Fascism!: The US Army Publishes a Pamphlet in 1945 Explaining How to Spot Fascism at Home and Abroad

Fas­cism is a word that’s been used a great deal these last few years,” says the arti­cle pic­tured above (scanned in full here at the Inter­net Archive). “We come across it in our news­pa­pers, we hear it in our news­reels, it comes up in our bull ses­sions.” Oth­er than the part about news­reels (today’s equiv­a­lent being our social-media feeds, or per­haps the videos put before our eyes by the algo­rithm), these sen­tences could well have been pub­lished today. Some see the fas­cist takeover of mod­ern-day democ­ra­cies as prac­ti­cal­ly immi­nent, while oth­ers argue that the con­cept itself has no mean­ing in the twen­ty-first cen­tu­ry. But 78 years ago, when this issue of Army Talk came off the press, fas­cism was very much a going — and fear­some — con­cern.

“Begin­ning in 1943, the War Depart­ment pub­lished a series of pam­phlets for U.S. Army per­son­nel in the Euro­pean the­ater of World War II,” writes his­to­ri­an Heather Cox Richard­son. The mis­sion of Army Talks, in the pub­li­ca­tion’s own words, was to help its read­ers “become bet­ter-informed men and women and there­fore bet­ter sol­diers.”

Each issue includ­ed a top­ic for dis­cus­sion, and on March 25, 1945, that top­ic was fas­cism — or, as the head­line puts it, “FASCISM!” Under that ide­ol­o­gy, defined as “gov­ern­ment by the few and for the few,” a small group of polit­i­cal actors achieves “seizure and con­trol of the eco­nom­ic, polit­i­cal, social, and cul­tur­al life of the state.” Such rul­ing class­es “per­mit no civ­il lib­er­ties, no equal­i­ty before the law. They make their own rules and change them when they choose. If you don’t like it, it’s ‘T.S.’ ”

Fas­cists come to pow­er, the text explains, in times of hard­ship, dur­ing which they promise “every­thing to every­one”: land to the farm­ers, jobs to the work­ers, cus­tomers and prof­its to the small busi­ness­men, elim­i­na­tion of small busi­ness­men to the indus­tri­al­ists, and so on. When this regime “under which every­thing not pro­hib­it­ed is com­pul­so­ry” inevitably fails to deliv­er a per­fect soci­ety, things turn vio­lent, both in the coun­try’s inter­nal strug­gles and in its con­flicts with oth­er pow­ers. To many Amer­i­cans at the time of World War II, this might seem like a whol­ly for­eign dis­or­der, liable to afflict only such dis­tant lands as Italy, Japan, and Ger­many. But a notion­al Amer­i­can fas­cism would look and feel famil­iar, work­ing “under the guise of ‘super-patri­o­tism’ and ‘super-Amer­i­can­ism.’ Fas­cist lead­ers are nei­ther stu­pid nor naïve. They know that they must hand out a line that ‘sells.’ ”

That some­one’s always try­ing to sell you some­thing in pol­i­tics — and even more so in Amer­i­can pol­i­tics — is as true in 2023 as it was in 1945. Though who­ev­er assumed back then that “it could­n’t hap­pen here” pre­sum­ably fig­ured that the Unit­ed States was too wealthy a soci­ety for fas­cist temp­ta­tions to gain a foothold. But even the most favor­able eco­nom­ic for­tunes can reverse, and “lots of things can hap­pen inside of peo­ple when they are unem­ployed or hun­gry. They become fright­ened, angry, des­per­ate, con­fused. Many, in their mis­ery, seek to find some­body to blame. They look for a scape­goat as a way out. Fas­cism is always ready to pro­vide one.” And not only fas­cism: polit­i­cal oppor­tunists of every stripe know full well the pow­er to be drawn from “the inse­cure and unem­ployed” look­ing for some­one on who “to pin the blame for their mis­for­tune” — and how easy it is to do so when no one else has a more appeal­ing vision of the future to offer.

You can see a scan of the orig­i­nal doc­u­ment here, and read the text here.

