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Next Update: Who knows at this point

Note 1: Writing styles in this guide will vary drastically due to having multiple authors
Note 2: Sections will be assigned subjects based on the themes that they touch on
most
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wildcard factors based off of unreliable stuff. Or by helping us out with the study
guide.
Very important: Some of the articles may be missing. If they are, be
sure to check the 2023 archive guide, as a lot of the missing details are
there.

Special Area: Lost and Font - Ethan

If you walked out of your home without knowing you’d accidentally time traveled
into the past, how long would it take you to realize what had happened? What if
they had sent you back ten years, or thirty, or a hundred? Discuss with your team:
how far into the past would you need to be to realize instantly that you were in a
different era?

Note: The following thoughts take into account that; the weather, temperature,
humidity, etc… are exactly the same as before you time travelled; no paradoxes occur
which would hinder you from interacting with your environment; you’re unable to see
yourself or anyone you have a close relationship with; and that you don’t retain any
items you had on you barring clothes
_____________________________________________________________________________
_________
Thoughts:

As a GeoGuessr player, this is the absolute easiest thing ever !!!

On a more serious note, it really, really, depends. I’d imagine this whole section wants
me to use fonts as an idea, but I live in a rural place so it doesn’t work.
Here are my ideas:
 - Cars: They’re pretty odd things, and models can really tell something. If we
count the cars outside my house as being different, then I only need 3 years
back! We have model Ys, coming out in 2021. Otherwise it’s a little different.
- Houses: Actually all of the houses in my neighborhood are like hella old
- Bus: I got a bus station outside. At the bare minimum, 1998 was when the
company who used that bus station was installed.
- Very detailed stuff: There’s this log outside my house which only got there in
2022.
And so on. Cars also look slightly dinkier in the past.

So Conclusion: Personally for my house, like 2 years.

I think a much more interesting question revolves around how far in the past you could
identify if you were put in a random place. That comes down to the most obvious
general change: Cars! (And fonts if you are super WSC centric).
Cars developed incredibly quickly, so noticing you are in the past would be pretty easy
on that. However, give it a threshold of like 20 years. Unless you look for teslas or
something. Or are a car fanatic.

Maybe if you're somewhere super remote, it’ll be hard. Give it back 200 years to when
electricity was invented. If you don’t see wires or anything, you’re in the past. Or
somewhere so remote that the US doesn’t even know about it.

One clue to your whenabouts might be the text around you: not just the headlines
on newspapers and store signs, but the fonts they’re printed in. Consider some of
the history of typography, then discuss with your team: how different would the
world look today if Microsoft had chosen Comic Sans instead of Calibri as its default
typeface in the early 2000s—or as its successor 20 years later. The London
Underground also decided to update its font in 2016 for a more modern look—did it
succeed? Be sure to learn the difference between serif and sans serif fonts, and
then see which ones are used more widely. Does the same distinction apply in
non-Western alphabets?

