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Help a Library Transcribe Magical Manuscripts & Recover the Charms, Potions & Witchcraft That Flourished in Early Modern Europe and America

Mag­ic is real—hear me out. No, you can’t solve life’s prob­lems with a wand and made-up Latin. But there are aca­d­e­m­ic depart­ments of mag­ic, only they go by dif­fer­ent names now. A few hun­dred years ago the dif­fer­ence between chem­istry and alche­my was nil. Witch­craft involved as much botany as spell­work. A lot of fun bits of mag­ic got weed­ed out when gen­tle­men in pow­dered wigs purged weird sis­ters and gnos­tic heretics from the field. Did the old spells work? Maybe, maybe not. Sci­ence has become pret­ty reli­able, I guess. Stan­dard­ized clas­si­fi­ca­tion sys­tems and mea­sure­ments are okay, but yawn… don’t we long for some witch­ing and wiz­ard­ing? A well-placed hex might work won­ders.

Say no more, we’ve got you cov­ered: you, yes you, can learn charms and potions, demonolo­gy and oth­er assort­ed dark arts. How? For a one­time fee of absolute­ly noth­ing, you can enter mag­i­cal books from the Ear­ly Mod­ern Peri­od.

T’was a ver­i­ta­ble gold­en age of mag­ic, when wiz­ard­ing sci­en­tists like John Dee—Queen Eliz­a­beth’s sooth­say­ing astrologer and reveal­er of the lan­guage of the angels—burned bright­ly just before they were extin­guished, or run under­ground, by ortho­dox­ies of all sorts. The New­ber­ry, “Chicago’s Inde­pen­dent Research Library Since 1887,” has reached out to the crowds to help “unlock the mys­ter­ies” of rare man­u­scripts and bring the diver­si­ty of the time alive.

The library’s Tran­scrib­ing Faith ini­tia­tive gives users a chance to con­nect with texts like The Book of Mag­i­cal Charms (above), by tran­scrib­ing and/or trans­lat­ing the con­tents there­in. Like soft­ware engi­neer Joseph Peterson—founder of the Eso­teric Archives, which con­tains a large col­lec­tion of John Dee’s work—you can vol­un­teer to help the Newberry’s project “Reli­gious Change, 1450–1700.” The New­ber­ry aims to edu­cate the gen­er­al pub­lic on a peri­od of immense upheaval. “The Ref­or­ma­tion and the Sci­en­tif­ic Rev­o­lu­tion are very big, cap­i­tal let­ter con­cepts,” project coor­di­na­tor Christo­pher Fletch­er tells Smithsonian.com, “we lose sight of the fact that these were real events that hap­pened to real peo­ple.”

By aim­ing to return these texts to “real peo­ple” on the inter­net, the New­ber­ry hopes to demys­ti­fy, so to speak, key moments in Euro­pean his­to­ry. “You don’t need a Ph.D. to tran­scribe,” Fletch­er points out. Atlas Obscu­ra describes the process as “much like updat­ing a Wikipedia page,” only “any­one can start tran­scrib­ing and trans­lat­ing and they don’t need to sign up to do so.” Check out some tran­scrip­tions of The Book of Mag­i­cal Charms—writ­ten by var­i­ous anony­mous authors in the sev­en­teenth cen­tu­ry—here. The book, writes the New­ber­ry, describes “every­thing from speak­ing with spir­its to cheat­ing at dice to cur­ing a toothache.”

Need to call up a spir­it for some dirty work? Just fol­low the instruc­tions below:

Call their names Ori­moth, Bel­moth Limoc and Say thus. I con­jure you by the neims of the Angels + Sator and Azamor that yee intend to me in this Aore, and Send unto me a Spirite called Sag­rigid that doe full­fill my comand­ng and desire and that can also undar­stand my words for one or 2 yuares; or as long as I will.

Seems sim­ple enough, but of course this busi­ness did not sit well with some pow­er­ful peo­ple, includ­ing one Increase Math­er, father of Cot­ton, pres­i­dent of Har­vard, best known from his work on the Salem Witch Tri­als. Increase defend­ed the pros­e­cu­tions in a man­u­script titled Cas­es of Con­science Con­cern­ing Evil Spir­its, a page from which you can see fur­ther up. The text reads, in part:

an Evi­dence Sup­posed to be in the Tes­ti­mo­ny
which is throw­ly to be Weighed, & if it doe
not infal­li­bly prove the Crime against the
per­son accused, it ought not to deter­mine
him Guilty of it for So right­eous may
be con­demned unjust­ly.

Math­er did not con­sid­er these to be show tri­als or “witch­hunts” but rather the fair and judi­cious appli­ca­tion of due process, for what­ev­er that’s worth. Else­where in the text he famous­ly wrote, “It were bet­ter that Ten Sus­pect­ed Witch­es should escape, than that one Inno­cent Per­son should be Con­demned.” Cold com­fort to those con­demned as guilty for like­ly prac­tic­ing some mix of reli­gion and ear­ly sci­ence.

These texts are writ­ten in Eng­lish and con­cern them­selves with mag­i­cal and spir­i­tu­al mat­ters express­ly. Oth­er man­u­scripts in the project’s archive roam more broad­ly across top­ics and lan­guages, and “shed light on the entwined prac­tices of reli­gion and read­ing.” One “com­mon­place book,” for exam­ple (above), from some­time between 1590 and 1620, con­tains ser­mons by John Donne as well as “reli­gious, polit­i­cal, and prac­ti­cal texts, includ­ing a Mid­dle Eng­lish lyric,” all care­ful­ly writ­ten out by an Eng­lish scribe named Hen­ry Feilde in order to prac­tice his cal­lig­ra­phy.

