, local leg­ends and pil­grim guide­books described the crum­bling ring of the amphitheater’s walls as a for­mer tem­ple to the sun. Necro­mancers went there at night to sum­mon demons.

In the late 16th cen­tu­ry — before popes parad­ed through the are­na to hon­or Chris­tians fed to wild beasts — “Pope Six­tus V, the builder of Renais­sance Rome, tried to trans­form the Colos­se­um into a wool fac­to­ry.” The ven­ture failed, and soon after the huge vari­ety of wild plant life began to attract botanists, who cat­a­logued some 337 dif­fer­ent species. The hypogeum, the archi­tec­tur­al mech­a­nism that once pow­ered spec­ta­cles on the floor above, was only cleared in the 1930s by Ben­i­to Mus­soli­ni in his glo­ri­fi­ca­tion of clas­si­cal Rome.

Restora­tion on the Colos­se­um did not begin until the 1990s and vis­i­tors have only been allowed to see the ruin’s inner work­ings since 2011, almost 2000 years since it was first con­struct­ed between 72 and 80 AD. Orig­i­nal­ly called the Fla­vian Amphithe­atre, the build­ing’s name was changed to reflect its prox­im­i­ty to the Colos­sus of Nero, a mon­u­ment to impe­r­i­al hubris that has itself long dis­ap­peared. So, what about that miss­ing half? “The short answer,” writes Dr. Ryan, “is: earth­quakes and popes, in that order.”

The longer answer, as you might imag­ine, is far more col­or­ful, and far blood­i­er, involv­ing events like the Emper­or Tra­jan’s 123-day cel­e­bra­tion of his vic­to­ry in Dacia, “in the course of which 5,000 pairs of glad­i­a­tors fought and 11,000 ani­mals were killed.” After around 500 years of this kind of blood­sport (and oth­er amuse­ments) and anoth­er 1,500 years of dete­ri­o­ra­tion, I’d say the Colos­se­um has held up remark­ably well, a trib­ute to Roman archi­tec­tur­al engi­neer­ing, the one thing the Roman Empire seemed to love more than vio­lent death.

Relat­ed Con­tent:

When the Colos­se­um in Rome Became the Home of Hun­dreds of Exot­ic Plant Species

The Roman Colos­se­um Has a Twin in Tunisia: Dis­cov­er the Amphithe­ater of El Jem, One of the Best-Pre­served Roman Ruins in the World

An Ani­mat­ed Recon­struc­tion of Ancient Rome: Take A 30-Minute Stroll Through the City’s Vir­tu­al­ly-Recre­at­ed Streets

An 8‑Minute Ani­mat­ed Flight Over Ancient Rome

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The His­to­ry of Ancient Rome in 20 Quick Min­utes: A Primer Nar­rat­ed by Bri­an Cox

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

Watch the First Movie Ever Streamed on the Net: Wax or the Discovery of Television Among the Bees (1991)

When the World Wide Web made its pub­lic debut in the ear­ly nine­teen-nineties, it fas­ci­nat­ed many and struck some as rev­o­lu­tion­ary, but the idea of watch­ing a film online would still have sound­ed like sheer fan­ta­sy. Yet on May 23rd, 1993, report­ed the New York Times’ John Markoff, “a small audi­ence scat­tered among a few dozen com­put­er lab­o­ra­to­ries gath­ered” to “watch the first movie to be trans­mit­ted on the Inter­net — the glob­al com­put­er net­work that con­nects mil­lions of sci­en­tists and aca­d­e­m­ic researchers and hith­er­to has been a medi­um for swap­ping research notes and an occa­sion­al still image.”