The Development of Fonts + The Reasons Behind Them

Back in the day, books were a luxury for the high-class until Johannes Gutenberg
rocked the scene with his 15th-century invention—the printing press. This
game-changer opened the door to mass-producing books and also hinted at potential
profits. The innovation drew inspiration from Screw-type presses in East Asia, making
letter prints durable and reusable, saving loads of time.
Gutenberg didn't stop there. He crafted the first-ever font, inspired by
Blackletter calligraphy used in manuscripts. However, there were downsides: limited
text per page and a single font type constraint. In 1470, Nicolas Jenson entered the
scene, creating a simpler font for more efficient books. His smaller and easier font
allowed more words on a page, based on typographic principles rather than the
traditional manuscript style.
In 1501, Aldus Manutius and Francesco Griffo pioneered the italic typeform to
save space in books. Although initially criticized for poor readability, it's now notably
used for emphasis. Fast forward to 1734, William Caslon introduced the Old Style,
enhancing letter distinguishability and readability.
John Baskerville joined the font evolution, developing Transitional typefaces
with distinct letters. Despite improvements in type, ink, and printing, his fonts were
criticized for their darkness and unorthodox appearance. A commercial failure in the
18th century, Baskerville's fonts experienced a revival in the 1900s.
In the 1780s, Firmin Didot and Giambattista Bodoni created serif fonts, looking
strikingly similar with one another. These fonts were better suited for headlines and
titles, less readable at smaller sizes. The first slab serif template, named "Antique,"
emerged in 1815, designed by Vincent Figgins, grabbing attention with its indents and
emphasis details.
These specific fonts notably pioneered the creation of serif fonts, being fonts
with notable indents in their typing. For example, fonts like this one right here
are serif fonts. See the little indents in the letters? That’s
what serif fonts are. However, fonts like this are sans-serif, meaning that they don’t
have those special properties.
The sans-serif revolution followed with William Caslon IV's “Caslon Egyptian”
in 1816, influenced by block lettering from the Classical antiquity. This departure from
traditional serifs marked the beginning of a font design era inspired by Egyptian
writing, supported by Egyptomania - the obsession that the Western world had over
Egypt.
 Jumping to the 20th century, Fredric Goudy became the first full-time font
developer in the 1920s, creating iconic fonts like Copperplate Gothic and Goudy Old
Style. Helvetica, Futura, and Optima were born in 1957, with Helvetica becoming a
household name, still perhaps to this day. The digital age saw the birth of Digi Grotesk
in 1968, paving the way for vector (smooth) fonts in 1974, and the revolutionary
TrueType fonts in the late 1980s, easily accessible to computers and printers. Cross
compatibility, anybody?
Fast forward to 1997, where CSS incorporated the first font styling rules, and
Internet Explorer began supporting web fonts. The Web Open Font Format (WOFF) in
2009 led to widespread use of web fonts by 2011, revolutionizing digital design.
The journey continued with the introduction of variable fonts in 2016, part of the
OpenType standard. These fonts proved more efficient in terms of size, with smaller
file sizes and opening new possibilities for web typography.
Challenges still persist in present day fonts, such as a lack of global language
fonts and untapped potential in color fonts despite the OpenType SVG format allowing
for such creativity. Yet we’ll just have to see what may happen later.

Aptos: The New Default Font For Microsoft Office Apps

In a major move, Microsoft bid farewell to “Calibri”, the default font for apps like
Word and Outlook. The decision was made after testing five potential candidates in
2021, with the chosen one initially named Bierstadt but later renamed Aptos.
This transition marked a significant shift, considering that Office apps contribute
a quarter of Microsoft's revenue. The font switch accompanied the renewal of Microsoft
365 subscriptions, showcasing the company's commitment to refreshing its
appearance, not only in design but also in font choices.
Si Daniels, the principal program manager for Office design at Microsoft,
announced this switch in 2023. The decision to change the default font was influenced
by user surveys which would detail whether or not the general public would
appreciate the change. Perhaps, however, the core reason for the switch was because
of the shift from Steve Ballmer to Satya Nadella as CEO of Microsoft. Funnily, Satya
was younger than the Calibri font itself.
The journey to Aptos began in 2019 when Microsoft approached font designer
Steve Matteson for a new font. Matteson, previously involved with Microsoft since the
1990s, contributed to the development of the iconic Segoe font used in Microsoft's
logo and marketing. Unknown to him, Microsoft considered his font to replace Calibri,
leading him to submit five proposal fonts (without identification).
Matteson, still associated with Monotype at the time, had been actively engaged
in the tech giant's endeavors, such as assisting with TrueType for Windows 3.1. His
font, initially named "Grotesque No. 2," was eventually titled Bierstadt, paying tribute
to a mountain in Colorado. Later, inspired by the coastal climate and feelings of
California (but totally not by pressure from Microsoft), Matteson renamed it Aptos after
a town in Santa Cruz.
Apart from its aesthetic appeal, Matteson meticulously worked on the details of
Aptos, ensuring compatibility and ease of transition from Calibri. This included
adapting the font for various languages, crafting monetary symbols, and incorporating
Greek and Cyrillic letters.
In his final thoughts on the font and the change, Matteson highlighted Aptos'
ability to distinguish between uppercase "I" and lowercase "l" easily. Despite this, he
expressed his belief that Calibri did not have a significant problem. Just in general, the
change to Aptos was made as a new, refreshing look to Microsoft.