Anoth­er such text, large­ly in Latin, “may have been start­ed as ear­ly as the 16th cen­tu­ry, but con­tin­ued to be used and added to well into the 19th cen­tu­ry. Its com­pil­ers expressed inter­est in a wide range of top­ics, from reli­gious and moral ques­tions to the lib­er­al arts to strange events.” Books like these “reflect­ed the read­ing habits of ear­ly mod­ern peo­ple, who tend­ed not to read books from begin­ning to end, but instead to dip in and out of them,” extract­ing bits and bobs of wis­dom, quo­ta­tions, recipes, prayers, and even the odd spell or two.

The final work in need of transcription/translation is also the only print­ed text, or texts, rather, a col­lec­tion of Ital­ian reli­gious broad­sides, adver­tis­ing “pub­lic cel­e­bra­tions and com­mem­o­ra­tions of Catholic feast days and oth­er reli­gious occa­sions.” Hard­ly sum­mon­ing spir­its, though some may beg to dif­fer. If you’re so inclined to take part in open­ing the secrets of these rare books for lay read­ers every­where, vis­it Tran­scrib­ing Faith here and get to work.

via Smith­son­ianAtlas Obscu­ra

Relat­ed Con­tent:

1,600 Occult Books Now Dig­i­tized & Put Online, Thanks to the Rit­man Library and Da Vin­ci Code Author Dan Brown

Behold the Mys­te­ri­ous Voyn­ich Man­u­script: The 15th-Cen­tu­ry Text That Lin­guists & Code-Break­ers Can’t Under­stand

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

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

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Stream 47 Hours of Classic Sci-Fi Novels & Stories: Asimov, Wells, Orwell, Verne, Lovecraft & More

The pro­nounce­ments of French the­o­rist Jean Bau­drillard could sound a bit sil­ly in the ear­ly 1990s, when the inter­net was still in its infan­cy, a slow, clunky tech­nol­o­gy whose promis­es far exceed­ed what it could deliv­er. We hoped for the cyber­punk spaces of William Gib­son, and got the beep-boop tedi­um of dial-up. Even so, in his 1991 essay “Sim­u­lacra and Sci­ence Fic­tion,” Bau­drillard con­tend­ed that the real and the imag­i­nary were no longer dis­tin­guish­able, and that the col­lapse of the dis­tance between them meant that “there is no more fic­tion.” Or, con­verse­ly, he sug­gest­ed, that there is no more real­i­ty.

What seemed a far-fetched claim about the total­i­ty of “cyber­net­ics and hyper­re­al­i­ty” in the age of AOL and Netscape now sounds far more plau­si­ble. After all, it will soon be pos­si­ble, if it is not so already, to con­vinc­ing­ly sim­u­late events that nev­er occurred, and to make mil­lions of peo­ple believe they had, not only through fake tweets, “fake news,” and age-old pro­pa­gan­da, but through sophis­ti­cat­ed manip­u­la­tion of video and audio, through aug­ment­ed real­i­ty and the onset of “real­i­ty apa­thy,” a psy­cho­log­i­cal fatigue that over­whelms our abil­i­ties to dis­tin­guish true and false when every­thing appears as a car­toon­ish par­o­dy of itself.

Tech­nol­o­gist Aviv Ovadya has tried since 2016 to warn any­one who would lis­ten that such a col­lapse of real­i­ty was fast upon us—an “Info­ca­lypse,” he calls it. If this is so, accord­ing to Bau­drillard, “both tra­di­tion­al SF and the­o­ry are des­tined to the same fate: flux and impre­ci­sion are putting an end to them as spe­cif­ic gen­res.” In an apoc­a­lyp­tic pre­dic­tion, he declaimed, “fic­tion will nev­er again be a mir­ror held to the future, but rather a des­per­ate rehal­lu­ci­nat­ing of the past.” The “col­lec­tive mar­ket­place” of glob­al­iza­tion and the Bor­ge­sian con­di­tion in which “the map cov­ers all the ter­ri­to­ry” have left “no room any more for the imag­i­nary.” Com­pa­nies set up shop express­ly to sim­u­late and fal­si­fy real­i­ty. Pained irony, pas­tiche, and cheap nos­tal­gia are all that remain.

It’s a bleak sce­nario, but per­haps he was right after all, though it may not yet be time to despair—to give up on real­i­ty or the role of imag­i­na­tion. After all, sci-fi writ­ers like Gib­son, Philip K. Dick, and J.G. Bal­lard grasped long before most of us the con­di­tion Bau­drillard described. The sub­ject proved for them and many oth­er late-20th cen­tu­ry sci-fi authors a rich vein for fic­tion. And per­haps, rather than a great disruption—to use the lan­guage of a start-up cul­ture intent on break­ing things—there remains some con­ti­nu­ity with the naïve con­fi­dence of past par­a­digms, just as New­ton­ian physics still holds true, only in a far more lim­it­ed way than once believed.

Isaac Asimov’s short essay “The Rel­a­tiv­i­ty of Wrong” is instruc­tive on this last point. Maybe the the­o­ry of “hyper­re­al­i­ty” is right, in some fash­ion, but also incom­plete: a future remains for the most vision­ary cre­ative minds to dis­cov­er, as it did for Asimov’s “psy­chohis­to­ri­an” Hari Sel­don in The Foun­da­tion Tril­o­gy. You can hear a BBC drama­ti­za­tion of that ground­break­ing fifties mas­ter­work in the 47-hour sci­ence fic­tion playlist above, along with read­ings of clas­sic stories—like Orson Welles’ infa­mous radio broad­cast of H.G. Wells’ War of the Worlds (and an audio­book of the same read by Eng­lish actor Maxwell Caulfield). From Jules Verne to H.P. Love­craft to George Orwell; from the mid-fifties time trav­el fic­tion of Andre Nor­ton to the 21st-cen­tu­ry time-trav­el fic­tion of Ruth Boswell….