Relat­ed con­tent:

How to Spot a Com­mu­nist Using Lit­er­ary Crit­i­cism: A 1955 Man­u­al from the U.S. Mil­i­tary

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

The Sto­ry of Fas­cism: Rick Steves’ Doc­u­men­tary Helps Us Learn from the Hard Lessons of the 20th Cen­tu­ry

Wal­ter Ben­jamin Explains How Fas­cism Uses Mass Media to Turn Pol­i­tics Into Spec­ta­cle (1935)

Sin­clair Lewis’ Chill­ing Play, It Can’t Hap­pen Here: A Read-Through by the Berke­ley Reper­to­ry The­atre

Hunter S. Thomp­son Gets in a Gun­fight with His Neigh­bor & Dis­pens­es Polit­i­cal Wis­dom: “In a Democ­ra­cy, You Have to Be a Play­er”

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.

Why French Sounds So Unlike Spanish, Italian & Other Romance Languages, Even Though They All Evolved from Latin

French is known as the lan­guage of romance, a rep­u­ta­tion that, what­ev­er cul­tur­al sup­port it enjoys, would be dif­fi­cult to defend on pure­ly lin­guis­tic grounds. But it would­n’t be con­tro­ver­sial in the least to call it a Romance lan­guage, which sim­ply refers to its descent from the Latin spo­ken across the Roman Empire. In that cat­e­go­ry, how­ev­er, French does­n’t come out on top: its 77 mil­lion speak­ers put it above Roman­ian (24 mil­lion) and Ital­ian (67 mil­lion), but below Span­ish (489 mil­lion) and Por­tuguese (283 mil­lion). If you know any one of these lan­guages, you can under­stand at least a lit­tle of all the oth­ers, but French stands out for its rel­a­tive lack of fam­i­ly resem­blance.

“Why is acqua just eau?” asks Joshua Rud­der, cre­ator of the Youtube chan­nel NativLang. “How are cam­biar and casa relat­ed to change and chez?” He address­es the caus­es of these dif­fer­ences between mod­ern-day French, Span­ish, and Ital­ian in the video above, which presents the his­tor­i­cal-lin­guis­tic expla­na­tion in the form of a long and tricky recipe.

“Start prepar­ing your ingre­di­ents 2000 years ago. Take a base of Latin,” ide­al­ly at least three cen­turies old. “Com­bine traces of Gaul­ish, because Celtic words will become sources of change.” Then, “grad­u­al­ly incor­po­rate sound shifts, not uni­form­ly: work them in to form a nice con­tin­u­um, where the edges look dis­tinct, but local­ly, it’s sim­i­lar from place to place.”

This cook­ing ses­sion soon becomes a din­ner par­ty. Its most impor­tant atten­dees are the Franks next door, who come not emp­ty-hand­ed but bear­ing a few hun­dred Ger­man­ic words. In the full­ness of time, “you might think that the sound of French would come from a sin­gle dialect in Paris. Instead, observe as it aris­es from social changes and urban­iza­tion, bring­ing togeth­er peo­ple who speak many vari­eties of oïl” — an old word for what Fran­coph­o­nes now know as oui, and which now refers to the dialects spo­ken in the north of the coun­try (as opposed to oc in the south) back then. Even this far into the process, we’ve come only to the point of mak­ing Mid­dle French.

Mod­ern French involves “a thick ganache of king­dom and col­o­niza­tion” spread far and wide. Sub­se­quent “peri­ods of rev­o­lu­tion and Napoleon” put more touch­es on the lan­guages, none of them fin­ish­ing. Stu­dents of French today find them­selves seat­ed at an elab­o­rate feast of unfa­mil­iar sounds and rules gov­ern­ing those sounds, many of which may at first seem unpalat­able or even indi­gestible. Yet some of those stu­dents will devel­op a taste for such lin­guis­tic fare, and even come to pre­fer it to the oth­er Romance lan­guages that go down eas­i­er. French con­tin­ues to change in the twen­ty-first cen­tu­ry, not least through its incor­po­ra­tion of askew angli­cisms, yet some­how con­tin­ues to remain a lan­guage apart. There­in, per­haps, lies the true mean­ing of vive la dif­fer­ence.

Relat­ed con­tent:

Free French Lessons

What Shakespeare’s Eng­lish Sound­ed Like, and How We Know It

What Ancient Latin Sound­ed Like, And How We Know It

Watch Ta-Nehisi Coates Speak French Before & After Attend­ing Middlebury’s Immer­sion Pro­gram

Wern­er Her­zog Lists All the Lan­guages He Knows–and Why He Only Speaks French If (Lit­er­al­ly) a Gun’s Point­ed at His Head

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.