That expla­na­tion speaks vol­umes about how life online was per­ceived by the aver­age New York Times read­er three decades ago. But it was hard­ly the aver­age New York Times read­er who tuned into the inter­net’s very first film screen­ing, whose fea­ture pre­sen­ta­tion was Wax or the Dis­cov­ery of Tele­vi­sion Among the Bees. Com­plet­ed in 1991 by artist David Blair, this hybrid fic­tion and essay-film offered to its view­ers what Times crit­ic Stephen Hold­en called “a mul­ti-gen­er­a­tional fam­i­ly saga as it might be imag­ined by a cyber­punk nov­el­ist. It flash­es all the way back to the sto­ry of Cain and Abel and the Tow­er of Babel and for­ward to the nar­ra­tor’s own death, birth and rebirth in an act of vio­lence.”

Jacob Mak­er, the nar­ra­tor, was once a hum­ble mis­sile-guid­ance sys­tem engi­neer. But increas­ing dis­en­chant­ment with his line of work pushed him into the api­ar­i­an arts, in homage to his famous bee­keep­er grand­son Jacob Hive Mak­er. That the lat­ter is played by William S. Bur­roughs sug­gests that Wax has the mak­ings of a “cult clas­sic,” as does the film’s con­struc­tion, in large part out of found footage, jux­ta­posed and manip­u­lat­ed into a dig­i­tal psy­che­delia. Its nar­ra­tive — amus­ing, ref­er­ence-rich, and bewil­der­ing­ly com­plex for an 85-minute run­time — has Jacob men­tal­ly over­tak­en by his own bees, who implant a tele­vi­sion into his brain and repro­gram him as an assas­sin.

With Wax, writes Screen Slate’s Sean Ben­jamin, “Blair laid an extrap­o­la­tion of La Jetée atop a bedrock of Thomas Pyn­chon and came out with some­thing clos­est to ear­ly Peter Green­away — yet ulti­mate­ly sin­gu­lar.” And on an inter­net that could only broad­cast it “at the dream-like rate of two frames a sec­ond” in black-and-white, it must have made for a sin­gu­lar view­ing expe­ri­ence indeed. Back then, as Markoff wrote, “dig­i­tal broad­cast­ing was not yet ready for prime time.”

Today, in our age of stream­ing, dig­i­tal broad­cast­ing has dis­placed prime time, and it feels only prop­er that we can watch Wax on Youtube, where Blair has uploaded it as part of a larg­er, ongo­ing, and not-eas­i­ly-grasped ongo­ing dig­i­tal film project. “There is a sense in which we have all had tele­vi­sions implant­ed in our heads,” Hold­en reflect­ed in 1992. “Who real­ly knows what those end­less reruns are doing to us?” Even now, the inter­net has only just begun to trans­form not just how we watch movies, but how we com­mu­ni­cate, con­duct our dai­ly lives, and even think. We can all see some­thing of our­selves in Jacob Mak­er — and on today’s inter­net, we can see it much more clear­ly.

Relat­ed con­tent:

The Very First Web­cam Was Invent­ed to Keep an Eye on a Cof­fee Pot at Cam­bridge Uni­ver­si­ty

Cyber­punk: 1990 Doc­u­men­tary Fea­tur­ing William Gib­son & Tim­o­thy Leary Intro­duces the Cyber­punk Cul­ture

Dar­win: A 1993 Film by Peter Green­away

Mes­mer­iz­ing Time­lapse Film Cap­tures the Won­der of Bees Being Born

The First Music Stream­ing Ser­vice Was Invent­ed in 1881: Dis­cov­er the Théâtro­phone

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

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, on Face­book, or on Insta­gram.

The History of the Byzantine Empire (or East Roman Empire): An Animated Timeline Covering 1,100 Years of History

The his­to­ry of Rome is, more or less, the his­to­ry of the mod­ern world. But the Roman world seemed to shrink dur­ing the Neo­clas­si­cal peri­od, an Enlight­en­ment-era move­ment to puri­fy the arts. Where Rome once encom­passed a glob­al empire, it began to inhab­it a nar­row range of ideas, imposed by human­ist schol­ars, French Jacobins, bour­geois rev­o­lu­tion­ar­ies in the North Amer­i­can colonies, and the courts of Louis XVI, George III, and Napoleon. Neo­clas­si­cal art was an ennobling arti­fice in a time when Euro­pean empires were swal­low­ing up the globe. (It was lat­er the favored style of Mus­soli­ni and, more recent­ly, Don­ald Trump.) Aca­d­e­mics and states­men rede­fined the cul­tur­al bound­aries of ancient Rome to suit the agen­das of their age.

