Isaac Asimov Laments the “Cult of Ignorance” in the United States (1980)

asimov-culture-of-ignorance

Paint­ing of Asi­mov on his throne by Rowe­na Morill, via Wiki­me­dia Com­mons

In 1980, sci­en­tist and writer Isaac Asi­mov argued in an essay that “there is a cult of igno­rance in the Unit­ed States, and there always has been.” That year, the Repub­li­can Par­ty stood at the dawn of the Rea­gan Rev­o­lu­tion, which ini­ti­at­ed a decades-long con­ser­v­a­tive groundswell that many pun­dits say may final­ly come to an end in Novem­ber. GOP strate­gist Steve Schmidt (who has been regret­ful about choos­ing Sarah Palin as John McCain’s run­ning mate in 2008) recent­ly point­ed to what he called “intel­lec­tu­al rot” as a pri­ma­ry cul­prit, and a cult-like devo­tion to irra­tional­i­ty among a cer­tain seg­ment of the elec­torate.

It’s a famil­iar con­tention. There have been cri­tiques of Amer­i­can anti-intel­lec­tu­al­ism since the country’s found­ing, though whether or not that phe­nom­e­non has inten­si­fied, as Susan Jaco­by alleged in The Age of Amer­i­can Unrea­son, may be a sub­ject of debate. Not all of the unrea­son is par­ti­san, as the anti-vac­ci­na­tion move­ment has shown. But “the strain of anti-intel­lec­tu­al­ism” writes Asi­mov, “has been a con­stant thread wind­ing its way through our polit­i­cal and cul­tur­al life, nur­tured by the false notion that democ­ra­cy means that ‘my igno­rance is just as good as your knowl­edge.’”

Asimov’s pri­ma­ry exam­ples hap­pen to come from the polit­i­cal world. How­ev­er, he doesn’t name con­tem­po­rary names but reach­es back to take a swipe at Eisen­how­er (“who invent­ed a ver­sion of the Eng­lish lan­guage that was all his own”) and George Wal­lace. Par­tic­u­lar­ly inter­est­ing is Asimov’s take on the “slo­gan on the part of the obscu­ran­tists: ‘Don’t trust the experts!’” This lan­guage, along with charges of “elit­ism,” Asi­mov wry­ly notes, is so often used by peo­ple who are them­selves experts and elites, “feel­ing guilty about hav­ing gone to school.” So many of the Amer­i­can polit­i­cal class’s wounds are self-inflict­ed, he sug­gests, but that’s because they are behold­en to a large­ly igno­rant elec­torate:

To be sure, the aver­age Amer­i­can can sign his name more or less leg­i­bly, and can make out the sports headlines—but how many nonelit­ist Amer­i­cans can, with­out undue dif­fi­cul­ty, read as many as a thou­sand con­sec­u­tive words of small print, some of which may be tri­syl­lab­ic?

Asimov’s exam­ples are less than con­vinc­ing: road signs “steadi­ly being replaced by lit­tle pic­tures to make them inter­na­tion­al­ly leg­i­ble” has more to do with lin­guis­tic diver­si­ty than illit­er­a­cy, and accus­ing tele­vi­sion com­mer­cials of speak­ing their mes­sages out loud instead of using print­ed text on the screen seems to fun­da­men­tal­ly mis­un­der­stand the nature of the medi­um. Jaco­by in her book-length study of the prob­lem looks at edu­ca­tion­al pol­i­cy in the Unit­ed States, and the resis­tance to nation­al stan­dards that vir­tu­al­ly ensures wide­spread pock­ets of igno­rance all over the coun­try. Asimov’s very short, pithy essay has nei­ther the space nor the incli­na­tion to con­duct such analy­sis.

Instead he is con­cerned with atti­tudes. Not only are many Amer­i­cans bad­ly edu­cat­ed, he writes, but the broad igno­rance of the pop­u­la­tion in mat­ters of “sci­ence… math­e­mat­ics… eco­nom­ics… for­eign lan­guages…” has as much to do with Amer­i­cans’ unwill­ing­ness to read as their inabil­i­ty.