Helen Keller Writes a Letter to Nazi Students Before They Burn Her Book: “History Has Taught You Nothing If You Think You Can Kill Ideas” (1933)

Helen Keller achieved noto­ri­ety not only as an indi­vid­ual suc­cess sto­ry, but also as a pro­lif­ic essay­ist, activist, and fierce advo­cate for poor and mar­gin­al­ized peo­ple. She “was a life­long rad­i­cal,” writes Peter Dreier at Yes! mag­a­zine, whose “inves­ti­ga­tion into the caus­es of blind­ness” even­tu­al­ly led her to “embrace social­ism, fem­i­nism, and paci­fism.” Keller sup­port­ed the NAACP and ACLU, and protest­ed strong­ly against patron­iz­ing calls for her to “con­fine my activ­i­ties to social ser­vice and the blind.” Her crit­ics, she wrote, mis­char­ac­ter­ized her ideas as “a Utopi­an dream, and one who seri­ous­ly con­tem­plates its real­iza­tion indeed must be deaf, dumb, and blind.”

Twen­ty years lat­er she found a dif­fer­ent set of read­ers treat­ing her ideas with con­tempt. This time, how­ev­er, the crit­ics were in Nazi Ger­many, and instead of sim­ply dis­agree­ing with her, they added her col­lec­tion of essays, How I Became a Social­ist, to a list of “degen­er­ate” books to be burned on May 10, 1933. Such was the date cho­sen by Hitler for “a nation­wide ‘Action Against the Un-Ger­man Spir­it,’” writes Rafael Med­off, to take place at Ger­man Universities—“a series of pub­lic burn­ings of the banned books” that “dif­fered from the Nazis’ per­spec­tive on polit­i­cal, social, or cul­tur­al mat­ters, as well as all books by Jew­ish authors.”

Books burned includ­ed works by Ein­stein and Freud, H.G. Wells, Hem­ing­way, and Jack Lon­don, Stu­dents hauled books out of the libraries as part of the spec­ta­cle. “The largest of the 34 book-burn­ing ral­lies, held in Berlin,” Med­off notes, “was attend­ed by an esti­mat­ed 40,000 peo­ple.”

Not only were these demon­stra­tions of anti-Semi­tism, but their con­tempt for ideas appealed broad­ly to the Nazi phi­los­o­phy of “Blood and Soil,” a nation­al­ist car­i­ca­ture of rur­al val­ues over a sup­pos­ed­ly “degen­er­ate,” poly­glot urban­ism. “The soul of the Ger­man peo­ple can again express itself,” declared Joseph Goebbels omi­nous­ly at the Berlin ral­ly. “These flames not only illu­mi­nate the final end of an old era; they also light up the new.”

“Some Amer­i­can edi­to­r­i­al respons­es” before and after the burn­ings, “made light of the event,” remarks the Unit­ed States Holo­caust Muse­um, call­ing it “sil­ly” and “infan­tile.”  Oth­ers fore­saw much worse to come. In one very explic­it expres­sion of the ter­ri­ble pos­si­bil­i­ties, artist and polit­i­cal car­toon­ist Jacob Bur­ck drew the image above, evok­ing the obser­va­tion of 19th cen­tu­ry Ger­man writer Hein­rich Heine: “Where one burns books, one will soon burn peo­ple.” Newsweek described the events as “’a holo­caust of books’… one of the first instances in which the term ‘holo­caust’ (an ancient Greek word mean­ing a burnt offer­ing to a deity) was used in con­nec­tion with the Nazis.”

The day before the burn­ings, Keller also dis­played a keen sense for the grav­i­ty of book burn­ings, as well as a “notable… ear­ly con­cern,” notes Rebec­ca Onion at Slate—out­side the Jew­ish com­mu­ni­ty, that is—for what she called the “bar­bar­i­ties to the Jews.” On May 9, 1933, Keller pub­lished a short but point­ed open let­ter to the Nazi stu­dents in The New York Times and else­where, abjur­ing them to stop the pro­posed burn­ings. She wrote in a reli­gious idiom, invok­ing the “judg­ment” of God and para­phras­ing the Bible. (Not a tra­di­tion­al Chris­t­ian, she belonged to a mys­ti­cal sect called Swe­den­bor­gian­ism.) At the top of the post, you can see the type­script of her let­ter, with cor­rec­tions and anno­ta­tions by Pol­ly Thomp­son, one of her pri­ma­ry aides. Read the full tran­script below:

To the stu­dent body of Ger­many:

His­to­ry has taught you noth­ing if you think you can kill ideas. Tyrants have tried to do that often before, and the ideas have risen up in their might and destroyed them.