The London Underground Changed Their Font, Barely

The original font of the London Underground, a masterpiece by calligrapher
Edward Johnston in 1916, has recently undergone a barely noticeable transformation.
The new adaptation, named Johnston100, was introduced in 2016 by Transport for
London (TfL). Despite claims of subtle changes, some argue they're so small that they
might go unnoticed by the casual observer.
TfL states that these adjustments were made for a 21st-century adaptation,
ensuring relevance in the modern era. The organization insists that the new style
retains the soul of the original while adapting to the needs of the 2000s. Modern
symbols such as # and @ have been introduced, suiting new communication needs.
Jon Hunter, head of TfL design, emphasizes the font's importance in aligning
with the times, particularly with the rise of social media. He notes that the inclusion of
hashtags and at signs was essential in the new design, elements absent from
Johnston's original work as they were unnecessary at the time.
Donna Steel, curator of an exhibition about Edward Johnston, acknowledges the
revolutionary nature of Johnston's original letters. The new font, Johnston100, is a
delicate blend of readability, beauty, and simplicity, maintaining the essence of its
predecessor. Monotype, the firm behind the adaptation, delved into the history of the
font by studying old posters to preserve the soul and idiosyncrasies (Yes this is literally
what the article used as the word - basically meaning distinctive behavior/feature) of
the typeface.
To understand the font's evolution, a brief historical journey of London
Underground fonts is essential. In 1913, London transport director Frank Pick
commissioned Edward Johnston, leading to the introduction of Johnston Sans in 1916,
serving as the base for the text used today.
A minor update occurred in 1970 when Eicchi Kono adapted the font for new
printing technology, making slight adjustments like turning periods from circles to
diamonds.
In 2016, Johnston100 emerged, designed to be digital-friendly and to adapt to
the changing needs of communication. The London Underground font change, though
barely noticeable, reflects a new change in balance and need for adaptation. With this,
the TfL hopes that this change will last for the next 100 years, like Johnston Sans had.

Recently, the United States Department of State changed its own default font from
Times New Roman to Calibri—20 years after first switching from Courier to Times
New Roman. Each move sparked at least 36 points of controversy. Discuss with
your team: should governments even have standardized fonts? If so, how should
they pick them, and when should they change them?

U.S. Font Change For Accessibility Purposes: TNR to Calibri

In a move to enhance accessibility, the US State Department made a significant
font change, transitioning from the classic Times New Roman to Calibri. Secretary of
State Antony Blinken communicated this change to the department via email, setting a
deadline of February 6, 2023, for the adoption of Calibri. The decision aimed to better
accommodate visually impaired employees and was recommended by the Secretary's
office of diversity and inclusion.
However, not everyone welcomed the change with open arms. Complaints
arose from employees used to Times New Roman, and the announcement received
criticism, particularly regarding Calibri's aesthetics. Some argue that Calibri looks
"ugly", perhaps a notion on how people have different opinions on fonts.
 This wasn't the first time the State Department altered its default font.
Previously, Courier New 12 was used before shifting to Times New Roman, driven by a
desire for a fresher, more modern appearance. Courier New 12 was literally the
typewriter font.
In the email explaining the meaning behind the change, Blinken pointed out the
angular and decorative features of Times New Roman, which could pose accessibility
challenges for individuals using Optical Character Recognition (OCR) tools, screen
readers, and those with learning impairments. The decision solely revolved around
addressing these accessibility issues for disabled individuals.
The change triggered varied reactions within the State Department. While some
employees saw it as a necessary step for accessibility, others expressed dislike. A
Foreign Service officer noted that a colleague deemed the shift sacrilege. Interestingly,
the same officer admitted not minding the change personally, as he disliked serifs, but
he was not particularly fond of Calibri either.
The font transition at the US State Department highlights the difficulties
between settling for an option. No matter how juicy of a peach you are, some people
will not like peaches.

If all these fonts confuse you—or you just want to check whether a document (such
as an alternative World Scholar’s Cup outline) is a forgery—you could always hire a
forensic font expert. Read about the kind of work such experts do, then discuss
with your team: should some fonts be reserved for exclusive use by AIs and others
for humans?