Elites of the Ottoman Empire in the 16th and 17th cen­tu­ry, for exam­ple, believed there was no sep­a­ra­tion between them­selves and ancient Rome. They called them­selves Rūmī, Romans, inher­i­tors of the Empire. West­ern Euro­peans, how­ev­er, exclu­sive­ly used the terms Ottomans or Turks, in rhetoric designed to evoke fears of dan­ger­ous, threat­en­ing oth­ers. Sim­i­lar­ly, the East­ern, or Byzan­tine, Empire, ruled from Con­stan­tino­ple by Con­stan­tine and his suc­ces­sors, nev­er thought of itself as any­thing oth­er than Roman, and cer­tain­ly not as “Byzan­tine,” a word that comes from the city’s ancient name, Byzan­tium.

As the poster of the video above writes, “the empire this video is about was nei­ther called ‘Byzan­tine’ nor ‘East­ern Roman,’ but sim­ply ‘Roman/Romaioi’ but its con­tem­po­raries. ‘Byzan­tine empire’ is a made up term that appeared in the course of the 16th cen­tu­ry.” Orig­i­nal­ly meant to sug­gest the Greek influ­ence on the late Roman Empire, the word became a way of brack­et­ing off the late empire as strange and exot­ic. Then it became a pejo­ra­tive adjec­tive mean­ing “exces­sive­ly com­pli­cat­ed.” Not coin­ci­den­tal­ly, this also hap­pened to be the opin­ion of the Neo­clas­si­cists when it came to the late Roman Empire. Neo­clas­si­cal ideals empha­sized order, per­fec­tion, sim­plic­i­ty, virtue, ratio­nal­i­ty, all qual­i­ties retroac­tive­ly applied to the Rome of antiq­ui­ty, but not to the “East­ern” Empire.

Like many a term of abuse, both the Ottoman Empire and Byzan­tine Empire were reclaimed by nation­al­ists who had no desire to iden­ti­fy with ancient Rome. Dur­ing the Crimean War, Greek nation­al­ists embraced the Byzan­tine Empire as a his­tor­i­cal real­i­ty and a vision of a future restora­tion once Istan­bul had been reclaimed. The inhab­i­tants of Con­stan­tino­ple and many of the ter­ri­to­ries under its sway dur­ing the peri­od cov­ered by the ani­mat­ed time­line above, how­ev­er, just called them­selves Romans. “Indeed, the ‘Byzan­tine’ sov­er­eigns,” the video notes, “nev­er ceased to con­sid­er them­selves as the legit­i­mate suc­ces­sors of the Roman empire which had been divid­ed in 395 and whose West­ern part had fall­en in 476.”

Relat­ed Con­tent: 

An Ani­mat­ed His­to­ry of the Ottoman Empire (1299 – 1922)

How the Byzan­tine Empire Rose, Fell, and Cre­at­ed the Glo­ri­ous Hagia Sophia: A His­to­ry in Ten Ani­mat­ed Min­utes

A Vir­tu­al Tour of Ancient Rome, Cir­ca 320 CE: Explore Stun­ning Recre­ations of The Forum, Colos­se­um and Oth­er Mon­u­ments

What Did the Roman Emper­ors Look Like?: See Pho­to­re­al­is­tic Por­traits Cre­at­ed with Machine Learn­ing

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

When David Bowie & Brian Eno Made a Twin Peaks-Inspired Album, Outside (1995)

By any mea­sure, David Bowie was a super­star. He first rose to fame in the nine­teen-sev­en­ties, a process gal­va­nized by his cre­ation and assump­tion of the rock­er-from-Mars per­sona Zig­gy Star­dust. In the fol­low­ing decade came Let’s Dance, on the back of which he sold out sta­di­ums and dom­i­nat­ed the still-new MTV. Yet through it all, and indeed up until his death in 2016, he kept at least one foot out­side the main­stream. It was in the nineties, after his aes­thet­i­cal­ly cleans­ing stint with gui­tar-rock out­fit Tin Machine, that Bowie made use of his star­dom to explore his full spec­trum of inter­ests, which ranged from the basic to the bizarre, the mun­dane to the macabre.

