Discover the CIA’s Simple Sabotage Field Manual: A Timeless Guide to Subverting Any Organization with “Purposeful Stupidity” (1944)

I’ve always admired peo­ple who can suc­cess­ful­ly nav­i­gate what I refer to as “Kafka’s Cas­tle,” a term of dread for the many gov­ern­ment and cor­po­rate agen­cies that have an inor­di­nate amount of pow­er over our per­ma­nent records, and that seem as inscrutable and chill­ing­ly absurd as the labyrinth the char­ac­ter K nav­i­gates in Kafka’s last alle­gor­i­cal nov­el. Even if you haven’t read The Cas­tle, if you work for such an entity—or like all of us have reg­u­lar deal­ings with the IRS, the health­care and bank­ing sys­tem, etc.—you’re well aware of the dev­il­ish incom­pe­tence that mas­quer­ades as due dili­gence and ties us all in knots. Why do mul­ti-mil­lion and bil­lion dol­lar agen­cies seem unable, or unwill­ing, to accom­plish the sim­plest of tasks? Why do so many of us spend our lives in the real-life bureau­crat­ic night­mares sat­i­rized in The Office and Office Space?

One answer comes via Lau­rence J. Peter’s 1969 satire The Peter Prin­ci­ple—which offers the the­o­ry that man­agers and exec­u­tives get pro­mot­ed to the lev­el of their incompetence—then, David Brent-like, go on to ruin their respec­tive depart­ments. The Har­vard Busi­ness Review summed up dis­turb­ing recent research con­firm­ing and sup­ple­ment­ing Peter’s insights into the nar­cis­sism, over­con­fi­dence, or actu­al sociopa­thy of many a gov­ern­ment and busi­ness leader. But in addi­tion to human fail­ings, there’s anoth­er pos­si­ble rea­son for bureau­crat­ic dis­or­der; the con­spir­a­cy-mind­ed among us may be for­giv­en for assum­ing that in many cas­es, insti­tu­tion­al incom­pe­tence is the result of delib­er­ate sab­o­tage from both above and below. The ridicu­lous inner work­ings of most orga­ni­za­tions cer­tain­ly make a lot more sense when viewed in the light of one set of instruc­tions for “pur­pose­ful stu­pid­i­ty,” name­ly the once top-secret Sim­ple Sab­o­tage Field Man­u­al, writ­ten in 1944 by the CIA’s pre­cur­sor, the Office of Strate­gic Ser­vices (OSS).

Now declas­si­fied and freely avail­able on the CIA web­site, the man­u­al that the agency describes as “sur­pris­ing­ly rel­e­vant” was once dis­trib­uted to OSS offi­cers abroad to assist them in train­ing “cit­i­zen-sabo­teurs” in occu­pied coun­tries like Nor­way and France. Such peo­ple, writes Rebec­ca Onion at Slate, “might already be sab­o­tag­ing mate­ri­als, machin­ery, or oper­a­tions of their own ini­tia­tive,” but may have lacked the devi­ous tal­ent for sow­ing chaos that only an intel­li­gence agency can prop­er­ly mas­ter. Gen­uine lazi­ness, arro­gance, and mind­less­ness may sure­ly be endem­ic. But the Field Man­u­al asserts that “pur­pose­ful stu­pid­i­ty is con­trary to human nature” and requires a par­tic­u­lar set of skills. The cit­i­zen-sabo­teur “fre­quent­ly needs pres­sure, stim­u­la­tion or assur­ance, and infor­ma­tion and sug­ges­tions regard­ing fea­si­ble meth­ods of sim­ple sab­o­tage.”

You can read the full doc­u­ment here. To get a sense of just how “timeless”—according to the CIA itself—such instruc­tions remain, see the abridged list below, cour­tesy of Busi­ness Insid­er. You will laugh rue­ful­ly, then maybe shud­der a lit­tle as you rec­og­nize how much your own work­place, and many oth­ers, resem­ble the kind of dys­func­tion­al mess the OSS metic­u­lous­ly planned dur­ing World War II.

Orga­ni­za­tions and Con­fer­ences

  • Insist on doing every­thing through “chan­nels.” Nev­er per­mit short-cuts to be tak­en in order to expe­dite deci­sions.
  • Make “speech­es.” Talk as fre­quent­ly as pos­si­ble and at great length. Illus­trate your “points” by long anec­dotes and accounts of per­son­al expe­ri­ences.
  • When pos­si­ble, refer all mat­ters to com­mit­tees, for “fur­ther study and con­sid­er­a­tion.” Attempt to make the com­mit­tee as large as pos­si­ble — nev­er less than five.
  • Bring up irrel­e­vant issues as fre­quent­ly as pos­si­ble.
  • Hag­gle over pre­cise word­ings of com­mu­ni­ca­tions, min­utes, res­o­lu­tions.
  • Refer back to mat­ters decid­ed upon at the last meet­ing and attempt to re-open the ques­tion of the advis­abil­i­ty of that deci­sion.
  • Advo­cate “cau­tion.” Be “rea­son­able” and urge your fel­low-con­fer­ees to be “rea­son­able” and avoid haste which might result in embar­rass­ments or dif­fi­cul­ties lat­er on.