Font Detective Thomas Phinney Uses Typographic Clues to Determine Forgeries

Thomas Phinney, a font detective, first set on this unique career when an
attorney sought his expertise on a suspected forgery. At that time, Phinney was
working as a product manager in Adobe's system font groups. Intrigued by the
challenge, he delved into the task, employing a digital microscope and pixel counting
to analyze fonts.
His first case, named "The case of the Wicked Will," involved deducing that the
printer used for the document didn't exist at the suggested date. This success
propelled Phinney into becoming the world's foremost forensic font expert. His passion
for typography and fonts, coupled with a keen understanding of dating fonts and
technology, turned his work into a blend of art, economy, history, and technology.
For Phinney, fonts matter everywhere, from the digital realm to books and
printing presses. He emphasizes their significance in branding and marketing, where
font choices can influence the perception of a brand. His website, Sciencegothic.com,
showcases a typeface creator capable of representing over 500 moods and feelings.
Despite his various jobs, Phinney remains fascinated by fonts and typography.
An example case, "The Reprehensible Rabbi," involved uncovering a font mismatch
(Perhaps don’t use a font which only existed a decade after your date states?) that
revealed a forgery. Phinney's main job eventually shifted to font forensics in 2018,
proving difficult yet intriguing alongside his font design tasks.
Phinney categorizes these forensic cases into two types: Nefarious, involving
ill-intent forgeries, and "Stupidly Tiny," determining if documents meet specific
requirements. The latter includes quirky cases, such as evaluating whether tiny, tiny,
tiny, tiny typography on a Justin Timberlake CD fulfilled public notice requirements for
copyrights.
His dream case involves major implications affecting many people, similar to the
close call with allegations against George W. Bush. While the Bush case turned out to
be fake news, Phinney's dedication and passion for his work still remains evident.
In offering advice, Phinney encourages mid-career switches if aligned with
personal belief and passion, stating that doubt shouldn’t hinder one's pursuit or their
true passion. Thomas Phinney's journey is the clear-set example of what he suggests,
a career into something he truly enjoys.
Time travelers often struggle to pay for things; their currency has a cancelled
Marvel actor’s face on it, or they don’t know what money is, or they can’t make the
self-checkout machines work. (Then again, can anyone?) If you found yourself at a
supermarket in 1963, you wouldn’t have been able to pay for anything at all until
the clerk typed in the price of every item you wanted to buy, one at a time. Doing so
quickly was a coveted skill: there was even a competition with prizes like free trips
to Hawaii. The adoption of the barcode in the 1960s was a buzzkill for such
price-inputting savants. Discuss with your team: what other technologies do we
take for granted when we’re at stores or shopping online? And do you support
efforts to reimagine in-person shopping without any form of checkout at all?

Why Do People Hate Self-checkout?

There is now a growing backlash against self-checkout machines, with several
retailers reevaluating their strategies. For instance, Booths, a British supermarket,
recently announced the removal of self-checkout in all but two of its stores. Other
major players like Walmart, Costco, and Wegmans are also adjusting their approach to
self-checkout.
Nigel Murray, the managing director of Booths, expressed concerns about the
efficiency and reliability of self-checkout machines. He highlighted issues such as slow
processing and frequent misidentifications of fruits, vegetables, and alcohol,
particularly with age restrictions.
The concept of self-checkout itself was introduced in the 1980s with the
primary goal of reducing labor costs. However, it gained significant traction in the early
2000s as a cost-cutting measure. The expansion and usage of self-checkout machines
accelerated during the pandemic because of the increased focus on minimizing spread
and contact.
Despite its initial appeal, retailers are now considering the removal of
self-checkout machines due to various problems. One major concern is the rise in
shoplifting incidents, known as "shrink," which retailers blame on the self-checkout
process. Studies have indicated that shoplifting is easier with self-checkout, leading to
the reported millions lost by retailers. Notably, the statistics showcase a 4% shrink
cost (double the industry standard at 2%) when attributed to self-checkouts.
Problems with self-checkout machines include products with multiple barcodes,
the need to weigh items like fruits and meat, and customers exploiting the system.
Customers avoid paying fairly with various methods, from not scanning items at all to
scanning cheaper items or using fake barcodes.
In response to these challenges, some retailers are opting to purge
self-checkout machines. Costco, for example, is adding more staffed checkout areas,
due to the self-checkout problem of accepting non-costco members.
The move away from self-checkout has reportedly led to a decrease in shrink for
some retailers. While specific examples abound, it’s clear that the issues surrounding
self-checkout machines are leading to a new change.

