In 2013, PenÂguin released in the UK a series of new covÂers for five works by George Orwell, includÂing a parÂticÂuÂlarÂly bold covÂer design for Orwell’s best-known work, 1984. AccordÂing to CreÂative Review, the designÂer, David PearÂson, made it so that the book’s title and Orwell’s name were debossed, then almost comÂpleteÂly obscured by black foilÂing, leavÂing just “enough of a dent for the title to be deterÂmined.” No doubt, the design plays on the whole idea of cenÂsorÂship, “refÂerÂencÂing the rewritÂing of hisÂtoÂry carÂried out by the novel’s MinÂistry of Truth.”
Years latÂer, you’ll have difÂfiÂculÂty buyÂing new copies of PearÂsonÂ’s design. They’re in pretÂty short supÂply. But anyÂone with a well-worn copy of the book might disÂcovÂer what one RedÂdiÂtor has also observed–that the covÂer design “becomes less cenÂsored with wear.” ComÂpare the “before” image above to the “after” image down below. Was this all part of PearÂsonÂ’s long-range masÂter plan? Or someÂthing of a design flaw? We’ll probÂaÂbly nevÂer know. But if you’re lookÂing for a book that gets betÂter with age, then this is one to add to your list.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
Are mulÂtiÂple interÂpreÂtaÂtions posÂsiÂble?
Artist Jim SanÂborn’s masÂsive sculpÂture KrypÂtos may inspire varÂiÂous reacÂtions in its viewÂers, but there’s defÂiÂniteÂly a sinÂgle corÂrect interÂpreÂtaÂtion.
But 78-year-old SanÂborn isn’t sayÂing what…
He wants someÂone else to idenÂtiÂfy it.
KrypÂtos’ main mysÂtery — more like “a ridÂdle wrapped in a mysÂtery inside an enigÂma” to quote WinÂston Churchill — was hand cut into an S‑shaped copÂper screen using jigÂsaws.
Image courÂtesy of the CIA
ProÂfesÂsionÂal cryptÂanÂaÂlysts, hobÂbyÂists, and stuÂdents have been attemptÂing to crack the code of its 865 letÂters and 4 quesÂtion marks since 1990, when it was installed on the grounds of CIA headÂquarÂters in LanÂgÂley, VirÂginia.
The hands-on part fell well withÂin Sanborn’s purview. But a MasÂters in sculpÂture from Pratt InstiÂtute does not autoÂmatÂiÂcalÂly conÂfer crypÂtogÂraÂphy bonafides, so SanÂborn enlistÂed Edward ScheiÂdt, the retired chairÂman of the CIA’s CrypÂtoÂgraphÂic CenÂter, for a crash course in late 20th-cenÂtuÂry codÂing sysÂtems.
SanÂborn samÂpled varÂiÂous codÂing methÂods for the finÂished piece, wantÂiÂng the act of deciÂpherÂing to feel like “peelÂing layÂers off an onion.”
That onion has been parÂtialÂly peeled for years.
GilloÂgly arrived at his soluÂtion in 1999, using a PenÂtium II.
Stein reached the same conÂcluÂsion a year earÂliÂer, after chipÂping away at it for some 400 hours with penÂcil and paper, though the CIA kept his achieveÂment on the down low until GilloÂgly went pubÂlic with his.
The folÂlowÂing year the NationÂal SecuÂriÂty Agency claimed that four of their employÂees, workÂing colÂlabÂoÂraÂtiveÂly, had reached an idenÂtiÂcal soluÂtion in 1992, a fact corÂrobÂoÂratÂed by docÂuÂments obtained through the FreeÂdom of InforÂmaÂtion Act.
This still leaves the 97-charÂacÂter phrase from the final panÂel up for grabs. CrackÂing it will be the penulÂtiÂmate step in solvÂing KrypÂtos’ puzÂzle. As SanÂborn told NPR in 2020, “that phrase is in itself a ridÂdle:”
It’s mysÂteÂriÂous. It’s going to lead to someÂthing else. It’s not going to be finÂished when it’s decodÂed.
The pubÂlic is welÂcome to conÂtinÂue makÂing eduÂcatÂed guessÂes.
SanÂborn has leaked three clues over the years, all words that can be found in the final pasÂsage of decryptÂed text.
BERLIN, at posiÂtions 64 — 69 (2010)
CLOCK, at posiÂtions 70 — 74 (2014)
NORTHEAST, at posiÂtion 26 — 34
Have you solved it, yet?