There are 200 mil­lion Amer­i­cans who have inhab­it­ed school­rooms at some time in their lives and who will admit that they know how to read… but most decent peri­od­i­cals believe they are doing amaz­ing­ly well if they have cir­cu­la­tion of half a mil­lion. It may be that only 1 per cent—or less—of Amer­i­cans make a stab at exer­cis­ing their right to know. And if they try to do any­thing on that basis they are quite like­ly to be accused of being elit­ists.

One might in some respects charge Asi­mov him­self of elit­ism when he con­cludes, “We can all be mem­bers of the intel­lec­tu­al elite.” Such a blithe­ly opti­mistic state­ment ignores the ways in which eco­nom­ic elites active­ly manip­u­late edu­ca­tion pol­i­cy to suit their inter­ests, crip­ple edu­ca­tion fund­ing, and oppose efforts at free or low cost high­er edu­ca­tion. Many efforts at spread­ing knowledge—like the Chatauquas of the ear­ly 20th cen­tu­ry, the edu­ca­tion­al radio pro­grams of the 40s and 50s, and the pub­lic tele­vi­sion rev­o­lu­tion of the 70s and 80s—have been ad hoc and near­ly always imper­iled by fund­ing crises and the designs of prof­i­teers.

Nonethe­less, the wide­spread (though hard­ly uni­ver­sal) avail­abil­i­ty of free resources on the inter­net has made self-edu­ca­tion a real­i­ty for many peo­ple, and cer­tain­ly for most Amer­i­cans. But per­haps not even Isaac Asi­mov could have fore­seen the bit­ter polar­iza­tion and dis­in­for­ma­tion cam­paigns that tech­nol­o­gy has also enabled. Need­less to say, “A Cult of Igno­rance” was not one of Asimov’s most pop­u­lar pieces of writ­ing. First pub­lished on Jan­u­ary 21, 1980 in Newsweek, the short essay has nev­er been reprint­ed in any of Asimov’s col­lec­tions. You can read the essay as a PDF here. There’s also, one of our read­ers reminds us, a tran­script on Github.

via Aphe­lis

Relat­ed Con­tent:

Isaac Asimov’s 1964 Pre­dic­tions About What the World Will Look 50 Years Lat­er

How Isaac Asi­mov Went from Star Trek Crit­ic to Star Trek Fan & Advi­sor

Isaac Asi­mov Explains His Three Laws of Robots

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

H.G. Wells Pans Fritz Lang’s Metropolis in a 1927 Movie Review: It’s “the Silliest Film”

metropolis-wells

When we watch Fritz Lang’s Metrop­o­lis now, we see an aes­thet­i­cal­ly dar­ing land­mark work of sci­ence-fic­tion cin­e­ma. When H.G. Wells watched Metrop­o­lis back in 1927, the year of its release, he saw some­thing very dif­fer­ent indeed. “I have recent­ly seen the sil­li­est film,” wrote the author of The War of the Worlds and The Time Machine as an open­er for his New York Times review. “I do not believe it would be pos­si­ble to make one sil­li­er.”

Despite its giant bud­get, Metrop­o­lis gives “in one eddy­ing con­cen­tra­tion almost every pos­si­ble fool­ish­ness, cliché, plat­i­tude, and mud­dle­ment about mechan­i­cal progress and progress in gen­er­al, served up with a sauce of sen­ti­men­tal­i­ty that is all its own.” His­to­ry remem­bers Lang and Wells both as vision­ar­ies who looked, often with lit­tle opti­mism, to the future, but clear­ly they had a dif­fer­ence of opin­ion as to how that future would actu­al­ly play out.

The sci­en­tif­i­cal­ly-mind­ed Wells took the impres­sion­is­tic Metrop­o­lis lit­er­al­ly, tak­ing issue with — among oth­er things — how its air­planes “show no advance on con­tem­po­rary types”; its “motor cars are 1926 mod­els or ear­li­er”; its vision of a ver­ti­cal­ly strat­i­fied city look, “to put it mild­ly, high­ly improb­a­ble”; the appar­ent con­di­tion that the city’s “machines are engaged quite furi­ous­ly in the mass pro­duc­tion of noth­ing that is ever used”; and the sen­ti­men­tal­i­ty of its mak­ers, “who are all on the side of soul and love and such like.”

