Why Movies Don’t Feel Real Anymore: A Close Look at Changing Filmmaking Techniques

Any­one who keeps an eye on Hol­ly­wood knows — indeed, has been ever more fre­quent­ly and anx­ious­ly informed — that the the­ater busi­ness is in trou­ble. If few­er of us than ever have been going out to the movies, one rea­son must have to do with the easy avail­abil­i­ty of home stream­ing, to say noth­ing of all the pro­lif­er­at­ing dig­i­tal dis­trac­tions pre­ci­sion-engi­neered to cap­ture our atten­tion. But could it also have to do with a change in the pic­tures them­selves? With more than two mil­lion views racked up in just four days, the new Like Sto­ries of Old video essay above ven­tures an expla­na­tion as to “Why Movies Just Don’t Feel ‘Real’ Any­more.”

In recent years, even long, colos­sal­ly bud­get­ed, and cease­less­ly mar­ket­ed spec­ta­cles feel strange­ly insub­stan­tial on any screen, big or small. The video’s cre­ator Tom van der Lin­den points to a vari­ety of fac­tors, begin­ning with a wors­en­ing lack of cor­re­spon­dence between the cin­e­mat­ic image and our per­cep­tion of real­i­ty.

One clear­ly — or rather, read­i­ly — notice­able con­tribut­ing trend is the preva­lence of shal­low focus, which keeps the char­ac­ters in the fore­ground sharp but lets all the details of the back­ground go blur­ry: not the way we see the real world, unless we mis­place our glass­es. Because we live in deep focus, deep focus cin­e­matog­ra­phy feels more real to us.

Of course, not every movie can be Lawrence of Ara­bia. But there was a time when prac­ti­cal­ly all of them did deliv­er what’s called “hap­tic visu­al­i­ty,” the word hap­tic relat­ing to the con­cept of our sense of touch. Old­er films have a tan­gi­bil­i­ty about them in large part because the film­mak­ers had no choice: work­ing only or pri­mar­i­ly with ana­log tools, they could only do so much to detach images from our phys­i­cal expe­ri­ence. Dig­i­tal pho­tog­ra­phy, post-pro­duc­tion CGI, and now the open abyss of AI have made any­thing tech­ni­cal­ly pos­si­ble, though as van der Lin­den under­scores, those tech­nolo­gies by them­selves don’t guar­an­tee that the result­ing movie won’t feel real. Ulti­mate­ly, unre­al­i­ty is a choice, and one we movie­go­ers should hope the indus­try will stop mak­ing — if not for our sat­is­fac­tion, then for its own sur­vival.

Relat­ed Con­tent:

The Dark Knight: Anato­my of a Flawed Action Scene

The Impor­tance of Film Edit­ing Demon­strat­ed by the Bad Edit­ing of Major Films: Bohemi­an Rhap­sody, Sui­cide Squad & More

Why Mar­vel and Oth­er Hol­ly­wood Films Have Such Bland Music: Every Frame a Paint­ing Explains the Per­ils of the “Temp Score”

Why We All Need Sub­ti­tles Now

Why Do Wes Ander­son Movies Look Like That?

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

J.R.R. Tolkien Expressed a “Heartfelt Loathing” for Walt Disney and Refused to Let Disney Studios Adapt His Work

Image via Wiki­me­dia Com­mons

I’ve just start­ed read­ing J.R.R. Tolkien’s The Hob­bit to my daugh­ter. While much of the nuance and the ref­er­ences to Tolkien­ian deep time are lost on her, she eas­i­ly grasps the dis­tinc­tive charms of the char­ac­ters, the nature of their jour­ney, and the per­ils, won­ders, and Elven friends they have met along the way so far. She is famil­iar with fairy tale dwarfs and myth­ic wiz­ards, though not with the typol­o­gy of insu­lar, mid­dle-class, adven­ture-averse coun­try gen­try, thus Hob­bits them­selves took a bit of explain­ing.

While read­ing and dis­cussing the book with her, I’ve won­dered to myself about a pos­si­ble his­tor­i­cal rela­tion­ship between Tolkien’s fairy tale fig­ures and those of the Walt Dis­ney com­pa­ny which appeared around the same time. The troupe of dwarves in The Hob­bit might pos­si­bly share a com­mon ances­tor with Snow White’s dwarfs—in the Ger­man fairy tale the Broth­ers Grimm first pub­lished in 1812. But here is where any sim­i­lar­i­ty between Tolkien and Dis­ney begins and ends.

In fact, Tolkien most­ly hat­ed Disney’s cre­ations, and he made these feel­ings very clear. Snow White debuted only months after The Hob­bit’s pub­li­ca­tion in 1937. As it hap­pened, Tolkien went to see the film with lit­er­ary friend and some­time rival C.S. Lewis. Nei­ther liked it very much. In a 1939 let­ter, Lewis grant­ed that “the ter­ri­fy­ing bits were good, and the ani­mals real­ly most mov­ing.” But he also called Dis­ney a “poor boob” and lament­ed “What might not have come of it if this man had been educated—or even brought up in a decent soci­ety?”

Tolkien, notes Atlas Obscu­ra, “found Snow White love­ly, but oth­er­wise wasn’t pleased with the dwarves. To both Tolkien and Lewis, it seemed, Disney’s dwarves were a gross over­sim­pli­fi­ca­tion of a con­cept they held as precious”—the con­cept, that is, of fairy sto­ries. Some might brush away their opin­ions as two Oxford dons gaz­ing down their noses at Amer­i­can mass enter­tain­ment. As Tolkien schol­ar Trish Lam­bert puts it, “I think it grat­ed on them that he [Dis­ney] was com­mer­cial­iz­ing some­thing that they con­sid­ered almost sacro­sanct.”