We’ve even got a late entry from the­atri­cal prog rock mas­ter­mind Rick Wake­man, who fol­lowed up his musi­cal adap­ta­tion of Jour­ney to the Cen­tre of the Earth with a sequel he penned him­self, record­ed in 1974, and released in 1999, called Return to the Cen­tre of the Earth, with nar­ra­tion by Patrick Stew­art and guest appear­ances by Ozzy Osbourne, Bon­nie Tyler, and the Moody Blues’ Justin Hay­ward. Does revis­it­ing sci-fi, “weird fic­tion,” and oper­at­ic con­cept albums of the past con­sti­tute a “des­per­ate rehal­lu­ci­nat­ing” of a bygone “lost object,” as Bau­drillard believed? Or does it pro­vide the raw mate­r­i­al for today’s psy­chohis­to­ri­ans? I sup­pose it remains to be seen; the future—and the future of sci­ence fiction—may be wide open.

The 47-hour sci­ence fic­tion playlist above will be added to our col­lec­tion of 900 Free Audio Books.

Relat­ed Con­tent:

Free: Isaac Asimov’s Epic Foun­da­tion Tril­o­gy Dra­ma­tized in Clas­sic Audio

Sci-Fi Radio: Hear Radio Dra­mas of Sci-Fi Sto­ries by Ray Brad­bury, Philip K. Dick, Ursu­la K. LeGuin & More (1989)

Free: 355 Issues of Galaxy, the Ground­break­ing 1950s Sci­ence Fic­tion Mag­a­zine

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

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A Young Steve Jobs Teaches a Class at MIT (1992)

Ask­ing whether there will ever be anoth­er Steve Jobs seems to me like ask­ing whether there’ll ever be anoth­er Muham­mad Ali. While there may be lit­tle com­par­i­son between their respec­tive domains, both unique indi­vid­u­als mas­tered their cho­sen pur­suits, fought like hell to keep their titles, and “thought dif­fer­ent” than every­one around them. Also Jobs, like Ali, didn’t hes­i­tate to speak his mind, as in the clip above, in which he declares Microsoft’s Win­dows “the worst devel­op­ment envi­ron­ment that’s ever been invent­ed.” It ain’t politic, but it’s maybe… kin­da true? I don’t know…

My opin­ions on the mat­ter aren’t worth much—I wouldn’t know the back­end of an oper­at­ing sys­tem from the back­end of a trac­tor-trail­er. But Jobs didn’t attain tech guru sta­tus just for the sleek­ness and sim­plic­i­ty of Apple’s designs, but for his keen insights into the refine­ment of con­sumer com­put­ing tech­nol­o­gy and his abil­i­ty to con­vey them with the unpre­ten­tious direct­ness of a black turtle­neck and dad jeans. The clips here are of a young-ish Jobs teach­ing at MIT cir­ca 1992, when he was 37 and run­ning his com­pa­ny NeXT, found­ed in 1985 after he was orig­i­nal­ly forced out of Apple.

He stayed plen­ty busy dur­ing his Apple inter­reg­num, help­ing to launch a lit­tle com­put­er graph­ics divi­sion that would become Pixar and devel­op­ing the tech­nol­o­gy and designs that rev­o­lu­tion­ized Apple when it bought NeXT in 1997—and when Jobs retook his empire through pro­pri­etary ruth­less­ness.

Here, five years away from that fate­ful event, we see him explain­ing his phi­los­o­phy of inno­va­tion to stu­dents who may or may not have fore­seen the break­throughs to come. Just above, he describes how “you can use the con­cept of tech­nol­o­gy of win­dows open­ing, and then even­tu­al­ly clos­ing,” refer­ring not, this time, to Bill Gates’ hat­ed OS.

Rather, Jobs talks of a sit­u­a­tion in which “enough tech­nol­o­gy, usu­al­ly from fair­ly diverse places, comes togeth­er, and makes some­thing that’s a quan­tum leap for­ward pos­si­ble.” One of Jobs’ many leaps for­ward in con­sumer tech­nol­o­gy might rea­son­ably be summed up in one word: porta­bil­i­ty, as in, the abil­i­ty to car­ry an entire library of music or a cell phone/music player/personal com­put­er in your pock­et.  Just above, he dis­cuss­es “the ene­my of porta­bil­i­ty,” name­ly such mar­ket demands as pro­cess­ing speed, stor­age space, and high-speed net­work­ing. And in the clip below, he talks about a sub­ject near and dear to every tech exec­u­tive’s heart—poaching tal­ent from com­peti­tors such as, well, Microsoft.

The uni­form of turtle­neck tucked into jeans, the delib­er­ate pac­ing back and forth, the expres­sive hand ges­tures and gen­uine com­fort and con­fi­dence in front of a crowd: all of the man­ner­isms we remem­ber from those hot­ly antic­i­pat­ed launch events are there in a shag­gi­er form.

Through the var­i­ous appli­ca­tions of his tech­no­log­i­cal acu­men, Jobs remained always him­self. The “next Steve Jobs,” or rather those aspir­ing to his lev­el of rel­e­vance should take note—he did it by insist­ing on doing it his way.