Metrop­o­lis opened to mixed reviews at first (some of which you can read here), but no con­tem­po­rary crit­ic could match Wells for sheer dis­dain. “Nev­er for a moment does one believe any of this fool­ish sto­ry; nev­er for a moment is there any­thing amus­ing or con­vinc­ing in its drea­ry series of strained events,” he wrote, steer­ing his point-by-point take­down to its con­clu­sion. “It is immense­ly and strange­ly dull. It is not even to be laughed at.”

Strong stuff, but the high­est form of film crit­i­cism, as the French New Wave would lat­er artic­u­late, is film­mak­ing. And so, in 1936, came Things to Come, anoth­er cin­e­mat­ic spec­ta­cle of the future, this one built to the osten­si­bly more plau­si­ble spec­i­fi­ca­tions Wells laid out as its screen­writer — that film itself just one more pre­de­ces­sor to the unend­ing series of dystopias, utopias, and every kind of future in-between to appear on the screen over the next eight decades.

Relat­ed Con­tent:

Metrop­o­lis: Watch a Restored Ver­sion of Fritz Lang’s Mas­ter­piece (1927)

Read the Orig­i­nal 32-Page Pro­gram for Fritz Lang’s Metrop­o­lis (1927)

Fritz Lang Invents the Video Phone in Metrop­o­lis (1927)

Things to Come, the 1936 Sci-Fi Film Writ­ten by H.G. Wells, Accu­rate­ly Pre­dicts the World’s Very Dark Future

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Sci-Fi Icon Robert Heinlein Lists 5 Essential Rules for Making a Living as a Writer

havespacesuitwilltravel-1

So you want to be a writer? Good, you’ll find plen­ty of advice from the best here at Open Cul­ture. Oh, you want to be a sci­ence fic­tion writer? The great Ursu­la K. Le Guin has offered read­ers a wealth of writ­ing advice, though she won’t tell us “how to sell a ship, but how to sail one.” But wait, you also want to know how to pub­lish, and make a liv­ing? For that, you’d bet­ter see Robert Hein­lein, one of the acknowl­edged mas­ters of the Gold­en Age of sci­ence fic­tion and a huge­ly pro­lif­ic author who pio­neered both pop­u­lar hard sci-fi and what he called “spec­u­la­tive fic­tion,” a more seri­ous, lit­er­ary form incor­po­rat­ing social and polit­i­cal themes.

In his 1947 essay “On the Writ­ing of Spec­u­la­tive Fic­tion,” Hein­lein refers to these “two types” of sci­ence fic­tion as “the gad­get sto­ry and the human inter­est sto­ry.” The lat­ter kind of sto­ry, writes Hein­lein “stands a bet­ter chance with the slicks than a gad­get sto­ry does” because it has wider appeal. This advice sounds rather util­i­tar­i­an, doesn’t it? What about pas­sion, inspi­ra­tion, the muse? Eh, you don’t have time for those things. If you want to be suc­cess­ful like Robert Hein­lein, you’ve got to write sto­ries, lots of ‘em, sto­ries peo­ple want to pub­lish and pay for, sto­ries peo­ple want to read.

Hein­lein spends the bulk of his essay advis­ing us on how to write such sto­ries, with a pro­vi­so, in an epi­gram from Rud­yard Kipling, that “there are nine-and-six­ty ways / Of con­struct­ing trib­al lays / And every sin­gle one of them is right.” After, how­ev­er, describ­ing in detail how he writes a “human inter­est” sci­ence fic­tion sto­ry, Hein­lein then gets down to busi­ness. He assumes that we can type, know the right for­mats or can learn them, and can spell, punc­tu­ate, and use gram­mar as our “wood-carpenter’s sharp tools.” These pre­req­ui­sites met, all we real­ly need to write spec­u­la­tive fic­tion are the five rules below:

1. You must write.

2. You must fin­ish what you start.

3. You must refrain from rewrit­ing except to edi­to­r­i­al order.

4. You must put it on the mar­ket.

5. You must keep it on the mar­ket until sold.

You might think Hein­lein has lapsed into the lan­guage of the real­tor, not the writer, but he is dead­ly seri­ous about these rules, which “are amaz­ing­ly hard to follow—which is why there are so few pro­fes­sion­al writ­ers and so many aspi­rants.” Any­one who has tried to write and pub­lish fic­tion knows this to be true. But what did Hein­lein mean in giv­ing us such an aus­tere list? For one thing, as he notes many times, there are per­haps as many ways to write sci-fi sto­ries as there are peo­ple to write them. What Hein­lein aims to give us are the keys to becom­ing pro­fes­sion­al writ­ers, not the­o­rists of writ­ing, lovers of writ­ing, dab­blers and dilet­tantes of writ­ing.

Award-win­ning sci­ence fic­tion writer Robert J. Sawyer has inter­pret­ed Heinlein’s rules with com­men­tary of his own, and added a sixth: “Start Work­ing on Some­thing Else.” Good advice. Hein­lein’s rule num­ber three, however—“the one that got Hein­lein in trou­ble with cre­ative-writ­ing teachers”—seems to con­tra­dict what most every oth­er writer will tell us. Sawyer sug­gests we take it to mean, “Don’t tin­ker end­less­ly with your sto­ry.” Writer Patri­cia C. Wrede agrees, but also sug­gests that “Hein­lein was of the school of thought that felt that ‘good enough’ was all that was nec­es­sary, ever.”

Like 19th cen­tu­ry writ­ers who churned out nov­els as seri­al­ized sto­ries for the papers and mag­a­zines, Hein­lein and his fel­low Gold­en Age writ­ers made their liv­ing sell­ing sto­ry after sto­ry to the “pulps” and the “slicks” (prefer­ably the slicks). One had to be pro­lif­ic, and being “’pro­lif­ic enough’ often involved not hav­ing time to pol­ish and revise much (if at all).” So rule num­ber three may or may not apply, depend­ing on our con­straints. The lit­er­ary mar­ket has changed dra­mat­i­cal­ly since 1947, but the rest of Heinlein’s rules still seem non­nego­tiable if we intend not only to write—speculative fic­tion or otherwise—but also to make a career doing so.

via Ken St. Andre

Relat­ed Con­tent:

Writ­ing Tips by Hen­ry Miller, Elmore Leonard, Mar­garet Atwood, Neil Gaiman & George Orwell

Ray Brad­bury Gives 12 Pieces of Writ­ing Advice to Young Authors (2001)

Stephen King’s Top 20 Rules for Writ­ers

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

The Very First Illustrations of H.G. Wells’ The War of the Worlds (1897)

war-of-the-worlds-goble

H.G. Wells’ tales of fan­tas­ti­cal inven­tions, nev­er-before-seen beings, time trav­el, and alien inva­sion prac­ti­cal­ly cry out for visu­al and son­ic accom­pa­ni­ment. Of all the oth­er artists’ inter­pre­ta­tions of his 1898 nov­el The War of the Worlds, Orson Welles’ infa­mous Hal­loween 1938 radio broad­cast remains best known, but var­i­ous illus­tra­tors have also brought the sto­ry of mer­ci­less­ly destruc­tive Mar­tians’ arrival on Earth to equal­ly vivid life. Last year, we fea­tured Brazil­ian illus­tra­tor Hen­rique Alvim Cor­rêa’s hor­ri­fy­ing work for the 1906 edi­tion; today, we go back before The War of the Worlds’ first edi­tion to behold the aliens as ren­dered by War­wick Gob­le.