“Indeed,” writes Steven D. Grey­danus at the Nation­al Catholic Reg­is­ter, “it would be impos­si­ble to imag­ine” these two authors “being any­thing but appalled by Disney’s sil­ly dwarfs, with their slap­stick humor, nurs­ery-moniker names, and singsong musi­cal num­bers.” One might counter that Tolkien’s dwarves (as he insists on plu­ral­iz­ing the word), also have fun­ny names (derived, how­ev­er, from Old Norse) and also break into song. But he takes pains to sep­a­rate his dwarves from the com­mon run of children’s sto­ry dwarfs.

Tolkien would lat­er express his rev­er­ence for fairy tales in a schol­ar­ly 1947 essay titled “On Fairy Sto­ries,” in which he attempts to define the genre, pars­ing its dif­fer­ences from oth­er types of mar­velous fic­tion, and writ­ing with awe, “the realm of fairy sto­ry is wide and deep and high.” These are sto­ries to be tak­en seri­ous­ly, not dumb­ed-down and infan­tilized as he believed they had been. “The asso­ci­a­tion of chil­dren and fairy-sto­ries,” he writes, “is an acci­dent of our domes­tic his­to­ry.”

Tolkien wrote The Hob­bit for young peo­ple, but he did not write it as a “children’s book.” Noth­ing in the book pan­ders, not the lan­guage, nor the com­plex char­ac­ter­i­za­tion, nor the grown-up themes. Disney’s works, on the oth­er hand, rep­re­sent­ed to Tolkien a cheap­en­ing of ancient cul­tur­al arti­facts, and he seemed to think that Disney’s approach to films for chil­dren was espe­cial­ly con­de­scend­ing and cyn­i­cal.

He described Disney’s work on the whole as “vul­gar” and the man him­self, in a 1964 let­ter, as “sim­ply a cheat,” who is “hope­less­ly cor­rupt­ed” by prof­it-seek­ing (though he admits he is “not inno­cent of the prof­it-motive” him­self).

…I rec­og­nize his tal­ent, but it has always seemed to me hope­less­ly cor­rupt­ed. Though in most of the ‘pic­tures’ pro­ceed­ing from his stu­dios there are admirable or charm­ing pas­sages, the effect of all of them is to me dis­gust­ing. Some have giv­en me nau­sea…

This expli­ca­tion of Tolkien’s dis­like for Dis­ney goes beyond mere gos­sip to an impor­tant prac­ti­cal upshot: Tolkien would not allow any of his works to be giv­en the Walt Dis­ney treat­ment. While his pub­lish­er approached the stu­dios about a Lord of the Rings adap­ta­tion (they were turned down at the time), most schol­ars think this hap­pened with­out the author’s knowl­edge, which seems a safe assump­tion to say the least.

Tolkien’s long his­to­ry of express­ing neg­a­tive opin­ions about Dis­ney led to his lat­er for­bid­ding, “as long as it was pos­si­ble,” any of his works to be pro­duced “by the Dis­ney stu­dios (for all whose works I have a heart­felt loathing).” Astute read­ers of Tolkien know his seri­ous intent in even the most com­ic of his char­ac­ters and sit­u­a­tions. Or as Vin­tage News’ Mar­tin Cha­lakos­ki writes, “there is not a speck of Dis­ney in any of those pages.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2018.

Relat­ed Con­tent:

J.R.R. Tolkien Snubs a Ger­man Pub­lish­er Ask­ing for Proof of His “Aryan Descent” (1938)

110 Draw­ings and Paint­ings by J.R.R. Tolkien: Of Mid­dle-Earth and Beyond

J. R. R. Tolkien Writes & Speaks in Elvish, a Lan­guage He Invent­ed for The Lord of the Rings

When J.R.R. Tolkien Worked for the Oxford Eng­lish Dic­tio­nary and “Learned More … Than Any Oth­er Equal Peri­od of My Life” (1919–1920)

Josh Jones is a writer and musi­cian based in Durham, NC. 

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An Introduction to Hilma af Klint: Once a Forgotten Painter, Now a Celebrated Pioneer of Abstract Art

If pressed to pick the most inter­na­tion­al art fig­ure of the past dozen years, one could do much worse than the Swedish artist-mys­tic Hilma af Klint, despite her hav­ing been dead for more than 80 years now. As evi­denced by the links at the bot­tom of the post, we’ve been fea­tur­ing her here on Open Cul­ture since 2017, first in the con­text of whether she counts as the first abstract painter. Just a few years before that, prac­ti­cal­ly no one in the world had ever heard her name, let alone beheld any of her more than 1,200 paint­ings and draw­ings. In fact, it was only in 2013, with the show Hilma af Klint — A Pio­neer of Abstrac­tion at Stock­holm’s Mod­er­na Museet, that she first became pub­licly known.

From there, her can­on­iza­tion pro­ceed­ed rapid­ly. One uses that word advis­ed­ly, giv­en af Klin­t’s reli­gios­i­ty, whose inten­si­ty, eso­teri­cism, and rig­or con­sti­tute one of the themes of Alice Gre­go­ry’s recent New York­er piece on the artist’s work, lega­cy, and rel­a­tive­ly new­found pop­u­lar­i­ty, all of it col­ored by the fact that none of her pieces have ever been for sale.

The uncan­ni­ly mod­ern, before-its-time aes­thet­ic appeal of af Klin­t’s work is one thing; the dearth of wide­spread knowl­edge about the details of her life and thought, which has allowed many of her sud­den­ly avid twen­ty-first cen­tu­ry fans to imag­ine her into their pre­ferred artis­tic, philo­soph­i­cal, and social nar­ra­tives, is anoth­er. Yet key to the fas­ci­na­tion of her images is that, hav­ing been born in 1862, she was­n’t a twen­ty-first cen­tu­ry woman.