No?
Don’t feel bad…
SanÂborn has been fieldÂing incorÂrect answers daiÂly for decades, though a risÂing tide of aggresÂsive and racist mesÂsages led him to charge 50 bucks per subÂmisÂsion, to which he responds via e‑mail, with absoluteÂly no hope of hints.
KrypÂtos’ most dedÂiÂcatÂed fans, like game develÂopÂer /cryptologist ElonÂka Dunin, seen plyÂing SanÂborn with copiÂous quanÂtiÂties of sushi above in Great Big StoÂry’s video, find valÂue in workÂing togethÂer and, someÂtimes, in perÂson.
Their dream is that SanÂborn might inadÂverÂtentÂly let slip a valuÂable tidÂbit in their presÂence, though that seems like a long shot.
The artist claims to have gotÂten very skilled at mainÂtainÂing a pokÂer face.
(Wait, does that sugÂgest his interÂlocuÂtors have been getÂting warmer?)
Dunin has relinÂquished all fanÂtasies of solvÂing KrypÂtos solo, and now works to help someÂone — anyÂone — solve it.
SanÂford has put a conÂtinÂgency plan in place in case no one ever manÂages to get to the botÂtom of the KrypÂtos (ancient Greek for “hidÂden”) conunÂdrum.
He, or repÂreÂsenÂtaÂtives of his estate, will aucÂtion off the soluÂtion. He is conÂtent with letÂting the winÂning bidÂder decide whether or not to share what’s been revealed to them.
“I do realÂize that the valÂue of KrypÂtos is unknown and that perÂhaps this conÂcept will bear litÂtle fruit,” he told the New York Times, though if one takes the massÂes of peoÂple desÂperÂate to learn the soluÂtion and facÂtors in Sanford’s intenÂtion to donate all proÂceeds to cliÂmate research, it may well bear quite a healthy amount of fruit.
Join ElonÂka Dunin’s online comÂmuÂniÂty of KrypÂtos enthuÂsiÂasts here.
To give you a taste of what you’re in for, here are the first two panÂels, folÂlowed by their soluÂtions, with the artist’s intenÂtionÂal misÂspellings intact.
1. EncryptÂed Text
EMUFPHZLRFAXYUSDJKZLDKRNSHGNFIVJ
YQTQUXQBQVYUVLLTREVJYQTMKYRDMFD
DecryptÂed Text
Between subÂtle shadÂing and the absence of light lies the nuance of iqluÂsion.
DecryptÂed Text
It was totalÂly invisÂiÂble Hows that posÂsiÂble? They used the Earths magÂnetÂic field X
The inforÂmaÂtion was gathÂered and transÂmitÂted underÂgruÂund to an unknown locaÂtion X
Does LanÂgÂley know about this? They should Its buried out there someÂwhere X
Who knows the exact locaÂtion? Only WW This was his last mesÂsage X
ThirÂty eight degrees fifty sevÂen minÂutes six point five secÂonds north
SevÂenÂty sevÂen degrees eight minÂutes forty four secÂonds west ID by rows
View step by step soluÂtions for the first three of KrypÂtos’ encryptÂed panÂels here.
Author, eduÂcaÂtor and book restoraÂtion expert Sophia Bogle is in a conÂstant race against time. Her misÂsion: to resÂcue and restore ill-treatÂed books before their lamÂenÂtaÂble conÂdiÂtions can conÂsign them to the landÂfill.
To the untrained eye, many of these volÂumes appear beyond repair, but Bogle has nerves of steel, preterÂnatÂurÂal patience, surÂgiÂcal preÂciÂsion, and over thirÂty years of expeÂriÂence.
In the Wired video above, she uses a 106-year-old first ediÂtion of Frank L. Baum’s The Lost Princess of Ozto demonÂstrate some of the steps of her craft — from cutÂting open an old book’s spine and washÂing dirty pages to repairÂing tears and recolÂorÂing illusÂtraÂtions.
PriÂor to takÂing the final step, she scrawls a hidÂden mesÂsage on the backÂing mateÂrÂiÂal of the spine:
I do love the fact that there’s the stoÂry in the book, there’s the stoÂry of the restoraÂtion of the book, there’s the stoÂry of who has owned the book and now, I’m just in there just a litÂtle bit more.