This sug­gests a good deal in com­mon between Bowie and anoth­er high-pro­file David of his gen­er­a­tion: David Lynch, long one of the most famous film direc­tors alive. “There are many obvi­ous, sur­face con­nec­tions and inter­sec­tions between Lynch and Bowie,” write film crit­ics Cristi­na Álvarez López and Adri­an Mar­tin. “Both have dab­bled in film and music, as well as paint­ing, the­atre and per­for­mance art. Both are actors — Bowie slight­ly more con­ven­tion­al­ly so than Lynch.” Lynch would no doubt agree with Bowie’s insis­tence that “my inter­pre­ta­tion of my work is real­ly imma­te­r­i­al,” that “it’s the inter­pre­ta­tion of the lis­ten­er, or the view­er, which is all-impor­tant.”

These words appear in López and Mar­t­in’s analy­sis of Twin Peaks, the tele­vi­sion series Lynch cre­at­ed in col­lab­o­ra­tion with Mark Frost, and Out­side, the album Bowie cre­at­ed in col­lab­o­ra­tion with Bri­an Eno. When it pre­miered on ABC in the spring of 1990, Twin Peaks became a minor sen­sa­tion by con­jur­ing a famil­iar yet deeply strange atmos­phere such as no one had nev­er seen on tele­vi­sion before. It also pio­neered what López and Adri­an Mar­tin call “the Dead Girl/Woman genre, which traces out a labyrinthine mys­tery from the dis­cov­ery of a young female corpse.” What brings Spe­cial Agent Dale Coop­er to Twin Peaks, Wash­ing­ton, we recall, is the mur­der of home­com­ing queen Lau­ra Palmer.

What brings Nathan Adler, a detec­tive in the Art Crimes unit, to Oxford Town, New Jer­sey is the mur­der of the four­teen-year-old Baby Grace Blue. Thus begins the Twin Peaks-inspired sto­ry­line of Out­side, Bowie’s own 1995 entry into the genre of the Dead Girl/Woman. Like Lynch and Frost’s show, Bowie’s album has a cast of eccentrics: Adler and Baby Grace, but also the likes of crim­i­nal “out­sider” Leon Blank; Alge­ria Touchshriek, deal­er in “art-drugs and DNA prints”; and a sin­is­ter fig­ure known as both the Artist and the Mino­taur. All are played by Bowie him­self, who makes use of var­i­ous accents (a tech­nique prac­ticed with his appear­ance in the 1992 Twin Peaks movie Fire Walk with Me) and voice-pro­cess­ing tech­niques.

At the time this 75-minute “non-lin­ear Goth­ic Dra­ma Hyper-Cycle,” as Bowie labeled it, gave his lis­ten­ers a lot to take in, to say noth­ing of the major media out­lets attempt­ing to pub­li­cize it. “This new project is all about sex, vio­lence, and death,” says the CBC’s Lau­rie Brown in a typ­i­cal piece of tele­vi­sion cov­er­age. But it also deals with the merg­ing of those human eter­nals with art and pop­u­lar cul­ture, a process that fas­ci­nat­ed Bowie more and more as the nineties pro­gressed — as did “the re-emer­gence of Neo-Pagan­ism, rit­u­al body art, and the frag­men­ta­tion of soci­ety,” as he puts it in Out­sides offi­cial mak­ing-of video.