Af Klint bare­ly even belonged to the twen­ti­eth cen­tu­ry, or indeed to any world­ly time peri­od at all. The com­plex and seem­ing­ly con­tra­dic­to­ry world­view that inspired her art­work is prac­ti­cal­ly inac­ces­si­ble to us, even if we man­age to get through the 26,000 jour­nal pages she left behind. Gre­go­ry inter­views one such (and per­haps the only) ded­i­cat­ed indi­vid­ual, a non­prof­it CEO and af Klint schol­ar ded­i­cat­ed to explod­ing the myths that have so read­i­ly accret­ed around her. One is that she worked alone: evi­dence sug­gests that some paint­ings attrib­uted to her may actu­al­ly have been exe­cut­ed by oth­er mem­bers of her spir­i­tu­al­ist cir­cle, The Five. But even if she turns out not to have been a move­ment of one after all, her name will no doubt con­tin­ue to sell out muse­um exhi­bi­tions for years to come.

Relat­ed con­tent:

Dis­cov­er Hilma af Klint: Pio­neer­ing Mys­ti­cal Painter and Per­haps the First Abstract Artist

The Life & Art of Hilma Af Klint: A Short Art His­to­ry Les­son on the Pio­neer­ing Abstract Artist

New Hilma af Klint Doc­u­men­tary Explores the Life & Art of the Trail­blaz­ing Abstract Artist

A Short Video Intro­duc­tion to Hilma af Klint, the Mys­ti­cal Female Painter Who Helped Invent Abstract Art

The Com­plete Works of Hilma af Klint Get Pub­lished for the First Time in a Beau­ti­ful, Sev­en-Vol­ume Col­lec­tion

Who Paint­ed the First Abstract Paint­ing?: Wass­i­ly Kandin­sky? Hilma af Klint? Or Anoth­er Con­tender?

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

The Great Wave Off Kanagawa by Hokusai: An Introduction to the Iconic Japanese Woodblock Print in 17 Minutes

When wood­cut artist Kat­sushi­ka Hoku­sai made his famous print The Great Wave off Kana­gawa in 1830 — part of the series Thir­ty-six Views of Mount Fuji — he was 70 years old and had lived his entire life in a Japan closed off from the rest of the world. In the 19th cen­tu­ry, how­ev­er, “the rest of the world was becom­ing indus­tri­al­ized,” James Payne explains above in his Great Art Explained video, “and the Japan­ese were con­cerned about for­eign inva­sions.” The Great Wave shows “an image of Japan fear­ful that the sea — which has pro­tect­ed its peace­ful iso­la­tion for so long — would become its down­fall.”

It’s also true, how­ev­er, that The Great Wave would not have exist­ed with­out a for­eign inva­sion. Pruss­ian blue, the first sta­ble blue pig­ment, acci­den­tal­ly invent­ed around 1705 in Berlin, arrived in the ports of Nagasa­ki on Dutch and Chi­nese ships in the 1820s. Pruss­ian Blue would start a new artis­tic move­ment in Japan, aizuri‑e, wood­cuts print­ed in bright, vivid blues.

“Hoku­sai was one of the first Japan­ese print­mak­ers to bold­ly embrace the colour,” Hugh Davies writes at The Con­ver­sa­tion, “a deci­sion that would have major impli­ca­tions in the world of art.” When the country’s iso­la­tion­ist poli­cies end­ed in the 1850s, “a show­case at the inau­gur­al Japan­ese Pavil­ion ele­vat­ed the artis­tic sta­tus of wood­block prints and a craze for their col­lec­tion quick­ly fol­lowed.”

Chief among the works col­lect­ed in the Euro­pean and Amer­i­can fer­vor for Japan­ese prints were those from Hoku­sai, his con­tem­po­rary Hiroshige, and oth­er aizuri‑e artists. So famous was The Great Wave in the West by 1891 that French graph­ic artist Pierre Bon­nard would sat­i­rize its styl­ish spray in an adver­tise­ment for cham­pagne. A print of The Great Wave hung on Claude Debussy’s wall, and the first edi­tion of his La Mer bore an adap­ta­tion of a detail from the print. As Michael Cirigliano writes for the Met­ro­pol­i­tan Muse­um of Art:

Cul­tur­al cir­cles through­out Europe great­ly admired Hoku­sai’s work…. Major artists of the Impres­sion­ist move­ment such as Mon­et owned copies of Hoku­sai prints, and lead­ing art crit­ic Philippe Bur­ty, in his 1866 Chefs-d’oeu­vre des Arts indus­triels, even stat­ed that Hoku­sai’s work main­tained the ele­gance of Wat­teau, the fan­ta­sy of Goya, and the move­ment of Delacroix. Going one step fur­ther in his laud­ed com­par­isons, Bur­ty wrote that Hoku­sai’s dex­ter­i­ty in brush strokes was com­pa­ra­ble only to that of Rubens.

These com­par­isons are not mis­placed, John-Paul Stonard explains in The Guardian: “That the Great Wave became the best known print in the west was in large part due to Hokusai’s for­ma­tive expe­ri­ence of Euro­pean art.” Not only did he absorb Pruss­ian blue into his reper­toire, but “prints from ear­ly in his career show him attempt­ing, rather awk­ward­ly, to apply the les­son of math­e­mat­i­cal per­spec­tive, learnt from Euro­pean prints brought into Japan by Dutch Traders.” By the time of The Great Wave, he had per­fect­ed his own syn­the­sis of West­ern and Japan­ese art, over two decades before Euro­pean painters would attempt the same in the explo­sion of Japanophil­ia of the late 19th and ear­ly 20th cen­turies.

Note: An ear­li­er ver­sion of this post appeared on our site in 2021.