hg-wells-2

“I’m doing the dear­est lit­tle ser­i­al for Pear­son­’s new mag­a­zine,” Wells wrote to a friend, “in which I com­plete­ly wreck and sack Wok­ing — killing my neigh­bours in painful and eccen­tric ways — then pro­ceed via Kingston and Rich­mond to Lon­don, which I sack, select­ing South Kens­ing­ton for feats of pecu­liar atroc­i­ty.” That dear­est lit­tle ser­i­al, after its 1897 run in Pear­son­’s Mag­a­zine in the U.K. and Cos­mopoli­tan in the U.S., appeared the next year in book form as The War of the Worlds, a com­mon pub­li­ca­tion pro­ce­dure for pop­u­lar Eng­lish-lan­guage nov­els in the 19th and ear­ly 20th cen­tu­ry.

hg-wells-3

“The sto­ry is still a bit rough round the edges,” writes sci-fi author John Guy Col­lick, but “what makes the mag­a­zine spe­cial are the fan­tas­tic illus­tra­tions by War­wick Gob­le. These are the first pic­tures of the Mar­tians and their tripods and, I think, the best.” He prais­es their low-tech style and their faith­ful­ness to the text: “in the nov­el Wells is at pains to point out that the Mar­t­ian legs are rigid,” not artic­u­lat­ed as the films and oth­er illus­tra­tions have tend­ed to por­tray them.” The Mar­tians them­selves he con­sid­ers a “bit too cute, though they are the first attempt to visu­alise beings from anoth­er world,” and these depic­tions of ter­ror from anoth­er plan­et (more of which you can see here) cer­tain­ly marked a depar­ture in Gob­le’s chil­dren’s book-ori­ent­ed career. Even an artist of whim­sy has to cause a few night­mares once in a while.

hg-wells-4

Relat­ed Con­tent:

Hor­ri­fy­ing 1906 Illus­tra­tions of H.G. Wells’ War of the Worlds: Dis­cov­er the Art of Hen­rique Alvim Cor­rêa

The War of the Worlds on Pod­cast: How H.G. Wells and Orson Welles Riv­et­ed A Nation

Orson Welles Meets H.G. Wells in 1940: The Leg­ends Dis­cuss War of the Worlds, Cit­i­zen Kane, and WWII

H.G. Wells Inter­views Joseph Stal­in in 1934; Declares “I Am More to The Left Than You, Mr. Stal­in”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

An Animated Aldous Huxley Identifies the Dystopian Threats to Our Freedom (1958)

20 years after Aldous Hux­ley pub­lished Brave New World (1931), he was still the medi­a’s go-to futur­ist. Let me cite two exam­ples:

In 1950, Red­book Mag­a­zine asked four experts (includ­ing Hux­ley) “what the world may look like fifty years hence?,” to which the author respond­ed:

Dur­ing the next fifty years mankind will face three great prob­lems: the prob­lem of avoid­ing war; the prob­lem of feed­ing and cloth­ing a pop­u­la­tion of two and a quar­ter bil­lions which, by 2000 A.D., will have grown to upward of three bil­lions, and the prob­lem of sup­ply­ing these bil­lions with­out ruin­ing the planet’s irre­place­able resources.

Then, in 1958, a young reporter named Mike Wal­lace had Hux­ley play prophet on a 30-minute TV show. Over­pop­u­la­tion gets dis­cussed again. But then Hux­ley returns to some famil­iar dystopi­an themes, iden­ti­fy­ing some emerg­ing threats to our free­doms. 

  • Overor­ga­ni­za­tion: “Well anoth­er force which I think is very strong­ly oper­a­tive in this coun­try is the force of what may be called of overor­ga­ni­za­tion. Er…As tech­nol­o­gy becomes more and more com­pli­cat­ed, it becomes nec­es­sary to have more and more elab­o­rate orga­ni­za­tions, more hier­ar­chi­cal orga­ni­za­tions, and inci­den­tal­ly the advance of tech­nol­o­gy is being accom­pa­nied by an advance in the sci­ence of orga­ni­za­tion.

    It’s now pos­si­ble to make orga­ni­za­tions on a larg­er scale than it was ever pos­si­ble before, and so that you have more and more peo­ple liv­ing their lives out as sub­or­di­nates in these hier­ar­chi­cal sys­tems con­trolled by bureau­cra­cy, either the bureau­cra­cies of big busi­ness­es or the bureau­cra­cies of big gov­ern­ment.”