 

Relat­ed Con­tent:

The 20 CDs Curat­ed by Steve Jobs and Placed on Pro­to­type iPods (2001)

Steve Jobs Mus­es on What’s Wrong with Amer­i­can Edu­ca­tion, 1995

Steve Jobs on the Rise of the Per­son­al Com­put­er: A Rare 1990 Inter­view

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

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Behold 3,000 Digitized Manuscripts from the Bibliotheca Palatina: The Mother of All Medieval Libraries Is Getting Reconstructed Online

The inter­net, one occa­sion­al­ly hears, has over­tak­en the func­tion of the library. In terms of stor­ing and mak­ing acces­si­ble all of human knowl­edge, the ways in which the capac­i­ties of the inter­net match or exceed those of even the most enor­mous library seem obvi­ous. In the­o­ry, dig­i­tal libraries don’t burn down, at least when prop­er­ly set up, nor, with their abil­i­ty to exist above nation­al bound­aries, do they get sacked by invad­ing armies. Even so, as Google recent­ly proved when its years-long book-dig­i­ti­za­tion effort Project Ocean came up against legal obsta­cles, the phys­i­cal realm has­n’t quite ced­ed to the online one.

“When the library at Alexan­dria burned it was said to be an ‘inter­na­tion­al cat­a­stro­phe,’ ” writes The Atlantic’s James Somers in a piece on the ambi­tious, trou­bled project. When the court ruled against Google’s ver­sion, though, few­er tears were shed.

At least when Hei­del­berg’s Bib­lio­the­ca Palati­na, the most impor­tant library of the Ger­main Renais­sance, became a piece of booty in the Thir­ty Years’ War in 1622, its 5,000 print­ed books and 3,524 man­u­scripts remained, in some sense, avail­able — albeit split, from then on, between Hei­del­berg and the Vat­i­can’s Bib­liote­ca Apos­toli­ca Vat­i­cana.

“At the begin­ning of the 17th cen­tu­ry,” says Medievalists.net, the Bib­lio­the­ca Palati­na “was known as ‘the great­est trea­sure of Germany’s learned.’ As a uni­ver­sal library, it con­tains not only the­o­log­i­cal, philo­log­i­cal, philo­soph­i­cal, and his­tor­i­cal works but also med­ical, nat­ur­al his­to­ry, and astro­nom­i­cal texts.” Now, its “core inven­to­ry” of approx­i­mate­ly 3,000 man­u­scripts has become avail­able free online at the Bib­lio­the­ca Palati­na Dig­i­tal. Since 2001, says its site, “Hei­del­berg Uni­ver­si­ty Library has been work­ing on sev­er­al projects that aim to dig­i­tize parts of this great col­lec­tion, the final goal being a com­plete vir­tu­al recon­struc­tion of the ‘moth­er of all libraries.’ ”

From there you can browse the Bib­lio­the­ca Palati­na Dig­i­tal’s Codices Pala­ti­ni ger­mani­ci, “the largest and old­est undi­vid­ed col­lec­tion of extant Ger­man-lan­guage man­u­scripts”; the Codices Pala­ti­ni lati­ni, where “you will even­tu­al­ly be able to access more than 2,000 Latin man­u­scripts”; and the Codices Pala­ti­ni grae­ci, which hous­es “dig­i­tal fac­sim­i­les of 29 Greek man­u­scripts which are now kept in Hei­del­berg Uni­ver­si­ty Library.” It also offers sec­tions on the his­to­ry of the Bib­lio­the­ca Palati­na; on the Codex Manesse, “the world’s rich­est anthol­o­gy of medi­ae­val Ger­man song”; and (for now in Ger­man only) on the man­u­scripts’ dec­o­ra­tions and the insight they pro­vide into “the the­mat­i­cal­ly diverse art of medi­ae­val book-mak­ing.” And none of it sub­ject to sack­ing — unless, of course, his­to­ry has a par­tic­u­lar­ly nasty sur­prise in store for us.

Enter the Dig­i­tal Bib­lio­the­ca Palati­na here.

Relat­ed Con­tent:

Dis­cov­er Euro­peana Col­lec­tions, a Por­tal of 48 Mil­lion Free Art­works, Books, Videos, Arti­facts & Sounds from Across Europe

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

How Illu­mi­nat­ed Medieval Man­u­scripts Were Made: A Step-by-Step Look at this Beau­ti­ful, Cen­turies-Old Craft

Won­der­ful­ly Weird & Inge­nious Medieval Books

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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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When David Bowie Became Nikola Tesla: Watch His Electric Performance in The Prestige (2006)

Only two major actors have played inven­tor Niko­la Tes­la in pop cul­ture: one is John C. Reil­ly and the oth­er is David Bowie. As much as I love this episode of Drunk His­to­ry, let’s talk about the Star­man him­self, who Christo­pher Nolan cast as Tes­la in his 2006 film The Pres­tige.

By 2005, Bowie was in seclu­sion. As elu­ci­dat­ed in the recent BBC doc, The Last Five Years, the singer was recu­per­at­ing from a heart attack on his Real­i­ty tour, a tour that would turn out to be his last.

Nolan begged Bowie to take the role:

Tes­la was this oth­er-world­ly, ahead-of-his-time fig­ure, and at some point it occurred to me he was the orig­i­nal Man Who Fell to Earth. As some­one who was the biggest Bowie fan in the world, once I made that con­nec­tion, he seemed to be the only actor capa­ble of play­ing the part…It took me a while to con­vince him, though—he turned down the part the first time. It was the only time I can ever remem­ber try­ing again with an actor who passed on me.

Bowie relent­ed and above you can see his best moment in the film (or *the* best moment in the film)–where Tes­la enters through a show­er of elec­tric­i­ty to greet Robert (Hugh Jack­man) and Alley (Andy Serkis). It’s a rock star entrance, for sure.