Relat­ed Con­tent: 

View 103 Dis­cov­ered Draw­ings by Famed Japan­ese Wood­cut Artist Kat­sushi­ka Hoku­sai

Get Free Draw­ing Lessons from Kat­sushi­ka Hoku­sai, Who Famous­ly Paint­ed The Great Wave of Kana­gawa: Read His How-To Book, Quick Lessons in Sim­pli­fied Draw­ings

Hokusai’s Action-Packed Illus­tra­tions of Japan­ese & Chi­nese War­riors (1836)

A Col­lec­tion of Hokusai’s Draw­ings Are Being Carved Onto Wood­blocks & Print­ed for the First Time Ever

The Evo­lu­tion of Hokusai’s Great Wave: A Study of 113 Known Copies of the Icon­ic Wood­block Print

Josh Jones is a writer and musi­cian based in Durham, NC. 

The Fascinating History of Tarot Card Decks: From the Renaissance to the Modern Day

Whether or not we believe that the cards of the tarot have super­nat­ur­al pow­ers, we all think of them pri­mar­i­ly as tools for div­ina­tion. It might seem as if they’ve played that cul­tur­al role since time immemo­r­i­al, but in fact, that par­tic­u­lar use only goes back to the eigh­teenth cen­tu­ry. They were, at first, play­ing cards, used for a game known as taroc­chi in Renais­sance Italy. That was the orig­i­nal pur­pose of the old­est tarot cards in pos­ses­sion of the Vic­to­ria and Albert Muse­um, which you can see unboxed by cura­tor Ruth Hib­bard in the video above. Through­out its fif­teen min­utes, Hib­bard and two col­leagues also “unbox” five oth­er decks pro­duced across the half-mil­len­ni­um of tarot his­to­ry.

These include the ear­ly eigh­teenth-cen­tu­ry Minchi­ate Deck, whose name refers to a slight­ly more com­plex Flo­ren­tine card game that evolved along­side tarot. The word itself pos­si­bly orig­i­nates from the term sminchiare, “to play your high­est card” (though in Sicil­ian dialect today, it has a rather dif­fer­ent mean­ing).

Lat­er, cir­ca 1807, comes Le Petit Ora­cle des Dames, “the petite ora­cle of women,” the ear­li­est deck in the video express­ly pro­duced for car­toman­cy, or pre­dic­tion of the future through cards — albeit only as a form of light enter­tain­ment for gath­er­ings of ladies. A decade or two lat­er, out came the lux­u­ri­ous Taroc­co Soprafi­no, which bears lav­ish illus­tra­tions made with cop­per-plate engrav­ing and col­ored sten­cil­ing.

The V&A also has an ear­ly twen­ti­eth-cen­tu­ry tarot deck with rich, live­ly art cre­at­ed by the occultist Pamela Col­man-Smith, whose work has pre­vi­ous­ly been fea­tured here on Open Cul­ture. “What makes these cards so great is that they’re just so rich with mythol­o­gy and sym­bol­o­gy and mul­ti­lay­ered mean­ing,” says cura­tor Beck­ie Billing­ham, “allow­ing you to read the cards in many dif­fer­ent ways.” That’s even true of the much more the­mat­i­cal­ly delib­er­ate deck that fol­lows, an exam­ple from the ear­ly two-thou­sands that brings into our dig­i­tal cen­tu­ry the mis­sion of tarot art to “reveal clan­des­tine knowl­edge and the hid­den pow­ers at work in the world.” Com­put­ers, drones, Aldous Hux­ley, world wars, the World Wide Web: per­haps these cards let us see our future, but they cer­tain­ly give us a clear view on our present.

Relat­ed con­tent:

Meet the For­got­ten Female Artist Behind the World’s Most Pop­u­lar Tarot Deck (1909)

Behold the Sola-Bus­ca Tarot Deck, the Ear­li­est Com­plete Set of Tarot Cards (1490)

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

Sal­vador Dalí’s Tarot Cards Get Re-Issued: The Occult Meets Sur­re­al­ism in a Clas­sic Tarot Card Deck

Ale­jan­dro Jodor­owsky Explains How Tarot Cards Can Give You Cre­ative Inspi­ra­tion

Divine Decks: A Visu­al His­to­ry of Tarot: The First Com­pre­hen­sive Sur­vey of Tarot Gets Pub­lished by Taschen

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

How a Dutch “Dementia Village” Improves Quality of Life with Intentional Design

Peo­ple suf­fer­ing from demen­tia lose their abil­i­ty to take an active part in con­ver­sa­tions, every­day activ­i­ties, and their own phys­i­cal upkeep.

They are prone to sud­den mood swings, irri­tabil­i­ty, depres­sion, and anx­i­ety.

They may be strick­en with delu­sions and wild hal­lu­ci­na­tions.

All of these things can be under­stand­ably upset­ting to friends and fam­i­lies. There’s a lot of stig­ma sur­round­ing this sit­u­a­tion.

Tak­ing care of a spouse or par­ent with demen­tia can be an over­whelm­ing­ly iso­lat­ing expe­ri­ence, though no one is more iso­lat­ed than the per­son expe­ri­enc­ing severe cog­ni­tive decline first­hand.

While many of us would do any­thing to stay out of them, the sad fact is res­i­den­tial mem­o­ry care facil­i­ties are often the end-of-the-line real­i­ty for those liv­ing with extreme demen­tia.

The Hogeweyk, a planned vil­lage just out­side of Ams­ter­dam, offers a dif­fer­ent sort of future for those with severe demen­tia.

The above episode of By Design, Vox’s series about the inter­sec­tion of design and tech­nol­o­gy, explores the inno­va­tions that con­tribute to the Hogeweyk’s res­i­dents’ over­all hap­pi­ness and well­be­ing.

Rather than group­ing res­i­dents togeth­er in a sin­gle insti­tu­tion­al set­ting, they are placed in groups of six, with every­one inhab­it­ing a pri­vate room and shar­ing com­mon spaces as they see fit.