This playÂful bit of hard-won license is a far cry from some shady restoraÂtion pracÂtices she menÂtions in an interÂview on the WelÂcome to LitÂerÂary AshÂland blog, in an attempt to arm the genÂerÂal pubÂlic with tools for spotÂting potenÂtial fraud:
I am not sure that there is anyÂthing in the world that canÂnot be twistÂed with evil intent…Swapping out pages with pubÂlishÂers inforÂmaÂtion in order to make the book appear to be a more valuÂable ediÂtion. ScratchÂing out/removing numÂbers or words for the same purÂpose. And lastÂly, swapÂping out pages to insert the author’s sigÂnaÂture. None of those things can be done withÂout intent to defraud and it is the intent that matÂters most.
Book lovers who have both the time and the temÂperaÂment for bookÂbindÂing, as well as Bogle’s pasÂsion for preÂservÂing culÂture one book at a time, might conÂsidÂer applyÂing for a Save Your Books scholÂarÂship.
Or, they may be left wishÂing you’d givÂen them a vastÂly more hugÂgable machine-made plushie verÂsion, espeÂcialÂly if you can’t help suckÂing in your breath every time they start fumÂbling with that exquisÂiteÂly craftÂed ¥330,000 yen heirÂloom-to-be. (That’s $2341.81 in US dolÂlars.)
Of course, direcÂtor Hayao MiyazaÂki’s 1988 aniÂmatÂed feaÂture My NeighÂbor Totorohas legions of fans of all ages, and some will conÂsidÂer themÂselves quite lucky if they win the lotÂtery that grants them the abilÂiÂty to purÂchase such a treaÂsure.
They’re not only carved by skilled artiÂsans in InaÂmi, the city of woodÂcarvÂing, but the wood is also that of a camÂphor tree — the natÂurÂal habiÂtat of the mysÂteÂriÂous, magÂiÂcal Totoro! (It’s also conÂsidÂered holy by pracÂtiÂtionÂers of the ShinÂto reliÂgion.)
Still, if it’s unclear that the recipÂiÂent will truÂly appreÂciÂate such thoughtÂfulÂness, you’re probÂaÂbly betÂter off going with anothÂer offerÂing from StuÂdio Ghibli’s Totoro-themed colÂlabÂoÂraÂtion with NakÂaÂgawa Masashichi Shoten, a purÂveyÂor of traÂdiÂtionÂal JapanÂese crafts.
PerÂhaps a¥4180 bud vase fired in UreÂshiÂno City’s Edo-periÂod Yozan Kiln, feaÂturÂing Totoro or a clusÂter of susuwatari, the pom pom-like soot sprites infestÂing the KusakÂabe famÂiÂly’s new home, who also play a part in SpirÂitÂed Away.
Maybe a tiny Totoro bell amulet, moldÂed by craftsÂmen in Odawara, celÂeÂbratÂed for the qualÂiÂty of their metÂalÂwork since the earÂly 1500s, when they outÂfitÂted samuÂrai with weapons, armor and helÂmets?
As one of the leadÂing towns along the trunk road, YatuÂso flourÂished through … proÂducÂtion of wrapÂping paper for the nation-wide famous “ToyaÂma MedÂiÂcine”. At its goldÂen age, from the Edo Era to the beginÂning of the MeiÂji Era in the 19th cenÂtuÂry, many peoÂple were engaged in paperÂmakÂing by handÂwork in their homes. YatÂsuo JapanÂese paper was expectÂed to be unbreakÂable because it was used as packÂage for expenÂsive medÂiÂcine and at the same time it should look brilÂliant. It had to be thick and stout so that it could be imperÂviÂous to water and the label printÂed on the surÂface would not be smeared.