Nolan con­tin­ues:

The expe­ri­ence of hav­ing him on set was won­der­ful. Daunt­ing, at first. He had a lev­el of charis­ma beyond what you nor­mal­ly expe­ri­ence, and every­one real­ly respond­ed to it. I’ve nev­er seen a crew respond to any movie star that way, no mat­ter how big. But he was very gra­cious and under­stood the effect he had on peo­ple. Every­one has fond mem­o­ries of get­ting to spend time with him or speak to him for a lit­tle bit. I only worked with him briefly—four or five days—but I did man­age to sneak a cou­ple moments to chat with him, which are very trea­sured mem­o­ries of mine. Nor­mal­ly when you meet stars, no mat­ter how star­ry they are, when you see them as peo­ple, some of that mys­tique goes away. But not with David Bowie. I came away from the expe­ri­ence being able to say I was still his biggest fan, and a fan who had the very mirac­u­lous oppor­tu­ni­ty to work with him for a moment. I loved the fact that after hav­ing worked with him, I had just the same fas­ci­na­tion with his tal­ent and his charis­ma. I thought that was quite mag­i­cal.

Despite a very brief role in a film called August and an appear­ance around the same year on Ricky Ger­vais’ Extras, this would be Bowie’s last major film role, and real­ly his last filmed appear­ance until 2013, when he shot pro­mos for The Next Day.

A look at the YouTube com­ments sug­gest that many view­ers watched The Pres­tige and had no idea who was play­ing Tes­la. And that might have just tick­led the man, play­ing a magi­cian in recluse high up in the moun­tains, more in com­mu­ni­ca­tion with the invis­i­ble gods than the mor­tals.

Relat­ed Con­tent:

Watch David Bowie Star in His First Film Role, a Short Hor­ror Flick Called The Image (1967)

Ricky Ger­vais Cre­ates Out­landish Com­e­dy with David Bowie

David Bowie Sings in a Won­der­ful M.C. Esch­er-Inspired Set in Jim Henson’s Labyrinth

Niko­la Tesla’s Pre­dic­tions for the 21st Cen­tu­ry: The Rise of Smart Phones & Wire­less, The Demise of Cof­fee, The Rule of Eugen­ics (1926/35)

The Peri­od­ic Table of David Bowie: A Visu­al­iza­tion of the Sem­i­nal Artist’s Influ­ence and Influ­ences

The David Bowie Book Club Gets Launched by His Son: Read One of Bowie’s 100 Favorite Books Every Month

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

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How to Use the Rotary Dial Phone: A Primer from 1927

Most every piece of tech­nol­o­gy, no mat­ter how sim­ple, comes with a user man­u­al of some sort. Even the seem­ing­ly straight­for­ward rotary dial phone.

Although Alexan­der Gra­ham Bell patent­ed the first tele­phone in 1876, the first rotary dial phones did­n’t make their way into Amer­i­can homes until 1919. Then came the oblig­a­tory tuto­r­i­al. Cre­at­ed by AT&T in 1927 and orig­i­nal­ly shown in the­atres in Fres­no, Cal­i­for­nia, the silent film above breaks down the process of dial­ing a call–from using a phone direc­to­ry and find­ing a num­ber, to pick­ing up the receiv­er and lis­ten­ing for that steady hum­ming sound called the “dial tone,” to turn­ing and releas­ing the rotary dial mul­ti­ple times, and so on. This primer would car­ry Amer­i­cans through 1963 when the first push-but­ton phones start­ed to pop up. That advent of the push-but­ton phone also came with a video, of course.

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via the Pub­lic Domain Review

Relat­ed Con­tent:

Hear the Voice of Alexan­der Gra­ham Bell for the First Time in a Cen­tu­ry

How Vinyl Records Are Made: A Primer from 1956

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Herbie Hancock Explains the Big Lesson He Learned From Miles Davis: Every Mistake in Music, as in Life, Is an Opportunity

One thing they don’t teach you in par­ent­ing school is how to guide a young child into mak­ing few­er mis­takes in her home­work, while also com­mu­ni­cat­ing to her that mis­takes are not “bad” but often “good” in that they can be con­duits for cre­ative think­ing and intu­itive path­ways to progress. This les­son presents even more prob­lems if your child has per­fec­tion­ist ten­den­cies. (If you have sound ped­a­gog­i­cal meth­ods, I’m all ears.)

The prob­lem isn’t just that adults con­stant­ly tele­graph bina­ry “yes/no,” “good/bad” mes­sages to every­one and every­thing around them, but that most adults are deeply uncom­fort­able with ambi­gu­i­ty, and thus deeply afraid of mis­takes, as a result of imbib­ing so many bina­ry mes­sages them­selves. Impro­vi­sa­tion fright­ens trained and untrained musi­cians alike, for exam­ple, for this very rea­son. Who wants to screw up pub­licly and look like… well, a screw up?

We think that doing some­thing well, and even “per­fect­ly,” will win us the pat on the head/gold star/good report card we have been taught to crave all our lives. Sure­ly there are excel­lent rea­sons to strive for excel­lence. But accord­ing to one who should know—the most excel­lent Miles Davis—excellence by nature obvi­ates the idea of mis­takes. How’s that, you ask? Let us attend to one of Davis’ for­mer side­men, Her­bie Han­cock, who tells one of his favorite sto­ries about the man above.

Loose impro­vi­sa­tion is inte­gral to jazz, but we all know Miles Davis as a very exact­ing char­ac­ter. He could be mean, demand­ing, abra­sive, cranky, hyper­crit­i­cal, and we might con­clude, giv­en these per­son­al qual­i­ties, and the con­sis­tent excel­lence of his play­ing, that he was a per­fec­tion­ist who couldn’t tol­er­ate screw ups. Han­cock gives us a very dif­fer­ent impres­sion, telling the tale of a “hot night” in Stuttgart, when the music was “tight, it was pow­er­ful, it was inno­v­a­tive, and fun.”