Man­agers

  • In mak­ing work assign­ments, always sign out the unim­por­tant jobs first. See that impor­tant jobs are assigned to inef­fi­cient work­ers.
  • Insist on per­fect work in rel­a­tive­ly unim­por­tant prod­ucts; send back for refin­ish­ing those which have the least flaw.
  • To low­er morale and with it, pro­duc­tion, be pleas­ant to inef­fi­cient work­ers; give them unde­served pro­mo­tions.
  • Hold con­fer­ences when there is more crit­i­cal work to be done.
  • Mul­ti­ply the pro­ce­dures and clear­ances involved in issu­ing instruc­tions, pay checks, and so on. See that three peo­ple have to approve every­thing where one would do.

Employ­ees

  • Work slow­ly
  • Work slow­ly.
  • Con­trive as many inter­rup­tions to your work as you can.
  • Do your work poor­ly and blame it on bad tools, machin­ery, or equip­ment. Com­plain that these things are pre­vent­ing you from doing your job right.
  • Nev­er pass on your skill and expe­ri­ence to a new or less skill­ful work­er.

Note: This post orig­i­nal­ly appeared on our site in Decem­ber 2015.

Relat­ed Con­tent:

The CIA’s Style Man­u­al & Writer’s Guide: 185 Pages of Tips for Writ­ing Like a Spook

How the CIA Fund­ed & Sup­port­ed Lit­er­ary Mag­a­zines World­wide While Wag­ing Cul­tur­al War Against Com­mu­nism

The C.I.A.’s “Bes­tiary of Intel­li­gence Writ­ing” Sat­i­rizes Spook Jar­gon with Mau­rice Sendak-Style Draw­ings

How the CIA Secret­ly Used Jack­son Pol­lock & Oth­er Abstract Expres­sion­ists to Fight the Cold War

When the CIA Stud­ied Psy­chic Tech­niques to Alter Human Con­scious­ness & Unlock Time Trav­el: Dis­cov­er “The Gate­way Process”

 

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

Explore the World’s First 3D Replica of St. Peter’s Basilica, Made with AI

In the trail­er below for the world’s first 3D repli­ca of St. Peter’s Basil­i­ca, Yves Ubel­mann speaks of using “AI for Good,” which isn’t just an ide­al, but also the name of a lab at Microsoft. Microsoft and Ubel­man’s dig­i­tal-preser­va­tion com­pa­ny Iconem were two of the par­tic­i­pants in that ambi­tious project, along with the Vat­i­can itself. Pope Fran­cis, writes AP’s Nicole Win­field, “has called for the eth­i­cal use of AI and used his annu­al World Mes­sage of Peace this year to urge an inter­na­tion­al treaty to reg­u­late it, argu­ing that tech­nol­o­gy lack­ing human val­ues of com­pas­sion, mer­cy, moral­i­ty and for­give­ness were too great.”

What bet­ter show of good faith in the tech­nol­o­gy than to allow AI to be used to bring the cen­ter of the faith Pope Fran­cis rep­re­sents to the world? In the near­ly 400 years since its com­ple­tion, of course, the world has always come to the cur­rent St. Peter’s Basil­i­ca, and will con­tin­ue to do so.

The 3D-repli­ca project “has been launched ahead of the Vatican’s 2025 Jubilee, a holy year in which more than 30 mil­lion pil­grims are expect­ed to pass through the basilica’s Holy Door, on top of the 50,000 who vis­it on a nor­mal day,” Win­field writes. But no mat­ter where in the world you hap­pen to be, you can vir­tu­al­ly enter St. Peter’s Basil­i­ca right now, and spend as long as you like, admir­ing the basil­i­ca itself, the cupo­la, Bernini’s St. Peter’s Bal­dachin, and Michelan­gelo’s Pietà, among oth­er fea­tures.

How­ev­er impor­tant (and atten­tion-draw­ing) arti­fi­cial intel­li­gence was as a tool in the cre­ation of this ultra-pre­cise “dig­i­tal twin” of St. Peter’s Basil­i­ca, the four-week process of cap­tur­ing every detail of the real struc­ture that could be cap­tured also neces­si­tat­ed the use of drones, lasers, and cam­eras tak­ing more than 400,000 dig­i­tal pho­tos. The “AI for Good Lab con­tributed advanced tools that refined the dig­i­tal twin with mil­lime­ter-lev­el accu­ra­cy, and used AI to help detect and map struc­tur­al vul­ner­a­bil­i­ties like cracks and miss­ing mosa­ic tiles,” says Microsoft­’s site. “The Vat­i­can over­saw the col­lab­o­ra­tion, ensur­ing the preser­va­tion of the Basil­i­ca as a cul­tur­al, spir­i­tu­al, and his­tor­i­cal­ly sig­nif­i­cant site for years to come.”