The com­mon spaces open onto out­door areas that can be freely enjoyed by all housed in that “neigh­bor­hood”. No need to wait until a staff mem­ber grants per­mis­sion or fin­ish­es some task.

Those wish­ing to ven­ture fur­ther afield can avail them­selves of such pleas­ant quo­tid­i­an des­ti­na­tions as a gro­cery, a restau­rant, a bar­ber­shop, or a the­ater.

These loca­tions are designed in accor­dance with cer­tain things proven to work well in insti­tu­tion­al set­tings —  for instance, avoid­ing dark floor tiles, which some peo­ple with demen­tia per­ceive as holes.

But oth­er design ele­ments reflect the choice to err on the side of qual­i­ty of life. Hand rails may help in pre­vent­ing falls, but so do rol­la­tors and walk­ers, which the res­i­dents use on their jaunts to the town squares, gar­dens and pub­lic ameni­ties.

The design­ers believe that equip­ping res­i­dents with a high lev­el of free­dom not only pro­motes phys­i­cal activ­i­ty, it min­i­mizes issues asso­ci­at­ed with demen­tia like aggres­sion, con­fu­sion, and wan­der­ing.

Co-founders Eloy van Hal and Jan­nette Spier­ing write that the Hogeweyk’s crit­ics com­pare it to the Tru­man Show, the 1998 film in which Jim Car­rey’s title char­ac­ter real­izes that his whole­some small town life, and his every inter­ac­tion with his pur­port­ed friends, neigh­bors, and loved ones, have been a set up for a high­ly rat­ed, hid­den cam­era real­i­ty TV show.

They describe The Hogeweyk as a stage for, “the rem­i­nis­cence world”, in which actors help the res­i­dents live in a fic­ti­tious world. Many Alzheimer’s experts have, how­ev­er, val­ued The Hogeweyk for what it real­ly is: a famil­iar and safe envi­ron­ment in which peo­ple with demen­tia live while retain­ing their own iden­ti­ty and auton­o­my as much as pos­si­ble. They live in a social com­mu­ni­ty with real streets and squares, a real restau­rant with real cus­tomers, a super­mar­ket for gro­ceries and a the­atre that hosts real per­for­mances. There is no fake bus stop or post office, there are no fake façades and sets. The restau­rant employ­ee, the handy­man, the care­tak­er, the nurse, the hair­dress­er, etc.—in short: every­one who works at The Hogeweyk uses their pro­fes­sion­al skills to actu­al­ly sup­port the res­i­dents and are, there­fore, cer­tain­ly not actors.

Pro­fes­sion­al care and sup­port goes on around the clock, but rarely takes cen­ter­stage. Nor­mal life is pri­or­i­tized.

A vis­i­tor describes a stroll through some of the Hogeweyk’s pub­lic areas:

In the shade of one of the large trees, a mar­ried cou­ple gazes hap­pi­ly at the activ­i­ty in the the­atre square. An elder­ly gen­tle­man, togeth­er with a young lady, intent­ly study the large chess board and take turns mov­ing the pieces. At the foun­tain, a group of women chat loud­ly on colour­ful gar­den chairs. The sto­ry is clear­ly audible—it is about a mem­o­ry of a vis­it to a park in Paris which had the same chairs. Passers-by, old and young, greet the women enthu­si­as­ti­cal­ly. A lit­tle fur­ther on, a woman is talk­ing to a man oppo­site her. She is ges­tur­ing wild­ly. After a while, anoth­er woman joins the con­ver­sa­tion. The two women then walk through the open front door of Boule­vard 15.

The cov­ered pas­sage smells of fresh­ly-baked cook­ies. The scent is com­ing from De Bonte Hof. Amus­ing con­ver­sa­tions can be heard that pause for a moment when the oven beeps in the kitchen that has been dec­o­rat­ed in an old-fash­ioned style. A tray of fresh cook­ies is removed from the oven. Two women, one in a wheel­chair, enter the venue, obvi­ous­ly seduced by the smell. They sam­ple the cook­ies.

The super­mar­ket across the street is very busy. Shop­ping trol­leys loaded with gro­ceries are pushed out of the shop. The rat­tle of a shop­ping trol­ley dis­si­pates into the dis­tance as it dis­ap­pears from view towards Grote Plein. A man reluc­tant­ly push­es the full trol­ley while two women fol­low behind him arm in arm. The trio dis­ap­pear behind the front door of Grote Plein 5.


A staffer’s account of a typ­i­cal morn­ing in one of Hogeweyk’s hous­es reveals more about the hands-on care that allows res­i­dents to con­tin­ue enjoy­ing their care­ful­ly designed home, and the autonomous lifestyle it makes pos­si­ble:

Mr Hen­dricks wakes up on the sofa. He unzips his fly. I jump up and escort him to the toi­let just in time. I grab a roll of med­ica­tion for him from the med­ica­tion trol­ley. He is now walk­ing to his room. We pick out clothes togeth­er and I lay them out on his bed. He wash­es him­self at the sink. I watch briefly before leav­ing. Fif­teen min­utes lat­er, I poke my head through the door. That’s not how elec­tric shav­ing works! I offer to help, but Mr. Hen­dricks is clear­ly a bit irri­tat­ed and grum­bles. He’ll be a lit­tle less shaven today. We’ll try again after break­fast…

We help Mrs Sti­j­nen into the show­er chair with the hoist. She is clear­ly not used to it. Dis­cussing her exten­sive Swarovs­ki col­lec­tion, dis­played in the glass case in her room, turns out to be an excel­lent dis­trac­tion. She proud­ly talks about the lat­est piece she acquired this year. On to the show­er. The two oth­er res­i­dents are still sleep­ing. Great, that gives me the chance to devote some extra time to Mrs Sti­j­nen today.