  • Abuse of new tech­nolo­gies: “There are cer­tain­ly devices which can be used [to lim­it free­doms.] I mean, let us er…take after all, a piece of very recent and very painful his­to­ry is the pro­pa­gan­da used by Hitler, which was incred­i­bly effec­tive.

    I mean, what were Hitler’s meth­ods? Hitler used ter­ror on the one kind, brute force on the one hand, but he also used a very effi­cient form of pro­pa­gan­da, which er…he was using every mod­ern device at that time. He did­n’t have TV., but he had the radio which he used to the fullest extent, and was able to impose his will on an immense mass of peo­ple. I mean, the Ger­mans were a high­ly edu­cat­ed peo­ple.

  • Drugs: I mean, in this book that you men­tioned, this book of mine, “Brave New World,” er…I pos­tu­lat­ed it a sub­stance called ‘soma,’ which was a very ver­sa­tile drug. It would make peo­ple feel hap­py in small dos­es, it would make them see visions in medi­um dos­es, and it would send them to sleep in large dos­es.…

    If you want to pre­serve your pow­er indef­i­nite­ly, you have to get the con­sent of the ruled, and this they will do part­ly by drugs as I fore­saw in “Brave New World,” part­ly by these new tech­niques of pro­pa­gan­da. They will do it by bypass­ing the sort of ratio­nal side of man and appeal­ing to his sub­con­scious and his deep­er emo­tions, and his phys­i­ol­o­gy even, and so, mak­ing him actu­al­ly love his slav­ery.

Above, you can watch ani­mat­ed excerpts from Wal­lace’s inter­view with Hux­ley, cour­tesy of Blank on Blank. Find the com­plete orig­i­nal inter­view below, along with a tran­script here

Relat­ed Con­tent:

Aldous Hux­ley Pre­dicts in 1950 What the World Will Look Like in the Year 2000

Hear Aldous Hux­ley Read Brave New World

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

Things to Come, the 1936 Sci-Fi Film Written by H.G. Wells, Accurately Predicts the World’s Very Dark Future

“We live in inter­est­ing, excit­ing, and anx­ious times,” declares the boom­ing nar­ra­tion that opens the movie trail­er above. Truer words were nev­er spo­ken about our age — or about the mid-1930s, the times to which the nar­ra­tor actu­al­ly refers. But the pic­ture itself tells a sto­ry about the future, one extend­ing deep into the 21st cen­tu­ry: a hun­dred-year saga of decades-long war, a new Dark Age, and, by the mid-2050s, a rebuild­ing of soci­ety as a kind of indus­tri­al Utopia run by a tech­no­crat­ic world gov­ern­ment. It will sur­prise no one famil­iar with his sen­si­bil­i­ty that the screen­play for the film, Things to Come, came from the mind of H.G. Wells. Watch it in full on YouTube or Archive.org.

Welles had made his name long before with imag­i­na­tive nov­els like The Time MachineThe Island of Doc­tor More­auThe Invis­i­ble Man, and The War of the Worlds (find them in our list of Free eBooks), all pub­lished in the pre­vi­ous cen­tu­ry. By the time the oppor­tu­ni­ty came around to make a big-bud­get cin­e­ma spec­ta­cle with pro­duc­er Alexan­der Kor­da and direc­tor William Cameron Men­zies, con­ceived in part as a rebuke to Fritz Lang’s Metrop­o­lis, the writer had set­tled into his role as a kind of “emi­nent for­tune teller,” as New York Times crit­ic Frank Nugent described him in his review of the col­lab­o­ra­tion’s final prod­uct.