You can burn my books and the books of the best minds in Europe, but the ideas in them have seeped through a mil­lion chan­nels and will con­tin­ue to quick­en oth­er minds. I gave all the roy­al­ties of my books for all time to the Ger­man sol­diers blind­ed in the World War with no thought in my heart but love and com­pas­sion for the Ger­man peo­ple.

I acknowl­edge the griev­ous com­pli­ca­tions that have led to your intol­er­ance; all the more do I deplore the injus­tice and unwis­dom of pass­ing on to unborn gen­er­a­tions the stig­ma of your deeds.

Do not imag­ine that your bar­bar­i­ties to the Jews are unknown here. God sleep­eth not, and He will vis­it His judg­ment upon you. Bet­ter were it for you to have a mill-stone hung around your neck and sink into the sea than to be hat­ed and despised of all men.

Keller added the penul­ti­mate para­graph of the pub­lished text lat­er. (See the hand­writ­ten addi­tion at the bot­tom of the typed draft.) Her con­cern for the “griev­ous com­pli­ca­tions” of the Ger­man peo­ple was cer­tain­ly gen­uine. The expres­sion also seems like a tar­get­ed rhetor­i­cal move for a stu­dent audi­ence, con­ced­ing the sit­u­a­tion as “com­plex,” and appeal­ing in more philo­soph­i­cal lan­guage to “jus­tice” and “wis­dom.” The Nazis ignored her protest, as they did the “mas­sive street demon­stra­tions” that took place on the 10th “in dozens of Amer­i­can cities,” the Holo­caust Muse­um writes, “skill­ful­ly orga­nized by the Amer­i­can Jew­ish Con­gress” and spark­ing “the largest demon­stra­tion in New York City his­to­ry up to that date.”

Five years lat­er, how­ev­er, anoth­er planned book burning—this time in Aus­tria before its annexation—was pre­vent­ed by stu­dents at Williams Col­lege, Yale, and oth­er uni­ver­si­ties in the U.S., where pro- and anti-Nazi par­ti­sans fought each oth­er on sev­er­al Amer­i­can cam­pus­es. U.S. stu­dents were able to push the Aus­tri­an Nation­al Library to lock the books away rather than burn them. Keller “is not known to have com­ment­ed specif­i­cal­ly” on these stu­dent protests, writes Med­off, “but one may assume she was deeply proud that at a time when too many Amer­i­cans did not want to be both­ered with Europe’s prob­lems, these young men and women under­stood the mes­sage of her 1933 letter—that the prin­ci­ples under attack by the Nazis were some­thing that should mat­ter to all mankind.”

Note: This post orig­i­nal­ly appeared on our site in 2017.

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Relat­ed Con­tent 

The Brook­lyn Pub­lic Library Gives Every Teenag­er in the U.S. Free Access to Books Get­ting Cen­sored by Amer­i­can Schools

The 850 Books a Texas Law­mak­er Wants to Ban Because They Could Make Stu­dents Feel Uncom­fort­able

Mark Twain & Helen Keller’s Spe­cial Friend­ship: He Treat­ed Me Not as a Freak, But as a Per­son Deal­ing with Great Dif­fi­cul­ties

America’s First Banned Book: Dis­cov­er the 1637 Book That Mocked the Puri­tans

John Singer Sargent’s Scandalous Paintings: An Introduction to Madame X and Dr. Pozzi at Home

Hen­ry James, per­haps the most famous Amer­i­can expa­tri­ate nov­el­ist of the nine­teenth cen­tu­ry, won a great deal of his fame with The Por­trait of a Lady. John Singer Sar­gent, per­haps the most famous Amer­i­can expa­tri­ate painter of the nine­teenth cen­tu­ry, won a great deal of his fame with a por­trait of a lady — but not before it seemed to kill his illus­tri­ous career at a stroke. When it was first shown to the pub­lic at the Paris Salon of 1884, Sar­gen­t’s Por­trait of Madame X drew a range of reac­tions from bit­ter dis­missal to near-vio­lent anger. But today, as Great Art Explained host James Payne says in the new video above, “it is gen­uine­ly hard to see what the fuss was about.”