The Iconic Barcodes’ Origin

The origin story of barcodes is a long and interesting journey that began in Troy,
Miami County, Ohio. The birthplace of this revolutionary invention holds a ceremonial
occasion, with the small town taking pride in their creation. The first shopper to
experience the barcode was Clyde Dawson, and the cashier was Sharon Buchanan,
who checked out a pack of Juicy Fruit gum.
The creator of the barcode, Joe Woodland, found inspiration while on Miami
Beach. Drawing with his fingers in the sand, he conceptualized a code that could be
printed and scanned quickly. This inspiration and brainstorming comes from Bernard
Silver, overhearing the need for a barcode system and pitching the idea to Joe. So
confident in his idea, Joe left graduate school to live in an apartment in Miami.
The breakthrough came from Morse code, with wide and narrow lines
influencing the barcode design. In 1949, they filed a patent in Philadelphia, and it was
granted in 1952. However, their crude prototype, which used a 500-watt bulb and a
giant code, was lacking technology only fully developed 2 decades after their
breakthrough.
In 1960, the laser was unveiled in California, causing concerns about its
potential applications. Theodore Maiman created the first laser, with initial thoughts
about its uses for welding, cutting, or medical surgery. However, the idea of using
lasers in barcodes for check-out was not foreseen to him, or anybody associated.
Kroger produced a booklet in 1966 envisioning the invention of the barcode,
dreaming of an optical scanner that could quickly read prices and totals. A small
research team at the Radio Corporation of America (RCA) eventually landed on the
barcode idea with this booklet as an inspiration, buying the patents Joe Woodland had
made years before. Specifically, the patent denoted a circular bullseye barcode, rather
than the conventional rectangular one today.
The first automated checkstands were installed at Kroger Kenwood Plaza in
Cincinnati in July 1972. Trials showed superior sales figures and efficiency with the
bullseye barcode. To revolutionize the checkout experience, the barcode needed to be
universal. The Ad Hoc Committee of the Universal Product Identification Code was
created to find a way to introduce a universal product code system.
Despite many difficulties and resistance from manufacturers, seven US
companies submitted systems to the Ad Hoc Committee. IBM joined the race at the last
minute, employing Joe Woodland, the patent owner. George Laurer, however, created
the version of the barcode IBM used, and IBM built a prototype scanner for testing.
After a spectacular demonstration, the Symbol Selection Committee voted in
favor of the rectangular UPC in 1973. The rectangular barcode faced skepticism from
manufacturers initially but took off when mass merchandisers like Kmart adopted the
system in 1980.
The barcode became a crucial tool for manufacturing transformation and easy
statistical analysis. Joe Woodland received recognition for his invention in 1992 by
George HW Bush, and a few months later, he received the National Medal of
Technology. Woodland's coincidence was living to see his vision on Miami beach come
true, with the imagined barcode becoming integral with today’s life.

Amazon Go!
Amazon Go convenience stores operate on a revolutionary "just walk out"
concept, eliminating the need for traditional checkouts or cash registers. Customers can
simply grab their desired products and leave the store without going through the
typical checkout process.
The technology behind Amazon Go stores draws inspiration from self-driving
cars and combines various advanced features, collectively named "Just Walk Out." This
technology includes computer vision, sensor fusion, deep learning, and other
cutting-edge elements. These components work together to create a frictionless
shopping experience.
The "Just Walk Out" technology keeps track of the inventory of items customers
pick up, ensuring they are charged accurately upon leaving the store. While the system
is highly sophisticated, it is not completely accurate, with occasional errors occuring.
 To use Amazon Go stores, customers need an Amazon Go account, which
involves setting up a QR code as an entry ticket. Once inside the store, customers can
begin shopping immediately, and as they pick up items, they are automatically added
to a virtual cart within the Amazon Go app.
Upon completion of the shopping experience, customers can simply leave the
store, and the technology calculates the total price based on the items in their virtual
cart. Digital receipts are provided through the app, an efficient checkout process.
Amazon Go stores have gained popularity, and the company has plans to
expand this innovative shopping concept to more locations. While still waiting for
success, with a few spread locations in the US and UK, it shows a possible new idea
we could see further implemented in the future.