It makes a cer­tain sense to apply the high­est tech­nol­o­gy of our time for the ben­e­fit of a build­ing known as the great­est archi­tec­tur­al mar­vel of its time. But in order to bet­ter appre­ci­ate the kind of knowl­edge that will be revealed by the 22 petabytes of infor­ma­tion that went into the dig­i­tal mod­el (which offers its own guid­ed tour) we’d do well to immerse our­selves first in what was already known about St. Peter’s Basil­i­ca. For a brief intro­duc­tion to the con­cep­tion and evo­lu­tion of this grand church as it stands today, we could do much worse than archi­tec­ture-and-his­to­ry YouTu­ber Manuel Bravo’s video “St Peter’s Basil­i­ca Explained.” If you watch it, don’t be sur­prised if you find your­self tempt­ed to engage in pro­longed explo­ration of the mod­el — or indeed, to book a vis­it to the real thing. Enter the dig­i­tal St. Peter’s here.

Relat­ed con­tent:

Take a 3D Vir­tu­al Tour of the Sis­tine Chapel, St. Peter’s Basil­i­ca and Oth­er Art-Adorned Vat­i­can Spaces

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

3D Scans of 7,500 Famous Sculp­tures, Stat­ues & Art­works: Down­load & 3D Print Rodin’s Thinker, Michelangelo’s David & More

The Vat­i­can Library Goes Online and Dig­i­tizes Tens of Thou­sands of Man­u­scripts, Books, Coins, and More

Rome Reborn: A New 3D Vir­tu­al Mod­el Lets You Fly Over the Great Mon­u­ments of Ancient Rome

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

The Final Days of Leo Tolstoy Captured in Rare Footage from 1910

114 years ago today (Novem­ber 20, 1910), Leo Tol­stoy—the author who gave us two major Russ­ian clas­sics Anna Karen­i­na and War & Peacedied at Astapo­vo, a small, remote train sta­tion in the heart of Rus­sia. Pneu­mo­nia was the offi­cial cause. His death came just weeks after Tol­stoy, then 82 years old, made a rather dra­mat­ic deci­sion. He left his wife, his com­fort­able estate, and his wealth, then trav­eled 26 hours to Shar­mardi­no, where Tolstoy’s sis­ter Marya lived, and where he planned to spend the remain­der of his life in a small, rent­ed hut. (Elif Batu­man has more on this.) But then he pushed on, board­ing a train to the Cau­ca­sus. And it proved to be more than his already weak­ened con­sti­tu­tion could han­dle. Rather amaz­ing­ly, the footage above brings you back to Tol­stoy’s final days, and right to his deathbed itself. This clip comes from a 1969 BBC series Civil­i­sa­tion: A Per­son­al View by Ken­neth Clark, and these days you can still find copies of Clark’s accom­pa­ny­ing book kick­ing around online.

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 

The Only Col­or Pic­ture of Tol­stoy, Tak­en by Pho­tog­ra­phy Pio­neer Sergey Prokudin-Gorsky (1908)

Thomas Edison’s Record­ings of Leo Tol­stoy: Hear the Voice of the Great Russ­ian Nov­el­ist

Leo Tolstoy’s 17 “Rules of Life:” Wake at 5am, Help the Poor, & Only Two Broth­el Vis­its Per Month

An Ani­mat­ed Intro­duc­tion to Leo Tol­stoy, and How His Great Nov­els Can Increase Your Emo­tion­al Intel­li­gence

 

What Victorian People Sounded Like: Hear Recordings of Florence Nightingale & Queen Victoria Herself

More than 120 years after the end of the Vic­to­ri­an era, we might assume that we retain a more or less accu­rate cul­tur­al mem­o­ry of the Vic­to­ri­ans them­selves: of their social mores, their aes­thet­ic sen­si­bil­i­ties, their ambi­tions great and small, their many and var­ied hang-ups. Some of the most vivid rep­re­sen­ta­tions of these qual­i­ties have come down to us through pri­ma­ry sources, which tend to be texts and works of visu­al art. Late in Queen Vic­to­ri­a’s reign came pho­tographs, and at the very end, even the motion pic­ture. But how can we be sure how her peo­ple real­ly sound­ed?