The door­bell rings again and my col­league, Yas­min, walks in. She’s the famil­iar face that every­one can rely on. Always present at 8 a.m., 5 days a week. What a relief for res­i­dents and fam­i­ly. She, too, puts her coat and bag in the lock­er. The wash­ing machine is ready, and Yas­min loads up the dry­er. The table in the din­ing room is then set. Yas­min puts a flo­ral table­cloth from the cup­board on the table. Mr Hen­dricks lends a hand and, with some guid­ance, puts two plates in their place, but then walks away to the sofa and sits down. A Dutch break­fast with bread, cheese, cold cuts, jam, cof­fee, tea and milk is served. Yas­min is mak­ing por­ridge for Mrs Smit. As always, she has break­fast in bed. Yas­min helps Mrs Smit. It is now 08:45 and Mr Hen­dricks and Mrs Sti­j­nen are sit­ting at the din­ing table. Yas­min push­es the chairs in and sits down her­self. They chat about the weath­er, and Yas­min lends a help­ing hand when need­ed.

Mr Hen­dricks is real­ly grumpy today and is cur­rent­ly grum­bling at Mrs Jansen. I’m won­der­ing if we’re over­look­ing some­thing?

Learn more about the Hogeweyk, the world’s first demen­tia vil­lage here.

Watch a playlist of Vox By Design episodes here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent 

The Restau­rant of Mis­tak­en Orders: A Tokyo Restau­rant Where All the Servers Are Peo­ple Liv­ing with Demen­tia

How Music Can Awak­en Patients with Alzheimer’s and Demen­tia

Demen­tia Patients Find Some Eter­nal Youth in the Sounds of AC/DC

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

Why Overconfidence Is Our Most Dangerous Cognitive Bias

In the two-thou­sands, the magi­cian-come­di­ans Penn and Teller host­ed a tele­vi­sion series called Bull­shit! In it, they took on a vari­ety of cul­tur­al phe­nom­e­na they regard­ed as wor­thy of the tit­u­lar epi­thet, from ESP to Area 51, exor­cism to cre­ation­ism, feng shui to haute cui­sine. Their sar­don­ic argu­ments were enriched by clips of assort­ed inter­vie­wees —speak­ing in defense of the top­ic of the day. Penn once addressed the view­ers, say­ing that we might won­der why any­one agrees to come on the show, giv­en how they must know it will make them come off. But every­one, he explained, con­fi­dent­ly believes that their own ideas are the cor­rect ones.

That episode came right to mind while watch­ing the new Ver­i­ta­si­um video above, which deals with the phe­nom­e­non of over­con­fi­dence. Like the oft-cit­ed 93 per­cent of Amer­i­cans who believe them­selves bet­ter dri­vers than the medi­an, we all fall vic­tim to that afflic­tion at one time or anoth­er, to one degree or anoth­er; the more inter­est­ing mat­ter under inves­ti­ga­tion is why that should be so.

One can always point to what T. S. Eliot called “the end­less strug­gle to think well of them­selves”: want­i­ng to believe that we know it all, we take pains to present our­selves as if we do. But as explained by the pro­fes­sors inter­viewed here, Carnegie Mel­lon’s Baruch Fis­chhoff and Berke­ley’s Don A. Moore (author of Per­fect­ly Con­fi­dent: How to Cal­i­brate Your Deci­sions Wise­ly), the research has also revealed oth­er poten­tial fac­tors in play.

One impor­tant can­di­date is, as ever, stu­pid­i­ty. Much has been made of the Dun­ning-Kruger effect, pre­vi­ous­ly fea­tured here on Open Cul­ture, which holds that the less com­pe­tent peo­ple are at a task, the more con­fi­dent they tend to be about their abil­i­ty to per­form it. That would seem to accord with much of our every­day expe­ri­ence, but we should also con­sid­er the role played by the basic cog­ni­tive lim­i­ta­tions that apply to us all. Our brains can only process so much at once, and when they come up against capac­i­ty, they default to sim­pli­fied, and often too-sim­pli­fied, ver­sions of the prob­lem before them. It all becomes more dif­fi­cult if we’re insu­lat­ed from direct, objec­tive feed­back, a con­di­tion that often results from the kind of suc­cess and esteem that can be achieved by pro­ject­ing — you guessed it — con­fi­dence.

Relat­ed con­tent:

Why Incom­pe­tent Peo­ple Think They’re Com­pe­tent: The Dun­ning-Kruger Effect, Explained

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

AC/DC Plays a Short Gig at CBGB in 1977: Hear Metal Being Played on Punk’s Hallowed Grounds

Punk rock and heavy met­al were two gen­res that evolved over the ‘70s, but seemed to run par­al­lel to each oth­er, despite shar­ing com­mon fash­ion, sounds, and atti­tudes. But then there are moments in his­to­ry, where every­body plays togeth­er in the same sand­box. For exam­ple, the above remas­tered audio, which cap­tures the Aus­tralian band AC/DC on their first Amer­i­can tour, play­ing New York’s CBGB, syn­ony­mous now with punk and new wave music.

The date is August 24, 1977, and AC/DC were on a cross-coun­try trip that had tak­en in both club dates and are­nas, where they supported—yes, hard to believe, I know—REO Speed­wag­on. Their album Let There Be Rock had just dropped in June. The band would be in the States until the win­ter.

This CBGB gig finds them on the same bill as Talk­ing Heads and the Dead Boys, accord­ing to a poster from the time. And while there’s no video for this show, you can find a few pho­tos that doc­u­ment the con­cert here. You can feel the mug­gy New York sum­mer in these pho­tos, but also the excite­ment of an unfor­get­table gig.