“Twen­ty years before, in 1865, Manet had shown Olympia at the Salon, to a scan­dal­ized Paris. So why the shock now? The dif­fer­ence was that Manet’s Olympia was a pros­ti­tute, like the women in Toulouse-Lautrec’s paint­ing also on dis­play in 1884. But Madame X was part of French high soci­ety.” She was, all those first view­ers would have known, the socialite, banker’s wife, and “pro­fes­sion­al beau­ty” Vir­ginie Amélie Aveg­no Gautreau. Her rumored pen­chant for infi­deli­ties would­n’t have been unusu­al for her par­tic­u­lar place and time, but her back­ground as the New Orleans-born daugh­ter of a Euro­pean Cre­ole fam­i­ly cer­tain­ly would have.

Behold­ing Madame X, “Parisians were forced to con­front their own deca­dence, which they pre­ferred not to acknowl­edge, and this was where Sar­gent went wrong. The salons were a sacro­sanct part of French cul­ture, and he, a for­eign­er, was flaunt­ing immoral­i­ty in their faces with a paint­ing of anoth­er for­eign­er, an exot­ic one at that.” He’d already stirred up a cer­tain amount of con­tro­ver­sy three years ear­li­er with Dr. Pozzi at Home, anoth­er full-length por­trait that por­trayed its sub­ject – the high­ly accom­plished and noto­ri­ous­ly hand­some gyne­col­o­gist Samuel-Jean Pozzi — in a man­ner whose sheer infor­mal­i­ty verges on the con­cu­pis­cent.

Payne thus regards Dr. Pozzi and Madame X as “male-female ver­sions of the same type. They are both flam­boy­ant pea­cock fig­ures, with a streak of van­i­ty and a knack for seduc­tion. There is some­thing in the way they are posed which is uncon­ven­tion­al. They have an indi­rect gaze, and they both have supreme con­fi­dence verg­ing on arro­gance.” That only Sar­gent could have — or, at least, would have — cap­tured and trans­mit­ted those qual­i­ties with such direct­ness was­n’t appre­ci­at­ed quite so much at the time. Ostra­cized in Paris, where he’d been a sought-after por­traitist to the wealthy, he packed up Madame and set off for Lon­don, where he soon rebuilt his career. The advice to do so came from none oth­er than Hen­ry James, who knew a thing or two about advan­ta­geous relo­ca­tion.

Relat­ed con­tent:

How John Singer Sar­gent Became the Great­est Por­traitist Who Ever Lived — by Paint­ing “Out­side the Lines”

When John Singer Sargent’s “Madame X” Scan­dal­ized the Art World in 1884

The Scan­dalous Paint­ing That Helped Cre­ate Mod­ern Art: An Intro­duc­tion to Édouard Manet’s Olympia

Great Art Explained: Watch 15 Minute Intro­duc­tions to Great Works by Warhol, Rothko, Kahlo, Picas­so & More

Art His­to­ry School: Learn About the Art & Lives of Toulouse-Lautrec, Gus­tav Klimt, Frances Bacon, Edvard Munch & Many 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 or on Face­book.

A Brief History of the Concept Album: From Woody Guthrie, to the Beatles and Pink Floyd, to Taylor Swift

Though Sgt. Pep­per’s Lone­ly Hearts Club Band holds some­thing of an hon­orary cul­tur­al posi­tion as “the first con­cept album,” the Bea­t­les them­selves did­n’t hear it that way. The term “con­cept album,” as defined by Poly­phon­ic host Noah Lefevre in his new video above, denotes “a set of tracks which hold a larg­er mean­ing when togeth­er than apart, usu­al­ly achieved through adher­ence to a cen­tral theme.” Despite being one of the finest col­lec­tions of songs com­mit­ted to a sin­gle vinyl disc in the nine­teen-six­ties, Sgt. Pep­per’s does — apart from its open­ing and clos­ing tracks — reflect few pains tak­en to assure a the­mat­ic uni­ty.

Oth­er con­tenders for the first con­cept album, in Lefevre’s telling, include Woody Guthrie’s 1940 Dust Bowl Bal­lads, Frank Sina­tra’s 1955 In the Wee Small Hours, John­ny Cash’s 1959 Songs of Our Soil, and The Ven­tures’ 1964 The Ven­tures in Space. Part of the ques­tion of des­ig­na­tion has to do with tech­nol­o­gy: we asso­ciate the album with the twelve-inch long-play­ing record, which did­n’t come on the mar­ket until 1948. (Dust Bowl Bal­lads had to sprawl across two 78 rpm three-disc sets.)