Just as barcodes transformed checkout, QR codes have changed many other

everyday experiences, from debate tree distribution (sometimes) to accessing
restaurant menus. But a change that seemed inevitable during the pandemic has
run into resistance since. Discuss with your team: is this pushback a classic example
of society resisting technological progress, only to eventually succumb? Are there
any technologies that were supposed to change the world which were rejected and
stayed rejected?

Why QR Code Menus Are Far From Pleasing

Anne Thériault's complaint about QR code menus is based on the idea that
traditional menus possess a unique literary quality, offering a soulful experience. The
weight of the menu, the texture of the paper, and the descriptions of food contribute to
a luxurious dining experience.
In contrast, QR code menus, popularized during the pandemic for safety reasons,
are criticized for providing a less engaging and sensory experience. Thériault and
others express a preference for the physicality of traditional menus, emphasizing their
role in enhancing the overall dining ambiance. Despite their cost-effectiveness, they are
frowned upon by many consumers.
The rise of QR codes dates back to 1994, primarily used in Asian countries.
However, their widespread adoption surged during the pandemic due to safety
regulations. Even though the pandemic has dwindled, QR code menus have persisted
due to their cost efficiency.
 Critics of QR code menus, including Conor Friedersdorf for The Atlantic, argue
that physical menus serve as more than just tools for ordering food. They also act as
historical documents, offering insight into cultural, culinary, and societal trends. For
example, the New York Public Library's "What’s on the Menu?" project preserves and
organizes over 45,000 menus from the 1840s.
L. Sasha Gora, leading a research group at the University of Augsburg focused
on culinary and natural history, asserts that menus serve as archival traces of diets and
demand. They reflect changes in ingredients, including instances of extinction, such as
the passenger pigeon. Despite their extinction, restaurant menus continued to offer
passenger pigeon pie, illustrating a perception of abundance that contradicted reality.
Menus also play a role in gender studies. Historical menus sometimes featured a
separate "ladies" menu without prices, a practice which disappeared after a Californian
woman threatened a restaurant on discrimination. Additionally, the wording of food
items on menus can be gender-oriented, revealing societal norms and expectations.
(An example could be the “Dirty Brunch” and the “Clean Brunch” in a restaurant Sasha
used to work at)
Furthermore, menus offer glimpses into the nature of many restaurants. They
document the appearance and disappearance of them, providing a tangible link to their
past which otherwise wouldn’t exist with QR codes. In preserving physical menus, one
can “actualize the food and immortalize the essence of a restaurant”, leading to the
preservation of a piece of our history. Which is always good, apparently according to
WSC.

Art & Music + Special Area: The Stuff that Dreams Are Remade Of - Ethan

Artists sometimes rethink what materials can even be used to make art. Consider
the butter sculptures of Caroline Brooks, or the cassette tape sculptures of Erika Iris
Simmons, in which the artist crafted portraits of famous musicians out of their own
recordings. Discuss with your team: should more portraits be made of materials
related to their subjects? Do works such as Dominique Blain’s Missa—an
assemblage of one hundred army boots—force us to reconsider old topics in new
ways, or do they rely too much on novelty instead of skill?
Butter Sculpting?:
The tradition of using butter as a sculpting material traces its roots back to
banquet art, particularly associated with the Renaissance and Baroque periods. Similar
to sugar art, butter sculptures were created for entertainment and as symbols of
special occasions. The earliest recorded reference to butter art dates back to 1536,
where Bartolomeo Scappi, the cook of Pope Pius V, created a variety of sculptures
using this medium such as an elephant and a Tableau of Hercules fighting a lion.
Caroline Shawk Brooks, an American sculptor born in 1840, gained prominence
for her butter sculptures, whose lives were extended by being cased in ice. She
regularly employed traditional tools such as butter paddles, broom straws, and a
"camel's-hair pencil," rather than “lazier” molds and shapes, allowing her to craft
extremely detailed sculptures which earned her widespread praise.
One of Brooks' most notable butter sculptures is her 1873 creation, "Dreaming
Iolanthe" which depicts, as one would expect, Iolanthe - the blind princess from the
drama "King Rene’s Daughter”. This sculpture was exhibited in Cincinnati in 1874 for
two weeks, drawing in over 2,000 visitors. In 1876, Brooks crafted a bas-relief
(shallow) of Iolanthe for the Centennial Exhibition in Philadelphia. Additionally, she
also made a full-sized butter sculpture of Iolanthe, which was shipped to Paris for the
1878 World’s Fair.
After studying art in Paris and Florence, Brooks transitioned to using marble as
her primary medium, but continued to incorporate butter into her creations on occasion.
Another notable butter sculptor is John Karl Daniels, a Norwegian-American
whose creations were featured in the Louisiana Purchase Exposition in 1904 and the
Minnesota State Fair in 1910.