At 15 min­utes, the set is short, but still three min­utes longer than the Ramones’ first set at the same club three years ear­li­er. That’s pret­ty met­al, man.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

Relat­ed Con­tent:

NYC’s Icon­ic Punk Club CBG­Bs Comes Alive in a Bril­liant Short Ani­ma­tion, Using David Godlis’ Pho­tos of Pat­ti Smith, The Ramones & More

CBGB’s Hey­day: Watch The Ramones, The Dead Boys, Bad Brains, Talk­ing Heads & Blondie Per­form Live (1974–1982)

Lis­ten to Pat­ti Smith’s Glo­ri­ous Three Hour Farewell to CBGB’s on Its Final Night

The Talk­ing Heads Play CBGB, the New York Club That Shaped Their Sound (1975)

Watch an Episode of TV-CBGB, the First Rock ‘n’ Roll Sit­com Ever Aired on Cable TV (1981)

Ted Mills is a free­lance writer on the arts.

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Why Your Vision of Ancient Rome Is All Wrong, According to Historian Mary Beard

Every­one in ancient Rome wore togas, sur­round­ed them­selves with pure-white mar­ble stat­ues, bayed for blood as glad­i­a­tors fought to the death in the Colos­se­um, pro­gram­mat­i­cal­ly imi­tat­ed the Greeks, and, after each and every debauch­er­ous feast, excused them­selves to the vom­i­to­ria, where they rit­u­al­ly vacat­ed their stom­achs. Or at least that’s the pic­ture any of us here in the twen­ty-first cen­tu­ry might piece togeth­er out of the impres­sions we hap­pen to receive from a steady flow of sword-and-san­dals movies and TV shows — not to men­tion the count­less ref­er­ences that pop­u­lar cul­ture makes to the Roman Empire, which inevitably make their way into the con­scious­ness even of those of us who don’t think about it every day.

In the new, almost 80-minute Big Think inter­view above, Mary Beard explains some of the ways in which we’ve been “pic­tur­ing ancient Rome all wrong.” The ancient Romans lived in a world in which men kissed each oth­er as a stan­dard greet­ing (at least until a mas­sive out­break of her­pes put a stop to it it), stat­u­ary was paint­ed in all man­ner of gar­ish col­ors (though just how gar­ish remains a mat­ter of schol­ar­ly inquiry), cit­i­zens rich enough to wear togas need­ed the assis­tance of slaves even to get dressed in the morn­ing, and Greece took cul­tur­al influ­ence as well as gave it. These may not yet be fea­tures of the Rome we imag­ine, but they could be if we make a habit of lis­ten­ing to Beard’s new pod­cast Instant Clas­sics.

What­ev­er lib­er­ties they take, the depic­tions of the Roman Empire that enter­tain us today also remind us that, as Beard puts it, “Rome has nev­er gone away in the mod­ern world.” Nowhere is that clear­er than in ever-more-fre­quent dis­cus­sions about the fate of mod­ern glob­al pow­ers. If we look at our sur­round­ings and see Rome, per­haps that’s because the Eter­nal City has “giv­en us an image of what it is to be pow­er­ful, what it is to be larg­er than life, what it is to be fun­ny, what it is to be an empire, so it’s pro­vid­ed many of the build­ing blocks we need to think about our­selves.” Even if we’re not the mod­ern equiv­a­lents of Augus­tus, Vir­gil, Cicero, or even Nero — to name a few of the Romans Beard name as, for bet­ter or worse, the most impor­tant — we could all stand to make our image of Roman life a lit­tle more real­is­tic.

Relat­ed Con­tent:

Empire With­out Lim­it: Watch Mary Beard’s TV Series on Ancient Rome

Mythol­o­gy Expert Reviews Depic­tions of Greek & Roman Myths in Pop­u­lar Movies and TV Shows

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

How Paris Became Paris: The Story Behind Its Iconic Squares, Bridges, Monuments & Boulevards

Even today, the Paris of the pop­u­lar imag­i­na­tion is, for the most part, the Paris envi­sioned by Baron Georges-Eugène Hauss­mann and made a real­i­ty in the eigh­teen-fifties and six­ties. Not that he could order the city built whole: as explained by Manuel Bra­vo in the new video above, Paris had already exist­ed for about two mil­len­nia, grow­ing larg­er, denser, and more intri­cate all the while. But as the pre­fect under Emper­or Napoleon III, Hauss­mann was empow­ered to carve it up by force, open­ing “dozens of wide, long avenues that con­nect­ed impor­tant parts of the city,” a lay­out that “mir­rored the street sys­tem in Rome cre­at­ed 300 years ear­li­er by Pope Six­tus V, but on a much grander scale.”

How­ev­er con­sid­er­able the vio­lence it did to medieval Paris, this process of “Hauss­m­an­niza­tion” showed a cer­tain his­tor­i­cal con­scious­ness. After all, the French cap­i­tal was once a Roman city: Lute­tia Pariso­rum, named for the Parisii, the Gal­lic tribe that had inhab­it­ed the island in the mid­dle of the Seine that Parisians now call Île de la Cité.

As was their usu­al modus operan­di, the con­quer­ing Romans laid a car­do max­imus run­ning from north to south, today known as Rue Saint-Jacques. There­after, “the rest of the orig­i­nal lay­out was lost to organ­ic growth.” In the form Paris even­tu­al­ly took in the Mid­dle Ages, “there were no pub­lic urban spaces of major sig­nif­i­cance”: no Place Dauphine, no Place des Vos­ges, no Place Vendôme.

Those very same Parisian squares now enjoyed by locals and tourists alike did much to devel­op the expec­ta­tion of “aes­thet­ic uni­ty” in the city’s built envi­ron­ment, and a cou­ple of cen­turies before Hauss­mann at that. It may not be a com­plete exag­ger­a­tion to call Paris frozen in the Baron’s mid-nine­teenth cen­tu­ry, but as Bra­vo explains, a close exam­i­na­tion of both the city’s cel­e­brat­ed spaces and over­all form reveals the ways in which a much deep­er past has done its part to shape or inspire them. An enthu­si­ast of urban his­to­ry can spend weeks, months, or even years appre­ci­at­ing the details that remind us that the palimpsest of Paris has nev­er quite been over­writ­ten, even in a place as unre­lent­ing­ly exam­ined — if sel­dom tru­ly seen — as the Lou­vre.