And even then, it was almost two decades before the LP “caught on as the default for­mat for musi­cal releas­es, allow­ing musi­cians to have more scope and vision for their albums” — that, thanks to expan­sive gate­fold sleeves, could lit­er­al­ly be made vis­i­ble. There began what I’ve come to think of as the hero­ic era of the album as an art form.

This era was marked by releas­es like The Moth­ers of Inven­tion’s Freak Out!, The Who’s Tom­my, Mar­vin Gaye’s What’s Going On, David Bowie’s Zig­gy Star­dust and the Spi­ders from Mars, Pink Floy­d’s The Dark Side of the Moon and lat­er The Wall. “The sev­en­ties were a gold­en age for the con­cept album,” Lefevre adds. “It was a time when musi­cians had the space and bud­get to exper­i­ment, and when new tech­nolo­gies were push­ing music into entire­ly unex­pect­ed places.” Par­tial­ly demol­ished by punk and majes­ti­cal­ly revived by hip-hop, the con­cept album remains a viable form today, essayed by major twen­ty-first cen­tu­ry pop artists from The Week­nd and Kendrick Lamar to Tay­lor Swift and BTS — none of whom have quite man­aged to cap­ture the entire zeit­geist in the man­ner of Sgt. Pep­per’s, grant­ed, but cer­tain­ly not for lack of try­ing.

Relat­ed con­tent:

How Pink Floyd Built The Wall: The Album, Tour & Film

How Pat­ti Smith “Saved” Rock and Roll: A New Video Makes the Case

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

Pink Floyd’s The Dark Side of the Moon Turns 50: Hear It Get Psy­cho­an­a­lyzed by Neu­ro­sci­en­tist Daniel Lev­itin

What Makes a Cov­er Song Great?: Our Favorites & Yours

The True Mean­ing of Queen’s Rock Epic “Bohemi­an Rhap­sody”

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

Even the most ardent ship­wreck enthu­si­asts among us must make peace with the fact that, in all prob­a­bil­i­ty, we’ll nev­er get to see the Titan­ic for our­selves. But now, at least, we have a sub­sti­tute in the form of the ship’s “dig­i­tal twin,” based on more than 700,000 images col­lect­ed under­wa­ter over 200 hours.“It pro­vides a unique 3D view of the entire ship, enabling it to be seen as if the water has been drained away,” report BBC News’ Rebec­ca Morelle and Ali­son Fran­cis. “The scan was car­ried out in sum­mer 2022 by Mag­el­lan Ltd, a deep-sea map­ping com­pa­ny, and Atlantic Pro­duc­tions, who are mak­ing a doc­u­men­tary about the project.”

You can catch a glimpse of how the scan looks in the clip from the Times at the top of the post, but it only hints at its true lev­el of detail. “The joint mis­sion by Mag­el­lan and Atlantic Pro­duc­tions deployed two sub­mersibles nick­named Romeo and Juli­et to map every mil­lime­ter of the wreck, includ­ing the debris field span­ning some three miles,” writes Ars Techi­ca’s Jen­nifer Ouel­lette.

“The result was a whop­ping 16 ter­abytes of data, along with over 715,000 still images and 4K video footage. That raw data was then processed to cre­ate the 3D dig­i­tal twin. The res­o­lu­tion is so good, one can make out part of the ser­i­al num­ber on one of the pro­pellers.”

“The bow, now cov­ered in sta­lac­tites of rust, is still instant­ly rec­og­niz­able even 100 years after the ship was lost,” write Morelle and Fran­cis. “Sit­ting on top is the boat deck, where a gap­ing hole pro­vides a glimpse into a void where the grand stair­case once stood.” As one might expect, the Titan­ic has come through twelve decades at the bot­tom of the North Atlantic ocean some­what worse for wear, and get­ting worse all the time. “Microbes are eat­ing away at it and parts are dis­in­te­grat­ing. His­to­ri­ans are well aware that time is run­ning out to ful­ly under­stand the mar­itime dis­as­ter.” Indeed, there will come a day when the remains of the Titan­ic will have van­ished com­plete­ly. But even then, its dig­i­tal twin — or, per­haps, dig­i­tal ghost — will have more to teach us.