The list of Totoro-inspired traÂdiÂtionÂal crafts is impresÂsive. A repÂreÂsenÂtaÂtive samÂpling:
Chusen-dyed tenugui handÂkerÂchiefs and t‑shirts…
DishÂtowÂels made from five layÂers of Kayaori fabÂric that “was introÂduced to Japan durÂing the Nara periÂod and is said to allow wind to pass through but keep mosÂquiÂtoes out”…
PanÂtone has declared “Peach Fuzz” the ColÂor of the Year. This selecÂtion, howÂevÂer, raisÂes the quesÂtion: How did PanÂtone become the globÂal authorÂiÂty on colÂor? Above, the Wall Street JourÂnal describes how PanÂtone began as a comÂmerÂcial printÂing comÂpaÂny durÂing the 1950s. Then, in the earÂly 60s, it evolved into someÂthing quite difÂferÂent. RecÂogÂnizÂing that its clients (and othÂer comÂpaÂnies) need to print mateÂriÂals with conÂsisÂtent colÂors, PanÂtone creÂatÂed a uniÂverÂsal colÂor lanÂguage, the PanÂtone MatchÂing SysÂtem (PMS), where each colÂor is assigned a speÂcifÂic numÂber. For instance, “Peach Fuzz” corÂreÂsponds to #FFBE98. As Slate points out, this sysÂtem ensured that “printÂers and clients would have a shared refÂerÂence when they talk to one another—an indusÂtry stanÂdard, so that a colÂor would mean the same thing all the way from a designer’s vision to the printÂed item.” Over the next 60 years, PanÂtone conÂtinÂued to nurÂture the PanÂtone MatchÂing SysÂtem, undoubtÂedÂly genÂerÂatÂing sigÂnifÂiÂcant revÂenue along the way and, more imporÂtantÂly, makÂing itself the arbiter of colÂor worldÂwide.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
ParÂticÂiÂpants in these studÂies were assigned to play one of two parts — teacher or learnÂer. PartÂner pairs were seatÂed in sepÂaÂrate rooms, accesÂsiÂble to each othÂer by microÂphones. The teacher read the learnÂer a list of matched words they’d expectÂed to rememÂber shortÂly thereÂafter. If the learnÂer flubbed up, the teacher was to adminÂisÂter an elecÂtric shock via a series of labelled switchÂes, upping it by 15-volts for each sucÂcesÂsive error. The microÂphones ensured that the teacher was privy to the learner’s increasÂingÂly disÂtressed reacÂtions — screams, desÂperÂate protesÂtaÂtion, and — at the highÂest voltÂage — radio silence.
Should a teacher hesÂiÂtate, they’d be remindÂed that the paraÂmeÂters of the experÂiÂment, for which they were earnÂing $4.50, required them to conÂtinÂue. They also received reasÂsurÂance that the painful shocks caused no perÂmaÂnent tisÂsue damÂage.
Here’s the thing:
The teachÂers were innoÂcent as to the experiment’s true nature. They thought the study’s focus was punishment’s effect on learnÂing abilÂiÂty, but in fact, MilÂgram was studyÂing the limÂits of obeÂdiÂence to authorÂiÂty.
The learnÂers were all in on the ruse. They received no shocks. Their responsÂes were all feigned.
If our eyes don’t deceive us, the MilÂgram experÂiÂment that the AI imagÂines is even more extreme than the origÂiÂnal. It appears all parÂticÂiÂpants, includÂing those waitÂing for their turn, are in the same room.
As someÂone comÂmentÂed on Bluesky, the new social media platÂform on which UllÂman shared his hypoÂthetÂiÂcal playÂsets, “the subÂtle details the AI has got wrong here are the stuff of nightÂmares.”
AI’s take on the StanÂford prison experÂiÂment seems more benign than the conÂtroÂverÂsial 1971 experÂiÂment that recruitÂed 24 stuÂdent parÂticÂiÂpants for a filmed study of prison life to be staged in StanÂford University’s psyÂcholÂoÂgy departÂmenÂt’s baseÂment, ranÂdomÂly dividÂing them into prisÂonÂers and guards.
AI’s faithÂful recreÂation of the LEGO figÂurines’ physÂiÂcal limÂiÂtaÂtions can’t realÂly capÂture the faux guards’ bruÂtalÂiÂty — makÂing their prisÂonÂers clean out toiÂlets with their bare hands, stripÂping them naked, and deprivÂing them of food and beds. Their powÂer abusÂes were so wanÂton, and the prisÂonÂers’ disÂtress so extreme, that the planned duraÂtion of two weeks was scrapped six days in.
It’s worth notÂing that all the stuÂdent parÂticÂiÂpants came to the study with clean bills of physÂiÂcal and menÂtal health, and no hisÂtoÂries of crimÂiÂnal arrest.
Far less upsetÂting are the cogÂniÂtive sciÂence experÂiÂment playÂsets depictÂing the delayed gratÂiÂfiÂcaÂtion of the StanÂford MarshÂmalÂlow Test and the selecÂtive attenÂtion of the InvisÂiÂble GorilÂla Test (both right above).
No word on whether he has plans to conÂtinÂue experÂiÂmentÂing with AI-engiÂneered LEGO playÂset proÂposÂals feaÂturÂing hisÂtoric experÂiÂments of psyÂcholÂoÂgy and cogÂniÂtive sciÂence.