Mak­ing what any­one would rea­son­ably call a mis­take in the mid­dle of one of Davis’ solos—hitting a notice­ably wrong chord—Hancock react­ed as most of us would, with dis­may. “Miles paused for a sec­ond,” he says, “and then he played some notes that made my chord right… Miles was able to turn some­thing that was wrong into some­thing that was right.” Still, Han­cock was so upset, he couldn’t play for about a minute, par­a­lyzed by his own ideas about “right” and “wrong” notes.

What I real­ize now is that Miles didn’t hear it as a mis­take. He heard it as some­thing that hap­pened. As an event. And so that was part of the real­i­ty of what was hap­pen­ing at that moment. And he dealt with it…. Since he didn’t hear it as a mis­take, he thought it was his respon­si­bil­i­ty to find some­thing that fit.

Han­cock drew a musi­cal les­son from the moment, yes, and he also drew a larg­er life les­son about growth, which requires, he says, “a mind that’s open enough… to be able to expe­ri­ence sit­u­a­tions as they are and turn them into med­i­cine… take what­ev­er sit­u­a­tion you have and make some­thing con­struc­tive hap­pen with it.”

This bit of wis­dom reminds me not only of my favorite Radio­head lyric (“Be con­struc­tive with your blues”), but also of a sto­ry about a Japan­ese monk who vis­it­ed a monastery in the U.S. and promised to give a demon­stra­tion in the fine art of Zen archery. After much solemn prepa­ra­tion and breath­less antic­i­pa­tion, the monk led his hosts on a hike up the moun­tain, where he then blind­ly fired an arrow off a cliff and walked away, leav­ing the stunned spec­ta­tors to con­clude the tar­get must be wher­ev­er the arrow hap­pened to land.

What mat­ters, Davis is quot­ed as say­ing, is how we respond to what’s hap­pen­ing around us: “When you hit a wrong note, it’s the next note that you play that deter­mines if it’s good or bad.” Or, as he put it more sim­ply and non-dual­is­ti­cal­ly, “Do not fear mis­takes. There are none.”

Relat­ed Con­tent:

Hear a 65-Hour, Chrono­log­i­cal Playlist of Miles Davis’ Rev­o­lu­tion­ary Jazz Albums

Miles Davis Dish­es Dirt on His Fel­low Jazz Musi­cians: “The Trom­bone Play­er Should be Shot”; That Ornette is “F‑ing Up the Trum­pet”

Her­bie Han­cock Presents the Pres­ti­gious Nor­ton Lec­tures at Har­vard Uni­ver­si­ty: Watch Online

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

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Stream a 144-Hour Discography of Classic Jazz Recordings from Blue Note Records: Miles Davis, Art Blakey, John Coltrane, Ornette Coleman & More

There have been many influ­en­tial jazz record labels through­out the pre­vi­ous cen­tu­ry and into the cur­rent one, but there is no more rec­og­niz­able label than Blue Note Records. Blue Note is “unques­tion­ably the most icon­ic jazz label there has ever been,” claims the site Udis­cov­er Music in a post on the “50 Great­est” Blue Note albums. Indeed, “it may well be the most icon­ic record label of all time… a brand rec­og­nized the world over for the ‘finest in jazz.’”

Out­side of the label iden­ti­ties in cer­tain sub­cul­tures like punk and elec­tron­ic music, no oth­er name so instant­ly con­jures up a ful­ly-formed, dis­tinc­tive look and sound. It is the mono­chrome look of dap­per, too-cool musi­cal giants in tai­lored suits and skin­ny ties, and the sound, pri­mar­i­ly, of the Hard Bop era—of Art Blakey, Wayne Short­er, Son­ny Rollins, Dex­ter Gor­don, Bud Pow­ell, McCoy Tyn­er, and, of course, Miles Davis, Thelo­nious Monk, and John Coltrane, artists who total­ly enlarged the bound­aries of jazz. (See the trail­er above for the Sophie Huber doc­u­men­tary Blue Note Records: Beyond the Notes.)

By design, Blue Note’s unfor­get­table 50s and 60s album cov­ers—most cre­at­ed by artist Reid Miles and pho­tog­ra­ph­er Fran­cis Wolff—sug­gest brim­fuls of pos­si­bil­i­ty. “Right from the begin­ning,” says pro­duc­er and writer Michael Cus­cu­na in the video above, “they real­ly took their cov­ers seri­ous­ly.”

But this would have meant lit­tle if they hadn’t tak­en the music just as seri­ous­ly as the styl­ish art­work that adorns it. Found­ed in 1939 by Alfred Lion and Max Mar­gulis, the label first served as a home for more tra­di­tion­al big band and swing, but in the late for­ties, Blue Note seemed to real­ize bet­ter than any oth­er com­mer­cial enti­ty that the future of jazz had arrived, thanks in part to sax­o­phon­ist and tal­ent scout Ike Que­bec.

“Not real­ly in the pan­theon of Blue Note play­ers of the 1960s,” writes Burn­ing Ambu­lance (he died in ear­ly ’63), Que­bec is still cen­tral to the label’s suc­cess. As an A&R man, he signed Monk and Bud Pow­ell, and “it’s been said that he did a lot of uncred­it­ed arrang­ing on oth­er musi­cians’ ses­sions, too.” His lat­er record­ings fit right in with his more famous peers (check out his “Blue and Sen­ti­men­tal”). Quebec’s own work doesn’t come up in many Blue Note ret­ro­spec­tives, includ­ing the Spo­ti­fy discog­ra­phy above, and that’s too bad. But it’s hard to com­plain when you’ve got so many incred­i­ble, icon­ic Blue Note record­ings in one place.