Relat­ed con­tent:

See the First 8K Footage of the Titan­ic, the High­est-Qual­i­ty Video of the Ship­wreck Yet

Watch the Titan­ic Sink in Real Time in a New 2‑Hour, 40 Minute Ani­ma­tion

Watch 80 Min­utes of Nev­er-Released Footage Show­ing the Wreck­age of the Titan­ic (1986)

How the Titan­ic Sank: James Cameron’s New CGI Ani­ma­tion

The Titan­ic: Rare Footage of the Ship Before Dis­as­ter Strikes (1911–1912)

Titan­ic Sur­vivor Inter­views: What It Was Like to Flee the Sink­ing Lux­u­ry Lin­er

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.

Behold the International Ink Library Created by the U.S. Secret Service: Features A Collection of 12,000 Ink Samples

Late though it may be in the age of print, we still envi­sion ran­som or oth­er threat­en­ing notes in the same way we have for gen­er­a­tions, with their demands incon­gru­ous­ly spelled out with indi­vid­ual let­ters, each one a dif­fer­ent size and font, tak­en from the pages of news­pa­pers and mag­a­zines. This clas­sic cut-and-paste method of ran­som note con­struc­tion pre­sum­ably emerged as means of evad­ing minds like that of Trista Gins­berg, a doc­u­ment ana­lyst spe­cial­iz­ing in hand­writ­ing at the Secret Ser­vice. She appears in the Great Big Sto­ry above, which comes to focus on one facil­i­ty at the Ser­vice’s head­quar­ters in par­tic­u­lar: the Inter­na­tion­al Ink Library.

“The Secret Ser­vice has the largest ink library in the world,” says the video’s nar­ra­tor. Its more than 12,000 sam­ples of dif­fer­ent inks include “pens, bot­tled ink, and print­er car­tridges.” These come in handy when, say, “some­one writes a threat­en­ing let­ter to the pres­i­dent.”

A doc­u­ment ana­lyst like Iri­na Geiman sam­ples the let­ter’s ink, and then, by com­par­ing it to the inks in the library, “she can fig­ure out what kind of ink was used, and, hope­ful­ly, it can help solve the case.” Geiman also explains a less dra­mat­ic type of case that comes across her desk rather more often: at-home inkjet coun­ter­feit­ing of $20 bills.

Though that may not be the high­est exam­ple of the coun­ter­feit­er’s art, the art itself moti­vat­ed the cre­ation of the Secret Ser­vice in 1865 as a branch of the U.S. Trea­sury Depart­ment. “Fol­low­ing the Civ­il War,” says the Secret Ser­vice’s FAQ, “it was esti­mat­ed that one-third to one-half of the cur­ren­cy in cir­cu­la­tion was coun­ter­feit.” It was in 1901, after the McKin­ley assas­si­na­tion, that “the Secret Ser­vice was first tasked with its sec­ond mis­sion: the pro­tec­tion of the pres­i­dent.” Hence the cul­tur­al cur­ren­cy of the image of the would-be pres­i­dent assas­sin evad­ing gov­ern­men­tal pur­suit while labo­ri­ous­ly assem­bling his mis­sives one let­ter at a time — sure­ly rea­son enough for the Secret Ser­vice to have put togeth­er a top-secret Inter­na­tion­al Glue Library.

via Messy Nessy

Relat­ed con­tent:

How Ink is Made: The Process Revealed in a Mouth-Water­ing Video

Books Made with Dis­ap­pear­ing Ink Strate­gi­cal­ly Fade Away

Anato­my of a Fake: Forgery Experts Reveal 5 Ways To Spot a Fake Paint­ing by Jack­son Pol­lock (or Any Oth­er Artist)

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

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.

Take Carl Jung’s Word Association Test, a Quick Route Into the Subconscious (1910)

We’ve all, at one time or anoth­er, been asked to say the first thing that pops into our heads in response to a cer­tain word or phrase. It may have hap­pened to us in school, in a mar­ket research group, or per­haps in a job inter­view at a com­pa­ny that regards itself as some­what out­side-the-box. Most such exer­cis­es, and the the­o­ries sup­port­ing their effi­ca­cy as a tool for reveal­ing the speak­er’s inner self, orig­i­nate with the work of the Swiss psy­chi­a­trist-psy­cho­an­a­lyst and then-pro­tégé of Sig­mund Freud Carl Jung.