Relat­ed Con­tent:

A 3D Ani­ma­tion Reveals What Paris Looked Like When It Was a Roman Town

Take an Aer­i­al Tour of Medieval Paris

The Archi­tec­tur­al His­to­ry of the Lou­vre: 800 Years in Three Min­utes

A 5‑Hour Walk­ing Tour of Paris and Its Famous Streets, Mon­u­ments & Parks

A Cin­e­mat­ic Jour­ney Through Paris, As Seen Through the Lens of Leg­endary Film­mak­er Éric Rohmer: Watch Rohmer in Paris

Venice Explained: Its Archi­tec­ture, Its Streets, Its Canals, and How Best to Expe­ri­ence Them All

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

Aleister Crowley Reads Occult Poetry in the Only Known Recordings of His Voice (1920)

Image by Jules Jacot Guil­lar­mod, via Wiki­me­dia Com­mons

In 2016, we brought you a rather strange sto­ry about the rival­ry between poet William But­ler Yeats and magi­cian Aleis­ter Crow­ley. Theirs was a feud over the prac­tices of occult soci­ety the Her­met­ic Order of the Gold­en Dawn; but it was also—at least for Crowley—over poet­ry. Crow­ley envied Yeats’ lit­er­ary skill; Yeats could not say the same about Crow­ley. But while he did not nec­es­sar­i­ly respect his ene­my, Yeats feared him, as did near­ly every­one else. As Yeats’ biog­ra­ph­er wrote a few months after Crowley’s death in 1947, “in the old days men and women lived in ter­ror of his evil eye.”

The press called Crow­ley “the wickedest man in the world,” a rep­u­ta­tion he did more than enough to cul­ti­vate, iden­ti­fy­ing him­self as the Anti-Christ and dub­bing him­self “The Beast 666.” (Crow­ley may have inspired the “rough beast” of Yeats’ “The Sec­ond Com­ing.”) Crow­ley did not achieve the lit­er­ary recog­ni­tion he desired, but he con­tin­ued to write pro­lif­i­cal­ly after Yeats and oth­ers eject­ed him from the Gold­en Dawn in 1900: poet­ry, fic­tion, crit­i­cism, and man­u­als of sex mag­ic, rit­u­al, and symbolism—some penned dur­ing famed moun­taineer­ing expe­di­tions.

Through­out his life, Crow­ley was var­i­ous­ly a moun­taineer, chess prodi­gy, schol­ar, painter, yogi, and founder of a reli­gion he called Thele­ma. He was also a hero­in addict and by many accounts an extreme­ly abu­sive cult leader. How­ev­er one comes down on Crowley’s lega­cy, his influ­ence on the occult and the coun­ter­cul­ture is unde­ni­able. To delve into the his­to­ry of either is to meet him, the mys­te­ri­ous, bizarre, bald fig­ure whose the­o­ries inspired every­one from L. Ron Hub­bard and Anton LaVey to Jim­my Page and Ozzy Osbourne.

With­out Crow­ley, it’s hard to imag­ine much of the dark weird­ness of the six­ties and its result­ing flood of cults and eso­teric art. For some occult his­to­ri­ans, the Age of Aquar­ius real­ly began six­ty years ear­li­er, in what Crow­ley called the “Aeon of Horus.” For many oth­ers, Crowley’s influ­ence is inex­plic­a­ble, his books inco­her­ent, and his pres­ence in polite con­ver­sa­tion offen­sive. These are under­stand­able atti­tudes. If you’re a Crow­ley enthu­si­ast, how­ev­er, or sim­ply curi­ous about this leg­endary occultist, you have here a rare oppor­tu­ni­ty to hear the man him­self intone his poems and incan­ta­tions.

“Although this record­ing has pre­vi­ous­ly been avail­able as a ‘Boot­leg,’” say the CD lin­er notes from which this audio comes, “this is its first offi­cial release and to the label’s knowl­edge, con­tains the only known record­ing of Crow­ley.” Record­ed cir­ca 1920 on a wax cylin­der, the audio has been dig­i­tal­ly enhanced, although “sur­face noise may be evi­dent.” (Stream them above, or on this YouTube playlist here.) Indeed, it is dif­fi­cult to make out what Crow­ley is say­ing much of the time, but that’s not only to do with the record­ing qual­i­ty, but with his cryp­tic lan­guage. The first five tracks com­prise “The Call of the First Aethyr” and “The Call of the Sec­ond Aethyr.” Oth­er titles include “La Gitana,” “The Pen­ta­gram,” “The Poet,” “Hymn to the Amer­i­can Peo­ple,” and “Excerpts from the Gnos­tic Mass.”

It’s unclear under what cir­cum­stances Crow­ley made these record­ings or why, but like many of his books, they com­bine occult litur­gy, mythol­o­gy, and his own lit­er­ary utter­ances. Love him, hate him, or remain indif­fer­ent, there’s no get­ting around it: Aleis­ter Crow­ley had a tremen­dous influ­ence on the 20th cen­tu­ry and beyond, even if only a very few peo­ple have made seri­ous attempts to under­stand what he was up to with all that sex mag­ic, blood sac­ri­fice, and wicked­ly bawdy verse.

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

Relat­ed Con­tent:

Aleis­ter Crow­ley & William But­ler Yeats Get into an Occult Bat­tle, Pit­ting White Mag­ic Against Black Mag­ic (1900)

Aleis­ter Crow­ley: The Wickedest Man in the World Doc­u­ments the Life of the Bizarre Occultist, Poet & Moun­taineer

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


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