The Art of Reusing via Cassette Tapes:

Erika Iris Simmons has carved her own niche in the art world by working with
unconventional materials such as old books, cassette tapes, cards, and magazines. Her
preference for using older, past-their-prime materials brings a sense of nostalgia and
perhaps themes of renewal, suggesting that even when past its good point, something
still matters.
The particular focus of Simmons' work with cassette tapes and reel tapes is
highlighted in her series titled "Ghost in the Machine." In this series, she uniquely
portrays famous celebrities using the magnetic ribbons from cassette tapes. Notable
figures such as Marilyn Monroe, Bob Dylan, and Robert De Niro are portrayed using
this technique.
What adds an interesting twist to her creations is the choice of tape based on
the profession of the individuals portrayed. Actors are represented with film tape,
while songwriters and composers are brought to life using audio tapes. This clever use
of different tape mediums adds layers of meaning to her artworks, emphasizing the
connection between material and artist.
Erika Iris Simmons' ability to transform discarded materials into works of art not
only showcases her artistic talent but also allows viewers to reconsider the value and
potential of items that have surpassed their usage. Through her innovative approach,
Simmons breathes new life into these materials, creating a visual dialogue between
the past and the present.

MISSA: One of the More Cryptic Art Pieces in the Curriculum.

"MISSA (1992-2012)" is a striking piece that consists of 100 pairs of army
boots, created using mono-filament and a metal grid. This piece is part of the Musee
des beaux-arts de Montreal collection, housed in the Montreal Museum of Fine Arts.
The piece’s title, "MISSA" has Latin origins, in which it means "to be sent". It also
serves as the origin for the word "mass". The arrangement of the 100 pairs of army
boots is meticulously uniform, with all the right shoes lifted in unison. This positioning
may carry connotations of the mindlessness and treachery often associated with war.
The artwork seems to treat the soldiers as identical entities, emphasizing their
sameness and perhaps portraying them as puppets serving a totalitarian regime. The
careful arrangement of the boots evokes a sense of order, prompting a viewer’s
reflection on the dehumanizing and solemn aspects of war.
The negative spaces in the composition contribute to the ominous feeling,
creating a mood that suggests a historical context of war and conflict. The grayscale
presentation adds to the atmosphere, another addition letting people who view this
artwork reflect on war.
The eerie quality of "MISSA" invites viewers to engage with the artwork on a
deeper level, encouraging newfound reflection on the past and its history of the
dehumanizing aspects of war. The uniformity of the boots serves as a metaphor
emphasizing the lack of individualization in the cold reality which is conflict.
A scholar from New Zealand once revealed that her artistic talent also involved an
unusual medium: she painted on pizza dough—with tomato sauce. (This approach
works less well on existing paintings.) If she had been born 40,000 years ago—and
to an egalitarian society with access to foreign fruits—she might have painted on
cave walls instead. While tomato-based pigment wouldn’t have survived to the
modern era, some ancient cave art has. Consider recent efforts to reconstruct the
earliest cave art, including this 35,000 year-old illustration of a babirusa deep in
the Maros-Pangkep caves of Indonesia. Then, discuss with your team: were these
early cave dwellers artists? Is there a difference between painting and
documentation—or between drawing and doodling? Are Charles Darwin’s surviving
sketches of finches in the Galapagos fit to be called works of art?

Cave Art 1.0!