Strict­ly speak­ing, the ear­li­est process for mechan­i­cal­ly record­ing the sound of the human voice dates back to 1860, not even halfway through the Vic­to­ri­an era. But the tech­nol­o­gy still had a long way to go at that time, and it was­n’t until the 1880s that Thomas Edis­on’s phono­graph and the wax cylin­ders it played became com­mer­cial­ly viable. So explains the King and Things video above, on the spread of audio record­ing and the ear­li­est pos­si­bil­i­ties it opened for cap­tur­ing the voic­es of what we now regard as the dis­tant past. Those voic­es include that of a man intro­duced as “one of Eng­land’s most famous after-din­ner speak­ers, Mr. Edmund Yates.”

That cylin­der was record­ed in 1888, at one of the Lon­don soirées held by an Amer­i­can Edi­son employ­ee named George Gouraud. The son of French engi­neer François Gouraud, who had intro­duced daguerreo­type pho­tog­ra­phy to the Unit­ed States in the 1830s, he took it upon him­self to bring the phono­graph to Britain. He did so in a top-down man­ner, invit­ing social­ly dis­tin­guished guests to his home for din­ner so that they might thrill to the nov­el­ty of after-din­ner speech­es deliv­ered by machine — and then record their own mes­sages to Edi­son him­self.  “I can only say that I am aston­ished and some­what ter­ri­fied at the results of this evening’s exper­i­ments,” said one of Gouraud’s guests, the com­pos­er Sir Arthur Sul­li­van.

That aston­ish­ment aside, Sul­li­van also admit­ted that he was “ter­ri­fied at the thought that so much hideous and bad music may be put on record for­ev­er.” Many alive today would cred­it him with con­sid­er­able pre­science on that count. But he also under­stood that the phono­graph would pro­duce won­ders, such as the record­ings includ­ed in this video of such nota­bles as four-time Prime Min­is­ter William Glad­stone, Flo­rence Nightin­gale, and Queen Vic­to­ria her­self — at least accord­ing to the con­sen­sus of the schol­ars who’ve scru­ti­nized the high­ly indis­tinct record­ing in ques­tion. Only long after Edis­on’s time would human­i­ty devel­op a record­ing tech­nol­o­gy capa­ble of being replayed again and again with­out degra­da­tion. But giv­en our image of Vic­to­ri­ans, per­haps it’s suit­able that their voic­es should sound ghost­ly.

Relat­ed con­tent:

100-Year-Old Music Record­ings Can Now Be Heard for the First Time, Thanks to New Dig­i­tal Tech­nol­o­gy

Opti­cal Scan­ning Tech­nol­o­gy Lets Researchers Recov­er Lost Indige­nous Lan­guages from Old Wax Cylin­der Record­ings

Down­load 10,000 of the First Record­ings of Music Ever Made, Thanks to the UCSB Cylin­der Audio Archive

Thomas Edison’s 1889 Record­ing of Otto von Bis­mar­ck‎ Dis­cov­ered

The Old­est Voic­es That We Can Still Hear: Hear Audio Record­ings of Ghost­ly Voic­es from the 1800s

Hear the First Record­ing of the Human Voice (1860)

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

 

A New 3D Scan, Created from 25,000 High-Resolution Images, Reveals the Remarkably Well-Preserved Wreck of Shackleton’s Endurance

Pho­tos on this page cour­tesy of the Falk­lands Mar­itime Her­itage 

Few who hear the sto­ry of the Endurance could avoid reflect­ing on the apt­ness of the ship’s name. A year after set­ting out on the Impe­r­i­al Trans-Antarc­tic Expe­di­tion in 1914, it got stuck in a mass of drift­ing ice off Antarc­ti­ca. There it remained for ten months, while leader Sir Ernest Shack­le­ton and his crew of 27 men wait­ed for a thaw. But the Endurance was being slow­ly crushed, and even­tu­al­ly had to be left to its watery grave. What secures its place in the his­to­ry books is the sub-expe­di­tion made by Shack­le­ton and five oth­ers in search of help, which ensured the res­cue of every sin­gle man who’d been on the ship.

This har­row­ing jour­ney has, of course, inspired doc­u­men­taries, includ­ing this year’s Endurance from Nation­al Geo­graph­ic, which debuted at the Lon­don Film Fes­ti­val last month and will come avail­able to stream on Dis­ney+ lat­er this fall. “The doc­u­men­tary incor­po­rates footage and pho­tos cap­tured dur­ing the expe­di­tion by Aus­tralian pho­tog­ra­ph­er Frank Hur­ley, who [in 1914] brought sev­er­al cam­eras along for the jour­ney,” writes Smithsonian.com’s Sarah Kuta. “Film­mak­ers have col­or-treat­ed Hurley’s black-and-white images and footage for the first time. They also used arti­fi­cial intel­li­gence to recre­ate crew mem­bers’ voic­es to ‘read’ their own diary entries.”