Jung pub­lished his descrip­tion of this “asso­ci­a­tion method” in the Amer­i­can Jour­nal of Psy­chol­o­gy in 1910, and you can see the sto­ry of its cre­ation — ani­mat­ed in the usu­al Mon­ty Python-esque paper-cutout style — told in the new School of Life video above. In his word-asso­ci­a­tion test, says nar­ra­tor Alain de Bot­ton, “doc­tor and patient were to sit fac­ing one anoth­er, and the doc­tor would read out a list of one hun­dred words. On hear­ing each of these, the patient was to say the first thing that came into their head.” The patient must “try nev­er to delay speak­ing and that they strive to be extreme­ly hon­est in report­ing what­ev­er they were think­ing of, how­ev­er embar­rass­ing, strange, or ran­dom it might seem.”

Tri­al runs con­vinced Jung and his col­leagues that “they had hit upon an extreme­ly sim­ple yet high­ly effec­tive method for reveal­ing parts of the mind that were nor­mal­ly rel­e­gat­ed to the uncon­scious. Patients who in ordi­nary con­ver­sa­tion would make no allu­sions to cer­tain top­ics or con­cerns would, in a word asso­ci­a­tion ses­sion, quick­ly let slip crit­i­cal aspects of their true selves.” The idea is that, under pres­sure to respond as quick­ly and “unthink­ing­ly” as pos­si­ble, the patient would deliv­er up con­tents from the instinct-dri­ven sub­con­scious mind rather than the more delib­er­ate con­scious mind.

Jung used 100 words in par­tic­u­lar to pro­voke these deep-seat­ed reac­tions, the full list of which you can see below. While some of these words may sound fair­ly charged — angry, abuse, dead — most could hard­ly seem more ordi­nary, even innocu­ous: salt, win­dow, head. “When the exper­i­ment is fin­ished I first look over the gen­er­al course of the reac­tion times,” Jung writes in the orig­i­nal paper. “Pro­longed times” mean that “the patient can only adjust him­self with dif­fi­cul­ty, that his psy­cho­log­i­cal func­tions pro­ceed with marked inter­nal fric­tions, with resis­tances.” He found, as de Bot­ton puts it, that “it was pre­cise­ly where there were the longest silences that the deep­est con­flicts and neu­roses lay.” In Jung’s world­view, there were the quick, and there were the neu­rot­ic: a dras­tic sim­pli­fi­ca­tion, to be sure, but as he showed us, some­times the sim­plest lan­guage goes straight to the heart of the mat­ter.

1. head
2. green
3. water
4. to sing
5. dead
6. long
7. ship
8. to pay
9. win­dow
10. friend­ly
11. to cook
12. to ask
13. cold
14. stem
15. to dance
16. vil­lage
17. lake
18. sick
19. pride
20. to cook
21. ink
22. angry
23. nee­dle
24. to swim
25. voy­age
26. blue
27. lamp
28. to sin
29. bread
30. rich
31. tree
32. to prick
33. pity
34. yel­low
35. moun­tain
36. to die
37. salt
38. new
39. cus­tom
40. to pray
41. mon­ey
42. fool­ish
43. pam­phlet
44. despise
45. fin­ger
46. expen­sive
47. bird
48. to fall
49. book
50. unjust
51 frog
52. to part
53. hunger
54. white
55. child
56. to take care
57. lead pen­cil
58. sad
59. plum
60. to mar­ry
61. house
62. dear
63. glass
64. to quar­rel
65. fur
66. big
67. car­rot
68. to paint
69. part
70. old
71. flower
72. to beat
73. box
74. wild
75. fam­i­ly
76. to wash
77. cow
78. friend
79. luck
80. lie
81. deport­ment
82. nar­row
83. broth­er
84. to fear
85. stork
86. false
87. anx­i­ety
88. to kiss
89. bride
90. pure
91. door
92. to choose
93. hay
94. con­tent­ed
95. ridicule
96. to sleep
97. month
98. nice
99. woman
100. to abuse

Relat­ed con­tent:

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 Explains His Ground­break­ing The­o­ries About Psy­chol­o­gy in a Rare Inter­view (1957)

The Vision­ary Mys­ti­cal Art of Carl Jung: See Illus­trat­ed Pages from The Red Book

Face to Face with Carl Jung: ‘Man Can­not Stand a Mean­ing­less Life’ (1959)

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.

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