Cre­at­ed by Junior Bon­ner, the Blue Notes Records Discog­ra­phy playlist is not “com­plete” in that it con­tains every album the label ever released—an impos­si­ble expec­ta­tion, sure­ly, espe­cial­ly since Blue Note is still going strong. But, with a run time of 144 hours, it more than suf­fi­cient­ly cov­ers the ros­ter of the label’s great­est play­ers, includ­ing sev­er­al many of us prob­a­bly haven’t heard before in much depth. Hard­core audio­phile record col­lec­tors should vis­it Lon­don­Jaz­zCol­lec­tor and Jazzdisco.org to get the full Blue Note cat­a­log of every Blue Note artist and release. But lovers of jazz who don’t mind dig­i­tal stream­ing instead of pre­cious vinyl and shel­lac will be thrilled with this impres­sive anthol­o­gy.

Relat­ed Con­tent:

Hear a 65-Hour, Chrono­log­i­cal Playlist of Miles Davis’ Rev­o­lu­tion­ary Jazz Albums

Hear 2,000 Record­ings of the Most Essen­tial Jazz Songs: A Huge Playlist for Your Jazz Edu­ca­tion

Women of Jazz: Stream a Playlist of 91 Record­ings by Great Female Jazz Musi­cians

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

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The Illustrated Medicinal Plant Map of the United States of America (1932): Download It in High Resolution

Two years ago, we high­light­ed col­lec­tor David Rumsey’s huge map archive, which he donat­ed to Stan­ford Uni­ver­si­ty in April of 2016 and which now resides at Stanford’s David Rum­sey Map Cen­ter. The open­ing of this phys­i­cal col­lec­tion was a pret­ty big deal, but the dig­i­tal col­lec­tion has been on the web, in some part, and avail­able to the online pub­lic since 1996. Twen­ty years ago, how­ev­er, though the inter­net was decid­ed­ly becom­ing an every­day fea­ture of mod­ern life, it was dif­fi­cult for the aver­age per­son to imag­ine the degree to which dig­i­tal tech­nol­o­gy would com­plete­ly over­take our lives, not to men­tion the almost unbe­liev­able wealth and pow­er tech com­pa­nies would amass in such short time.

Sim­i­lar­ly, when the above 1932 Med­i­c­i­nal Plant Map of the Unit­ed States (see in a larg­er for­mat here) first appeared—one of the tens of thou­sands of maps avail­able in the dig­i­tal Rum­sey col­lec­tion—few peo­ple oth­er than Aldous Hux­ley could have fore­seen the expo­nen­tial advances, and the rise of wealth and pow­er, to come in the phar­ma­ceu­ti­cal indus­try.

But the phar­ma­cists had a clue. The map, pro­duced by the Nation­al Whole­sale Drug­gists’ Asso­ci­a­tion, “was intend­ed to boost the image of the pro­fes­sion,” writes Rebec­ca Onion at Slate, “at a time when com­pa­nies were increas­ing­ly com­pound­ing new phar­ma­ceu­ti­cals in labs,” there­by ren­der­ing much of the drug-mak­ing knowl­edge and skill of old-time drug­gists obso­lete.

Although the com­mer­cial phar­ma­ceu­ti­cal indus­try began tak­ing shape in the late 19th cen­tu­ry, it didn’t ful­ly come into its own until the so-called “gold­en era” of 1930–1960, when, says Onion, researchers devel­oped “a flood of new antibi­otics, psy­chotrop­ics, anti­his­t­a­mines, and vac­cines, increas­ing­ly rely­ing on syn­thet­ic chem­istry to do so.” Over-the-counter med­ica­tions pro­lif­er­at­ed, and phar­ma­cists became alarmed. They sought to per­suade the pub­lic of their con­tin­ued rel­e­vance by point­ing out, as a short blurb at the bot­tom left cor­ner of the map notes, that “few peo­ple real­ize the extent to which plants and min­er­als enter into the prac­tice of phar­ma­cy.”

The map appeared dur­ing “Phar­ma­cy Week” in Octo­ber, when “phar­ma­cists in Anglo-Sax­on coun­tries” pro­mote their ser­vices. Los­ing sight of those impor­tant ser­vices, the Drug­gists’ Asso­ci­a­tion writes, will lead to suf­fer­ing, should the tra­di­tion­al phar­ma­cist’s func­tion “be impaired or destroyed by com­mer­cial trends.” Thus we have this visu­al demon­stra­tion of com­pe­tence. The map iden­ti­fies impor­tant species—native or cultivated—in each region of the coun­try. In Ken­tucky, we see Nicoti­na tabacum, whose cured leaves, you guessed it, “con­sti­tute tobac­co.” Across the coun­try in Neva­da, we are intro­duced to Apoc­ynum cannabinum, “native of U.S. and South­ern Canada—the dried rhi­zome and roots con­sti­tute the drug apoc­ynum or Cana­di­an hemp.”

The bet­ter-known Can­nibus sati­va also appears, in one of the box­es around the map’s bor­der that intro­duce plants from out­side North Amer­i­ca, includ­ing Ery­throx­y­lon coca, from Bolivia and Peru, and Papaver som­nifer­um, from which opi­um derives. Many of the oth­er med­ica­tions will be less famil­iar to us—and belong to what we now call natur­opa­thy, herbal­ism, or, more gen­er­al­ly, “tra­di­tion­al med­i­cine.” Though these med­i­c­i­nal prac­tices are many thou­sands of years old, the drug­gists try to project a cut­ting-edge image, assur­ing the map’s read­ers that “intense sci­en­tif­ic study, expert knowl­edge, extreme care and accu­ra­cy are applied by the phar­ma­cist to med­i­c­i­nal plants.”