The fruits of an even more tech­no­log­i­cal­ly impres­sive project have been released along with Endurance: a 3D dig­i­tal mod­el “cre­at­ed from more than 25,000 high-res­o­lu­tion images cap­tured after the icon­ic ves­sel was dis­cov­ered in March 2022.”

As we not­ed at the time here on Open Cul­ture, the ship was found to be in remark­ably good con­di­tion after well over a cen­tu­ry spent two miles beneath the Wed­dell Sea. “Endurance looks much like it did when it sank on Novem­ber 21, 1915. Every­day items used by the crew — includ­ing din­ing plates, a boot and a flare gun — are still eas­i­ly rec­og­niz­able among the pro­tect­ed wreck­age.”

Endurance has, in oth­er words, endured. Its intact­ness — which “makes it look as though the ship,” writes CNN.com’s Jack Guy, “has been mirac­u­lous­ly lift­ed out of the Wed­dell Sea onto dry land in one piece” — is, in its way, as improb­a­ble and impres­sive as Shack­le­ton and com­pa­ny’s sur­vival of its fate­ful first expe­di­tion. The degree of detail cap­tured by this new scan (not tech­no­log­i­cal­ly fea­si­ble back at the time of the last acclaimed doc­u­men­tary on this sub­ject), should make pos­si­ble fur­ther, even deep­er research into the sto­ry of the Endurance. But one ques­tion will remain unan­swer­able: would that sto­ry have res­onat­ed quite as long had the ship kept its orig­i­nal name, Polaris?

via Smithsonian.com

Relat­ed con­tent:

The First Full 3D Scan of the Titan­ic, Made of More Than 700,000 Images Cap­tur­ing the Wreck’s Every Detail

How an Ancient Roman Ship­wreck Could Explain the Uni­verse

See the Well-Pre­served Wreck­age of Ernest Shackleton’s Ship Endurance Found in Antarc­ti­ca

Hear Ernest Shack­le­ton Speak About His Antarc­tic Expe­di­tion in a Rare 1909 Record­ing

New­ly Dis­cov­ered Ship­wreck Proves Herodotus, the “Father of His­to­ry,” Cor­rect 2500 Years Lat­er

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

How Designing Buildings Upside-Down Revolutionized Architecture, Making Possible St. Paul’s Cathedral, Sagrada Família & More

For 142 years now, Sagra­da Família has been grow­ing toward the sky. Or at least that’s what it seems to be doing, as its ongo­ing con­struc­tion real­izes ever more ful­ly a host of forms that look and feel not quite of this earth. It makes a kind of sense to learn that, in design­ing the cathe­dral that would remain a work in progress near­ly a cen­tu­ry after his death, Antoni Gaudí built a mod­el upside-down, mak­ing use of grav­i­ty in the oppo­site way to which we nor­mal­ly think of it as act­ing on a build­ing. But as archi­tec­ture YouTu­ber Stew­art Hicks explains in the video above, Gaudí was hard­ly the first to use that tech­nique.

Take St. Paul’s Cathe­dral, which Christo­pher Wren decid­ed to make the tallest build­ing in Lon­don in 1685. It includ­ed what would be the high­est dome ever built, at 365 feet off the ground. “For a tra­di­tion­al dome design to reach this height, it would have to span an open­ing that’s 160 feet or 49 meters wide, but this made it much too heavy for the walls below,” says Hicks. “Exist­ing tech­niques for build­ing this just could­n’t work.” Enter sci­en­tist-engi­neer Robert Hooke, who’d already been fig­ur­ing out ways to mod­el forces like this by hang­ing chains from the ceil­ing.

“Hooke’s genius was that he real­ized that the chain in his exper­i­ments was cal­cu­lat­ing the per­fect shape for it to remain in ten­sion, since that’s all it can do.” He explained domes as, phys­i­cal­ly, “the exact oppo­site of the chains. His famous line was, ‘As hangs the flex­ile line, so but invert­ed will stand the rigid arch.’ ” In oth­er words, “if you flip the shape of Hooke’s chain exper­i­ments upside down, the forces flip, and this shape is the per­fect com­pres­sion sys­tem.” Hence the dis­tinc­tive­ly elon­gat­ed-look­ing shape of the dome on the com­plet­ed St. Paul’s Cathe­dral, a depar­ture from all archi­tec­tur­al prece­dent.