FolÂlow on Bluesky if you’re curiÂous. You’ll need to regÂisÂter for a free account and apply for an invite code, if you haven’t already… wait, are we setÂting ourÂselves up to be unwitÂting parÂticÂiÂpants in anothÂer psych experÂiÂment?
The invenÂtion of sibÂlings MikÂlĂłs and ÉtiÂenne Vadász, the world’s first pockÂet record playÂer caused a stir when it was introÂduced a cenÂtuÂry ago, nabÂbing first prize at an interÂnaÂtionÂal music exhiÂbiÂtion and findÂing favor with modÂernist archiÂtect Le CorÂbusier, who hailed it for embodyÂing the “essence of the esprit nouÂveau.”
Unlike more recent portable audio innoÂvaÂtions, some assemÂbly was required.
It’s fair to assume that the StanÂford Archive of RecordÂed Sound staffer deftÂly unpackÂing antique Mikiphone comÂpoÂnents from its cunÂning Sony DisÂcÂman-sized case, above, has more pracÂtice putting the thing togethÂer than a nerÂvous young felÂla eager to woo his gal al fresÂco with his just purÂchased, cutÂting edge 1924 techÂnolÂoÂgy.
A periÂod adverÂtiseÂment extols the Mikiphone’s portaÂbilÂiÂty …
Fits in a jackÂet pockÂet
Goes in a lady’s handÂbag
Will hang on a cycle frame
Goes in a car door pockÂet
IdeÂal for picÂnics, car jaunts, rivÂer trips
…but fails to menÂtion that in order to enjoy it, you’d also have to schlep along a fair amount of 78 RPM records, whose 10-inch diamÂeÂters aren’t nearÂly so pockÂet and purse-comÂpatÂiÂble.
MaiÂson PailÂlard proÂduced approxÂiÂmateÂly 180,000 of these hand-cranked wonÂders over the course of three years. When sales dropped in 1927, the remainÂing stock was sold off at a disÂcount or givÂen away to conÂtest winÂners.
These days, an authenÂtic MikÂphone can fetch $500 and upward at aucÂtion. (Beware of MikiÂphonies!)
Even those who remain imperÂviÂous to disÂco fever seem willÂing to acknowlÂedge its culÂturÂal sigÂnifÂiÂcance as eviÂdenced by a recent exchange on the Trouser Press forum:
It was everyÂwhere and could indeed get tireÂsome. But today I can appreÂciÂate how well put-togethÂer those records by an artist like the Bee Gees were…
HearÂing techÂno for the first time in the earÂly 90s, and realÂizÂing it was just disÂco in a new, all-elecÂtronÂic packÂage, made me realÂize how good a lot of it was…
And while the disÂco exploÂsion evenÂtuÂalÂly saw young straight sinÂgles doing the Bump in IndiÂanapoÂlis, Phoenix, and Spokane, Dorothy sticks close to the epiÂcenÂter by includÂing such legÂendary New York City clubs as StuÂdio 54, The Gallery, ParÂadise Garage, The Saint, and The Loft, a priÂvate disÂcotheque in DJ David ManÂcuÂso’s LowÂer ManÂhatÂtan apartÂment.
There was a mix of sexÂuÂal oriÂenÂtaÂtion, there was a mix of races, mix of ecoÂnomÂic groups. A real mix, where the comÂmon denomÂiÂnaÂtor was music.
One can’t menÂtion the music at The Loft withÂout givÂing props to the innoÂvÂaÂtive and effiÂcient sound sysÂtem RosÂner devised for Mancuso’s 1,850-square-foot space, using a McInÂtosh ampliÂfiÂer, an AR ampliÂfiÂer, Vega bass botÂtom speakÂers, and two KlipÂschorn CornÂwall loudÂspeakÂers, whose cirÂcuit diaÂgram inspired the DisÂco Love BlueÂprintÂ’s layÂout.
As comÂposÂer and proÂducÂer Matt SomÂmers told The Vinyl FacÂtoÂry, those speakÂers surÂroundÂed dancers with the sort of high volÂume, undisÂtortÂed sound they could lose themÂselves in:
…the ManÂcuÂso parÂties were unique because what he did was take it to a whole othÂer levÂel and creÂatÂed that envelÂopÂment expeÂriÂence where you could realÂly get lost and I think that’s what peoÂple love about that, because you can just let your trouÂbles go and enjoy it.
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