Bowie and Eno intend­ed Out­side (offi­cial­ly 1. Out­side) as the first in a series that would ulti­mate­ly con­sti­tute “a diary in music and in tex­ture of what it felt like to be around at the end of the Mil­len­ni­um.” In one press con­fer­ence, Bowie hint­ed that “the nar­ra­tive might fall by the way­side,” much as Lynch and Frost orig­i­nal­ly intend­ed to leave Lau­ra Palmer’s death unsolved. That the sec­ond vol­ume nev­er appeared only under­scores the tan­ta­liz­ing incom­plete­ness of Out­side, which López and Mar­tin high­light as anoth­er sim­i­lar­i­ty to Twin Peaks: “Both works are ser­i­al and mul­ti­ple, exist­ing in var­i­ous offi­cial and unof­fi­cial forms, in spin-offs, out­takes” — not least the nev­er-prop­er­ly-released “Leon suites” Bowie and Eno record­ed before the album itself — “and in numer­ous fan com­men­taries.”

A kind of cir­cle closed in 1997 when Out­side’s “I’m Deranged” sound­tracked the open­ing cred­its of Lynch’s Lost High­way. But the work con­tin­ued to hold out pos­si­bil­i­ties until the end of Bowie’s life: “We both liked that album a lot and felt that it had fall­en through the cracks,” Eno said. “We talked about revis­it­ing it, tak­ing it some­where new.” Despite his Lynchi­an resis­tance to inter­pre­ta­tion, Bowie did acknowl­edge even in 1995 the the­mat­ic impor­tance of mor­tal­i­ty itself. Out­side’s first sin­gle was called “The Heart’s Filthy Les­son,” and “the filthy les­son in ques­tion is the fact that life is finite.” For him, “know­ing that I’ve got a finite time in life on Earth actu­al­ly clar­i­fies things and makes me feel quite buoy­ant.” Bowie knew — or learned — that life is too short not to fol­low your fas­ci­na­tions to their lim­its.

Relat­ed con­tent:

David Bowie’s Music Video “Jump They Say” Pays Trib­ute to Marker’s La Jetée, Godard’s Alphav­ille, Welles’ The Tri­al & Kubrick’s 2001

Watch an Epic, 4‑Hour Video Essay on the Mak­ing & Mythol­o­gy of David Lynch’s Twin Peaks

The Sto­ry of Zig­gy Star­dust: How David Bowie Cre­at­ed the Char­ac­ter that Made Him Famous

Watch the Twin Peaks Visu­al Sound­track Released Only in Japan: A New Way to Expe­ri­ence David Lynch’s Clas­sic Show

David Bowie & Bri­an Eno’s Col­lab­o­ra­tion on “Warsza­wa” Reimag­ined in a Com­ic Ani­ma­tion

When Bil­ly Idol Went Cyber­punk: See His Trib­ute to Neu­ro­mancer, His Record­ing Ses­sion with Tim­o­thy Leary, and His Lim­it­ed-Edi­tion Flop­py Disk (1993)

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, on Face­book, or on Insta­gram.

Remembering Dave Smith (RIP), the Father of MIDI & the Creator of the 80s’ Most Beloved Synthesizer, the Prophet‑5

Some founders rest on their lau­rels, build indus­tries around them­selves like a cocoon, and nev­er escape or out­grow the big achieve­ment that made their name. Some, like Dave Smith — the so-called “father of MIDI,” and one of the most inno­v­a­tive syn­the­siz­er pio­neers of the last sev­er­al decades – don’t stop cre­at­ing for long enough to col­lect dust. You may nev­er have heard of Smith, but you’ve heard his tech­nol­o­gy. Before pio­neer­ing MIDI (Musi­cal Instru­ment Dig­i­tal Inter­face), the dig­i­tal stan­dard that allows hun­dreds of elec­tron­ic instru­ments to play nice­ly with each oth­er across com­put­er and soft­ware mak­ers, Smith found­ed Sequen­tial Cir­cuits and built one of the most revered syn­the­siz­ers ever made, the Prophet‑5, invent­ed in 1977 and essen­tial to the sound of the 1980s and beyond.