The shape upon which Wren and Hooke set­tled turned out to be very sim­i­lar to what archi­tec­ture now knows as a cate­nary curve, a con­cept impor­tant indeed to Gaudí, who was “famous­ly enam­ored with what some call organ­ic forms.” He made detailed mod­els to guide the con­struc­tion of his projects, but after those he’d left behind for Sagra­da Família were destroyed by anar­chists in 1936, the builders had noth­ing to go on. Only in 1979 did the young archi­tect Mark Bur­ry “imag­ine the mod­els upside-down,” which brought about a new under­stand­ing of the build­ing’s com­plex, land­scape-like forms. It was a sim­i­lar phys­i­cal insight that made pos­si­ble such dra­mat­ic mid-cen­tu­ry build­ings as Anni­bale Vitel­lozzi and Pier Nervi’s Palazzet­to del­lo Sport and Eero Saari­nen’s TWA Flight Cen­ter: pure Space Age, but root­ed in the Enlight­en­ment.

Relat­ed con­tent:

How the World’s Biggest Dome Was Built: The Sto­ry of Fil­ip­po Brunelleschi and the Duo­mo in Flo­rence

How This Chica­go Sky­scraper Bare­ly Touch­es the Ground

Why Hasn’t the Pantheon’s Dome Col­lapsed?: How the Romans Engi­neered the Dome to Last 19 Cen­turies and Count­ing

An Archi­tec­tur­al Tour of Sagra­da Família, Antoni Gaudí’s Auda­cious Church That’s Been Under Con­struc­tion for 142 Years

A Guid­ed Tour of the Largest Hand­made Mod­el of Impe­r­i­al Rome: Dis­cov­er the 20x20 Meter Mod­el Cre­at­ed Dur­ing the 1930s

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

 

Behold the Oldest Written Text in the World: The Kish Tablet, Circa 3500 BC

Image by José-Manuel Ben­i­to, via Wiki­me­dia Com­mons

Some refer to the writ­ten Chi­nese lan­guage as ideo­graph­ic: that is, struc­tured accord­ing to a sys­tem in which each sym­bol rep­re­sents a par­tic­u­lar idea or con­cept, whether abstract or con­crete. That’s true of cer­tain Chi­nese char­ac­ters, but only a small minor­i­ty. Most of them are actu­al­ly logographs, each of which rep­re­sents a word or part of a word. But if you dig deep enough into their his­to­ry — and the his­to­ry of oth­er Asian lan­guages that use Chi­nese-derived vocab­u­lary — you’ll find that some start­ed out long ago as pic­tographs, designed visu­al­ly to rep­re­sent the thing to which they referred.

That does­n’t hold true for Chi­nese alone: it appears, in fact, that all writ­ten lan­guages began as forms of pic­to­graph­ic “pro­to-writ­ing,” at least judg­ing by the ear­li­est texts cur­rent­ly known to man. If we look at the old­est of them all, the lime­stone “Kish tablet” unearthed from the site of the epony­mous ancient Sumer­ian city in mod­ern-day Iraq, we can in some sense “read” sev­er­al of the sym­bols in its text, even five and a half mil­len­nia after it was writ­ten. “The writ­ing on its sur­face is pure­ly pic­to­graph­ic,” says the nar­ra­tor of the brief IFLScience video below, “and rep­re­sents a mid­point between pro­to-writ­ing and the more sophis­ti­cat­ed writ­ing of the cuneiform.”

Cuneiform, pre­vi­ous­ly fea­tured here on Open Cul­ture, was used by the ancient Baby­lo­ni­ans to label maps and record stew recipes, among oth­er impor­tant tasks. “First devel­oped around 3200 B.C. by Sumer­ian scribes in the ancient city-state of Uruk, in present-day Iraq, as a means of record­ing trans­ac­tions, cuneiform writ­ing was cre­at­ed by using a reed sty­lus to make wedge-shaped inden­ta­tions in clay tablets,” says Archae­ol­o­gy mag­a­zine. Over 3,000 years, this ear­li­est prop­er script “was used by scribes of mul­ti­ple cul­tures over that time to write a num­ber of lan­guages oth­er than Sumer­ian, most notably Akka­di­an, a Semit­ic lan­guage that was the lin­gua fran­ca of the Assyr­i­an and Baby­lon­ian Empires.”

Cuneiform was also used to write the Scheil dynas­tic tablet, which dates from the ear­ly sec­ond mil­len­ni­um BC. That means we can read it, and thus know that it com­pris­es a lit­er­ary-his­tor­i­cal text that lists off the reigns of var­i­ous rulers of Sumer­ian cities. We should note that the Scheil dynas­tic tablet is also, some­times, referred to as the “Kish tablet,” which sure­ly caus­es some con­fu­sion. But for the anony­mous writer of the ear­li­er Kish tablet, who would have lived about two mil­len­nia ear­li­er, the emer­gence of cuneiform and all the civ­i­liza­tion­al devel­op­ments it would make pos­si­ble lay far in the future. His pic­to­graph­ic text may nev­er be deci­phered prop­er­ly or mapped to a his­tor­i­cal­ly doc­u­ment­ed lan­guage, but at least we can tell that he must sure­ly have had hands and feet more or less like our own.