“Typ­i­cal Well­sian con­jec­ture,” Nugent con­tin­ues, “it ranges from the rea­son­ably pos­si­ble to the rea­son­ably fan­tas­tic; but true or false, fan­ci­ful or log­i­cal, it is an absorb­ing, provoca­tive and impres­sive­ly staged pro­duc­tion.” It includ­ed work from not just impor­tant fig­ures in the his­to­ry of film­mak­ing (Men­zies, for instance, invent­ed the job of pro­duc­tion design­er) but the his­to­ry of art as well, such as the Bauhaus’ Lás­zló Moholy-Nagy. You can watch and judge for your­self the free ver­sion of Things to Come avail­able on YouTube or, much prefer­able to the cinephile, the restored and much-sup­ple­ment­ed Cri­te­ri­on Col­lec­tion edi­tion, whose extras include unused footage that more ful­ly shows Moholy-Nagy’s con­tri­bu­tions.

At the time, this much-bal­ly­hooed spec­ta­cle-prophe­cy drew respons­es not just from movie crit­ics, but from oth­er emi­nent writ­ers as well. In his Cri­te­ri­on essay “Whith­er Mankind?”, Geof­frey O’Brien quotes those of both Jorge Luis Borges and George Orwell. “The heav­en of Wells and Alexan­der Kor­da, like that of so many oth­er escha­tol­o­gists and set design­ers, is not much dif­fer­ent than their hell, though even less charm­ing,” Borges com­plained of the envi­sioned near-per­fec­tion of its dis­tant future. Wells, like many 19th-cen­tu­ry vision­ar­ies, instinc­tive­ly asso­ci­at­ed tech­no­log­i­cal progress with the moral vari­ety, but Borges saw a dif­fer­ent sit­u­a­tion in the present, when “the pow­er of almost all tyrants aris­es from their con­trol of tech­nol­o­gy.”

Things to Come has, how­ev­er, received ret­ro­spec­tive cred­it for pre­dict­ing glob­al war just ahead. In its first act, the Lon­don-like Every­town suf­fers an aer­i­al bomb­ing raid which sets the whole civ­i­liza­tion-destroy­ing con­flict in motion. Not long after the real Blitz came, Orwell looked back at the film and wrote, omi­nous­ly, that “much of what Wells has imag­ined and worked for is phys­i­cal­ly there in Nazi Ger­many. The order, the plan­ning, the State encour­age­ment of sci­ence, the steel, the con­crete, the air­planes, are all there, but all in the ser­vice of ideas appro­pri­ate to the Stone Age.” Or, in Nugen­t’s chill­ing words of 1936, “There’s noth­ing we can do now but sit back and wait for the holo­caust. If Mr. Wells is right, we are in for an inter­est­ing cen­tu­ry.”

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 Great Leonard Nimoy Reads H.G. Wells’ Sem­i­nal Sci-Fi Nov­el The War of the Worlds

H.G. Wells Inter­views Joseph Stal­in in 1934; Declares “I Am More to The Left Than You, Mr. Stal­in”

The Dead Authors Pod­cast: H.G. Wells Com­i­cal­ly Revives Lit­er­ary Greats with His Time Machine

Metrop­o­lis: Watch a Restored Ver­sion of Fritz Lang’s Mas­ter­piece (1927)

Jules Verne Accu­rate­ly Pre­dicts What the 20th Cen­tu­ry Will Look Like in His Lost Nov­el, Paris in the Twen­ti­eth Cen­tu­ry (1863)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

On Star Trek’s 50th Anniversary, Watch New Episodes of Star Trek Continues, the Acclaimed Fan-Made Sequel to the Original TV Show

Today marks the 50th anniver­sary of the pre­miere of Star Trek, and the start of a love affair between fans and the show’s utopi­an promise. With only 79 episodes over three sea­sons in the orig­i­nal 1966–1969 series, it might have dis­ap­peared into pop cul­ture his­to­ry. Instead, it has lived long and pros­pered, with movies and sequels and New Gen­er­a­tions, and reboots and more sequels. And that’s not count­ing the labor-of-love fan films that have spawned around the fringes.