While phar­ma­cists today are high­ly-trained pro­fes­sion­als, the part of their jobs that involved the mak­ing of drugs from scratch has been ced­ed to mas­sive cor­po­ra­tions and their research lab­o­ra­to­ries. The drug­gists of 1932 saw this com­ing, and no amount of col­or­ful pub­lic rela­tions could stem the tide. But it may be the case, giv­en chang­ing laws, chang­ing atti­tudes, the back­lash against over­med­ica­tion, and the dev­as­tat­ing opi­oid epi­dem­ic, that their craft is more rel­e­vant than it has been in decades, though today’s “drug­gists” work in mar­i­jua­na dis­pen­saries and health food stores instead of nation­al phar­ma­cy chains.

View and down­load the map in a high res­o­lu­tion scan at the David Rum­sey Map Col­lec­tion, where you can zoom in to every plant on the map and read its descrip­tion.

via Slate

Relat­ed Con­tent:

Down­load 67,000 His­toric Maps (in High Res­o­lu­tion) from the Won­der­ful David Rum­sey Map Col­lec­tion

The His­to­ry of Car­tog­ra­phy, the “Most Ambi­tious Overview of Map Mak­ing Ever,” Is Now Free Online

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

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

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Hidden Ancient Greek Medical Text Read for the First Time in a Thousand Years — with a Particle Accelerator

Image by Far­rin Abbott/SLAC, via Flickr Com­mons

Long before human­i­ty had paper to write on, we had papyrus. Made of the pith of the wet­land plant Cype­r­us papyrus and first used in ancient Egypt, it made for quite a step up in terms of con­ve­nience from, say, the stone tablet. And not only could you write on it, you could rewrite on it. In that sense it was less the paper of its day than the first-gen­er­a­tion video tape: giv­en the expense of the stuff, it often made sense to erase the con­tent already writ­ten on a piece of papyrus in order to record some­thing more time­ly. But you could­n’t com­plete­ly oblit­er­ate the pre­vi­ous lay­ers of text, a fact that has long held out promise to schol­ars of ancient his­to­ry look­ing to expand their field of pri­ma­ry sources.

The decid­ed­ly non-ancient solu­tion: par­ti­cle accel­er­a­tors. Researchers at the Stan­ford Syn­chro­tron Radi­a­tion Light­source (SSRL) recent­ly used one to find the hid­den text in what’s now called the Syr­i­ac Galen Palimpsest. It con­tains, some­where deep in its pages, “On the Mix­tures and Pow­ers of Sim­ple Drugs,” an “impor­tant phar­ma­ceu­ti­cal text that would help edu­cate fel­low Greek-Roman doc­tors,” writes Aman­da Sol­l­i­day at the SLAC Nation­al Accel­er­a­tor Lab­o­ra­to­ry.

Orig­i­nal­ly com­posed by Galen of Perg­a­mon, “an influ­en­tial physi­cian and a philoso­pher of ear­ly West­ern med­i­cine,” the work made its way into the 6th-cen­tu­ry Islam­ic world through a trans­la­tion into a lan­guage between Greek and Ara­bic called Syr­i­ac.

Image by Far­rin Abbott/SLAC, via Flickr Com­mons

Alas, “despite the physician’s fame, the most com­plete sur­viv­ing ver­sion of the trans­lat­ed man­u­script was erased and writ­ten over with hymns in the 11th cen­tu­ry – a com­mon prac­tice at the time.” Palimpsest, the word coined to describe such texts writ­ten, erased, and writ­ten over on pre-paper mate­ri­als like papyrus and parch­ment, has long since had a place in the lex­i­con as a metaphor for any­thing long-his­to­ried, mul­ti-lay­ered, and ful­ly under­stand­able only with effort. The Stan­ford team’s effort involved a tech­nique called X‑ray flu­o­res­cence (XRF), whose rays “knock out elec­trons close to the nuclei of met­al atoms, and these holes are filled with out­er elec­trons result­ing in char­ac­ter­is­tic X‑ray flu­o­res­cence that can be picked up by a sen­si­tive detec­tor.”

Those rays “pen­e­trate through lay­ers of text and cal­ci­um, and the hid­den Galen text and the new­er reli­gious text flu­o­resce in slight­ly dif­fer­ent ways because their inks con­tain dif­fer­ent com­bi­na­tions of met­als such as iron, zinc, mer­cury and cop­per.” Each of the leather-bound book’s 26 pages takes ten hours to scan, and the enor­mous amounts of new data col­lect­ed will pre­sum­ably occu­py a vari­ety of experts on the ancient world — on the Greek and Islam­ic civ­i­liza­tions, on their lan­guages, on their med­i­cine — for much longer there­after. But you do have to won­der: what kind of unimag­in­ably advanced tech­nol­o­gy will our descen­dants a mil­len­ni­um and a half years from now be using to read all of the stuff we thought we’d erased?

via SLAC

Relat­ed Con­tent:

2,000-Year-Old Man­u­script of the Ten Com­mand­ments Gets Dig­i­tized: See/Download “Nash Papyrus” in High Res­o­lu­tion

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

Learn Ancient Greek in 64 Free Lessons: A Free Course from Bran­deis & Har­vard

Intro­duc­tion to Ancient Greek His­to­ry: A Free Online Course from Yale

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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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Open Culture was founded by Dan Colman.