Relat­ed con­tent:

The Old­est Known Sen­tence Writ­ten in an Alpha­bet Has Been Found on a Head-Lice Comb (Cir­ca 1700 BC)

How to Write in Cuneiform, the Old­est Writ­ing Sys­tem in the World: A Short, Charm­ing Intro­duc­tion

Dic­tio­nary of the Old­est Writ­ten Lan­guage – It Took 90 Years to Com­plete, and It’s Now Free Online

How Writ­ing Has Spread Across the World, from 3000 BC to This Year: An Ani­mat­ed Map

40,000-Year-Old Sym­bols Found in Caves World­wide May Be the Ear­li­est Writ­ten Lan­guage

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

Carl Jung Psychoanalyzes Hitler: “He’s the Unconscious of 78 Million Germans.” “Without the German People He’d Be Nothing” (1938)

Were you to google “Carl Jung and Nazism”—and I’m not sug­gest­ing that you do—you would find your­self hip-deep in the charges that Jung was an anti-Semi­te and a Nazi sym­pa­thiz­er. Many sites con­demn or exon­er­ate him; many oth­ers cel­e­brate him as a blood and soil Aryan hero. It can be nau­se­at­ing­ly dif­fi­cult at times to tell these accounts apart. What to make of this con­tro­ver­sy? What is the evi­dence brought against the famed Swiss psy­chi­a­trist and one­time close friend, stu­dent, and col­league of Sig­mund Freud?

Truth be told, it does not look good for Jung. Unlike Niet­zsche, whose work was delib­er­ate­ly bas­tardized by Nazis, begin­ning with his own sis­ter, Jung need not be tak­en out of con­text to be read as anti-Semit­ic. There is no irony at work in his 1934 paper The State of Psy­chother­a­py Today, in which he mar­vels at Nation­al Social­ism as a “for­mi­da­ble phe­nom­e­non,” and writes, “the ‘Aryan’ uncon­scious has a high­er poten­tial than the Jew­ish.” This is only one of the least objec­tion­able of such state­ments, as his­to­ri­an Andrew Samuels demon­strates.

One Jun­gian defend­er admits in an essay col­lec­tion called Lin­ger­ing Shad­ows that Jung had been “uncon­scious­ly infect­ed by Nazi ideas.” In response, psy­chol­o­gist John Con­ger asks, “Why not then say that he was uncon­scious­ly infect­ed by anti-Semit­ic ideas as well?”—well before the Nazis came to pow­er. He had expressed such thoughts as far back as 1918. Like the philoso­pher Mar­tin Hei­deg­ger, Jung was accused of trad­ing on his pro­fes­sion­al asso­ci­a­tions dur­ing the 30s to main­tain his sta­tus, and turn­ing on his Jew­ish col­leagues while they were purged.

Yet his biog­ra­ph­er Deirdre Bair claims Jung’s name was used to endorse per­se­cu­tion with­out his con­sent. Jung was incensed, “not least,” Mark Ver­non writes at The Guardian, “because he was actu­al­ly fight­ing to keep Ger­man psy­chother­a­py open to Jew­ish indi­vid­u­als.” Bair also reveals that Jung was “involved in two plots to oust Hitler, essen­tial­ly by hav­ing a lead­ing physi­cian declare the Führer mad. Both came to noth­ing.” And unlike Hei­deg­ger, Jung strong­ly denounced anti-Semit­ic views dur­ing the war. He “pro­tect­ed Jew­ish ana­lysts,” writes Con­ger, “and helped refugees.” He also worked for the OSS, pre­cur­sor to the CIA, dur­ing the war.

His recruiter Allen Dulles wrote of Jung’s “deep antipa­thy to what Nazism and Fas­cism stood for.” Dulles also cryp­ti­cal­ly remarked, “Nobody will prob­a­bly ever know how much Prof. Jung con­tributed to the allied cause dur­ing the war.” These con­tra­dic­tions in Jung’s words, char­ac­ter, and actions are puz­zling, to say the least. I would not pre­sume to draw any hard and fast con­clu­sions from them. They do, how­ev­er, serve as the nec­es­sary con­text for Jung’s obser­va­tions of Adolf Hitler. Nazis of today who praise Jung most often do so for his sup­posed char­ac­ter­i­za­tion of Hitler as “Wotan,” or Odin, a com­par­i­son that thrills neo-pagans who, like the Ger­mans did, use ancient Euro­pean belief sys­tems as clothes hang­ers for mod­ern racist nation­al­ism.