Now, fan-cre­at­ed films usu­al­ly fall down in the act­ing and effects depart­ment, or they try too hard. But even if you’re not a ded­i­cat­ed Trekkie, the inde­pen­dent­ly-pro­duced Star Trek Con­tin­ues holds up as some great sci-fi that recre­ates the orig­i­nal series’ look to per­fec­tion, while skirt­ing par­o­dy. (Plus it got the bless­ing of series cre­ator Gene Roddenberry’s son, who said his father “would con­sid­er this canon.”)

When we first told you about Star Trek Con­tin­ues in Feb­ru­ary, five hour-long episodes were view­able on YouTube or the show’s offi­cial web­site, fund­ed through two Kick­starter cam­paigns and per­son­al mon­eys from exec­u­tive pro­duc­er Vic Mignogna ($150,000) and co-exec­u­tive pro­duc­er Steven Den­gler ($100,000). Above, you can check out the two new episodes, “Come Not Between the Drag­ons” (Episode 6) and “Embrac­ing the Winds” (Episode 7). Or watch the entire series, from start to fin­ish, below.

Despite Star Trek Con­tin­ues’ not-for-prof­it sta­tus, oth­er Star Trek fan films have raised the ire of CBS and Paramount’s legal divi­sions, and may end up harm­ing the future of such endeav­ors. But remem­ber, CBS had no faith in the orig­i­nal series back in the day, plac­ing it in lat­er and lat­er time slots. It was syn­di­ca­tion that made the show a cult hit, and it was those orig­i­nal fans that lov­ing­ly fanned the embers until the show reignit­ed. For them on this half-cen­tu­ry mark, they deserve as much a thank you as the orig­i­nal crew of the Star­ship Enter­prise.

Relat­ed Con­tent:

Nichelle Nichols Explains How Mar­tin Luther King Con­vinced Her to Stay on Star Trek

Watch Star Trek: New Voy­ages: The Orig­i­nal Fan-Made Sequel to the 1960s TV Series

How Isaac Asi­mov Went from Star Trek Crit­ic to Star Trek Fan & Advi­sor

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Star Trek Postage Stamps Coming Soon: Celebrating 50 Years of Exploring the Final Frontier

star-trek-stamps

The orig­i­nal Star Trek TV series took to the air­waves near­ly 5o years ago–on Sep­tem­ber 8, 1966. Poor rat­ings meant that the show did­n’t last very long (only three years). But every­thing changed once the show went into syn­di­ca­tion. It achieved cult sta­tus. And a fran­chise was born. The orig­i­nal Star Trek has now spawned five addi­tion­al tv series, 13 fea­ture films, and a num­ber of fan-made sequels.

To cel­e­brate 50 years of Star Trek, the US Postal Ser­vice has decid­ed to release a com­mem­o­ra­tive set of stamps inspired by the orig­i­nal show. The four stamps (shown above) depict the fol­low­ing:

  • The Star­ship Enter­prise inside the out­line of a Starfleet insignia against a gold back­ground.
  • The sil­hou­ette of a crew­man in a trans­porter against a red back­ground.
  • The sil­hou­ette of the Enter­prise from above against a green back­ground.
  • The Enter­prise inside the out­line of the Vul­can salute (Spock’s icon­ic hand ges­ture) against a blue back­ground.

The stamps will be offi­cial­ly avail­able on Sep­tem­ber 2, though they can be pre-ordered here.

via Kot­tke

Relat­ed Con­tent:

Watch Star Trek Con­tin­ues: The Crit­i­cal­ly-Acclaimed, Fan-Made Sequel to the Orig­i­nal TV Series

How Isaac Asi­mov Went from Star Trek Crit­ic to Star Trek­Fan & Advi­sor

Nichelle Nichols Explains How Mar­tin Luther King Con­vinced Her to Stay on Star Trek

The Com­plete Star Wars “Fil­mu­men­tary”: A 6‑Hour, Fan-Made Star Wars Doc­u­men­tary, with Behind-the-Scenes Footage & Com­men­tary

Hard­ware Wars: The Moth­er of All Star Wars Fan Films (and the Most Prof­itable Short Film Ever Made)

Star Wars Uncut: The Epic Fan Film

by | Permalink | Make a Comment ( 1 ) |

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.