Smith’s key­boards made appear­ances on stage, video, and albums through­out the decade. Duran Duran’s Nick Rhodes used the Prophet‑5 on the band’s first album and “vir­tu­al­ly every record I have made since then,” he said in a state­ment. “With­out Dav­e’s vision and inge­nu­ity,” Rhodes went on, “the sound of the 1980s would have been very dif­fer­ent, he tru­ly changed the son­ic sound­scape of a gen­er­a­tion.”

Sequen­tial synths appeared on albums by bands as dis­parate as The Cure and Daryl Hall & John Oates, who demon­strate the dream-like, ethe­re­al capa­bil­i­ties of the Prophet‑5 — the first ful­ly pro­gram­ma­ble poly­phon­ic ana­log synth — in “I Can’t Go for That (No Can Do).” The Prophet‑5 also drove the sound of Radio­head­’s Kid A, and indie dance dar­lings Hot Chip wrote they would be “noth­ing with­out what [Smith] cre­at­ed.” Few vin­tage synths are as desir­able as the Prophet‑5.

The orig­i­nal Prophet is “not immune to the dark side of vin­tage synths,” writes Vin­tage Synth Explor­er, includ­ing prob­lems such as unsta­ble tun­ing and a lack of MIDI. Smith fixed that issue him­self with new iter­a­tions of the Prophet and oth­er synths fea­tur­ing his most famous post-Prophet‑5 tech­nol­o­gy. “Like so many bril­liant and cre­ative peo­ple,” the MIDI Asso­ci­a­tion writes, Smith “always focused on the future.” He was “not actu­al­ly a big fan of being called the ‘Father of MIDI.’ ” Many peo­ple con­tributed to the devel­op­ment of the tech­nol­o­gy, espe­cial­ly Roland founder Iku­taro Kake­hashi, who won a tech­ni­cal Gram­my with Smith in 2013 for the pro­to­col that made its debut as a new stan­dard in 1983.

Smith pre­ferred mak­ing hard­ware instru­ments and “almost begrudg­ing­ly accept­ed inter­views about his con­tri­bu­tions to MIDI.…. He was also not a big fan of orga­ni­za­tions, com­mit­tees and meet­ings.” He was a synth lover’s synth mak­er, a design­er and engi­neer with a “deep under­stand­ing of what musi­cians want­ed,” says Rhodes. Col­lab­o­ra­tions with Yama­ha and Korg pro­duced more soft­ware inno­va­tions in the 90s, but in the 2000s, Smith returned to Sequen­tial Cir­cuits and debuted the Prophet X, Prophet‑6, and OB‑6 with Tom Ober­heim. The two design­ers col­lab­o­rat­ed in 2021 on the Ober­heim OB-X8 and Smith intro­duced it just weeks before his death.

He had trav­eled a long way from invent­ing the Prophet‑5 in 1977 and pre­sent­ing a paper in 1981 to the Audio Engi­neer­ing Soci­ety on what he then called a Uni­ver­sal Syn­the­siz­er Inter­face. Smith him­self nev­er seemed to stop and look back, but lovers of his famous instru­ments are hap­py we still can, and that elec­tron­ic instru­ments and com­put­ers can talk to each oth­er eas­i­ly thanks to MIDI. Few of those instru­ments sound as good as the orig­i­nal, how­ev­er. See a demon­stra­tion of the Prophet-5’s range of sounds in the video just above and hear more tracks that show off the synth in the list here.

Relat­ed Con­tent:

The Sto­ry of the Syn­thAxe, the Aston­ish­ing 1980s Gui­tar Syn­the­siz­er: Only 100 Were Ever Made

Wendy Car­los Demon­strates the Moog Syn­the­siz­er on the BBC (1970)

Thomas Dol­by Explains How a Syn­the­siz­er Works on a Jim Hen­son Kids Show (1989)

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

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