In his 1936 essay, “Wotan,” Jung describes the old god as a force all its own, a “per­son­i­fi­ca­tion of psy­chic forces” that moved through the Ger­man peo­ple “towards the end of the Weimar Republic”—through the “thou­sands of unem­ployed,” who by 1933 “marched in their hun­dreds of thou­sands.” Wotan, Jung writes, “is the god of storm and fren­zy, the unleash­er of pas­sions and the lust of bat­tle; more­over he is a superla­tive magi­cian and artist in illu­sion who is versed in all secrets of an occult nature.” In per­son­i­fy­ing the “Ger­man psy­che” as a furi­ous god, Jung goes so far as to write, “We who stand out­side judge the Ger­mans far too much as if they were respon­si­ble agents, but per­haps it would be near­er the truth to regard them also as vic­tims.”

“One hopes,” writes Per Brask, “evi­dent­ly against hope, that Jung did not intend” his state­ments “as an argu­ment of redemp­tion for the Ger­mans.” What­ev­er his inten­tions, his mys­ti­cal racial­iza­tion of the uncon­scious in “Wotan” accord­ed per­fect­ly well with the the­o­ries of Alfred Rosen­berg, “Hitler’s chief ide­ol­o­gist.” Like every­thing about Jung, the sit­u­a­tion is com­pli­cat­ed. In a 1938 inter­view, pub­lished by Omni­book Mag­a­zine in 1942, Jung repeat­ed many of these dis­turb­ing ideas, com­par­ing the Ger­man wor­ship of Hitler to the Jew­ish desire for a Mes­si­ah, a “char­ac­ter­is­tic of peo­ple with an infe­ri­or­i­ty com­plex.” He describes Hitler’s pow­er as a form of “mag­ic.” But that pow­er only exists, he says, because “Hitler lis­tens and obeys….”

His Voice is noth­ing oth­er than his own uncon­scious, into which the Ger­man peo­ple have pro­ject­ed their own selves; that is, the uncon­scious of sev­en­ty-eight mil­lion Ger­mans. That is what makes him pow­er­ful. With­out the Ger­man peo­ple he would be noth­ing.

Jung’s obser­va­tions are bom­bas­tic, but they are not flat­ter­ing. The peo­ple may be pos­sessed, but it is their will, he says, that the Nazi leader enacts, not his own. “The true leader,” says Jung, “is always led.” He goes on to paint an even dark­er pic­ture, hav­ing close­ly observed Hitler and Mus­soli­ni togeth­er in Berlin:

In com­par­i­son with Mus­soli­ni, Hitler made upon me the impres­sion of a sort of scaf­fold­ing of wood cov­ered with cloth, an automa­ton with a mask, like a robot or a mask of a robot. Dur­ing the whole per­for­mance he nev­er laughed; it was as though he were in a bad humor, sulk­ing. He showed no human sign.

His expres­sion was that of an inhu­man­ly sin­gle-mind­ed pur­po­sive­ness, with no sense of humor. He seemed as if he might be a dou­ble of a real per­son, and that Hitler the man might per­haps be hid­ing inside like an appen­dix, and delib­er­ate­ly so hid­ing in order not to dis­turb the mech­a­nism.

With Hitler you do not feel that you are with a man. You are with a med­i­cine man, a form of spir­i­tu­al ves­sel, a demi-deity, or even bet­ter, a myth. With Hitler you are scared. You know you would nev­er be able to talk to that man; because there is nobody there. He is not a man, but a col­lec­tive. He is not an indi­vid­ual, but a whole nation. I take it to be lit­er­al­ly true that he has no per­son­al friend. How can you talk inti­mate­ly with a nation?

Read the full inter­view here. Jung goes on to fur­ther dis­cuss the Ger­man resur­gence of the cult of Wotan, the “par­al­lel between the Bib­li­cal tri­ad… and the Third Reich,” and oth­er pecu­liar­ly Jun­gian for­mu­la­tions. Of Jung’s analy­sis, inter­view­er H.R. Knicker­bock­er con­cludes, “this psy­chi­atric expla­na­tion of the Nazi names and sym­bols may sound to a lay­man fan­tas­tic, but can any­thing be as fan­tas­tic as the bare facts about the Nazi Par­ty and its Fuehrer? Be sure there is much more to be explained in them than can be explained by mere­ly call­ing them gang­sters.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent:

George Orwell Reviews Mein Kampf: “He Envis­ages a Hor­ri­ble Brain­less Empire” (1940)

Carl Jung Offers an Intro­duc­tion to His Psy­cho­log­i­cal Thought in a 3‑Hour Inter­view (1957)

How Carl Jung Inspired the Cre­ation of Alco­holics Anony­mous

Carl Jung on the Pow­er of Tarot Cards: They Pro­vide Door­ways to the Uncon­scious & Per­haps a Way to Pre­dict the Future

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

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