The reconstruction of ancient arts has experienced a leap with the usage of new
technologies, revealing previously unseen details and artworks from the past. One
notable example is the digital analysis of rock surfaces, uncovering ancient art dating
back over 2000 years. This revelation, published in the Antiquity Journal by Jan Simek
at the University of Tennessee, showcases giant glyphs carved into the mud of a
low-ceiling cave in Alabama.
The specific cave, the 19th unnamed discovery since the first North American
one in 1979, presented a unique challenge due to its inaccessible 60cm height. The
solution was photogrammetry, a technique involving thousands of photos digitally
combined in 3D to "lower" the ground by 4 meters and provide a better view of the
paintings. Radiocarbon dating placed the artworks depicting human and animal forms
between 133-433 AD, believed to represent spirits of the underworld, a significant
aspect of the Indigenous culture.
The use of new technologies extends beyond the Alabama cave, with the
earliest rock art found being at least 64,000 years old. However, the challenge lies in
the fact that we likely know only a small percentage of total rock art, as pigments can
disappear, and rock arts may crumble over time. Digital manipulation of images,
including enhancements and the use of technologies like Reflectance Transformation
Imaging (RTI), aids in the discovery of ancient stencil art and light engravings that are
notoriously difficult to otherwise discover and perceive.
 In the case of El Castillo, Spain, an engraved Bison was revealed using RTI,
emphasizing its potential for further archaeological exploration. The application of
infrared frequency light technology, similar to that used in full-body scanners for
airport security, has also played a role in uncovering obscured paintings. By "seeing
through" calcium deposits and layers of wear, this technology has bec
ome a useful tool in revealing the hidden status of ancient art.

Leang Timpuseng Cave and its Paintings:

The Leang Timpuseng Cave in Maros Pangkep, Sulawesi, Indonesia, has become
the site of a revolutionary archaeological discovery, as cave paintings within it are
among the oldest recorded in the world. Led by Dr. Anthony Dosseto, a team of
scientists from the University of Wollongong, Australia, revealed that the earliest art
found inside Leang Timpuseng dates back to an astonishing 37,900 BC, making it the
second oldest in the world, just behind the El Castillo paintings dating to 39,000 BC.
The dating of these images utilized Uranium and Thorium techniques applied to
overlaying calcite and mineral deposits within the cave. Leang Timpuseng is one of 90
caves at Maros Pangkep with stone art, and the paintings were not created by Homo
Erectus but by the modern Homo Sapiens, likely Aboriginal migrants on their way to
Australia.
The discovery of the cave paintings has a rich historical context. British
naturalist Alfred Wallace (who served a vital role in getting Charles Darwin to publish
“On The Origin of Species”) first discovered and visited Leang Timpuseng in July 1857,
during his trip to the East Indies, but he did not mention any cave paintings in his
published results. It was only in 1905-6 that Fritz and Paul Sarasin led an exhibition to
Indonesia, returning with vivid accounts of the cave paintings but providing few
specifics regarding caves and locations. The first detailed account of the Maros
Pangkep cave paintings emerged in 1950 when H.R. van Heereken reported hundreds
of hand stencils and animal depictions.
Despite Indonesian researchers conducting excavations in the cave, detailed
reports were limited, assuming the art to be only 12,000 years old. Recently, an
Australian-Indonesian team re-examined 14 pieces of art, dating 12 human hands and
two animal images using the "Uranium Decay Technique." The results were shocking,
indicating that most of the artwork is 25,000 years old, making it some of the oldest
dated works of art in Southeast Asia.
 The significance of these cave paintings extends beyond their age. Previously, it
was believed that humans lacked art skills before leaving Africa, and the clash
between modern humans and Neanderthals in Europe around 40,000 BC was thought
to have created a major cognitive advance. However, the Sulawesi cave paintings
challenge this belief, suggesting that artistic abilities existed in Africa before the
migration. The evidence of prehistoric art in Sulawesi, supported by new discoveries in
South Africa, hints at arts which might extend to Aboriginal art in Australia - yet, none
have been found to support the extension yet.
Just in general, the significance of the discovery leads into reshaping our
understanding of how we evolved.

Finches & Evolution?

Charles Darwin's journey aboard the HMS Beagle marked a critical moment in
the history of science, laying the foundation for the theory of evolution. The HMS
Beagle set sail on a voyage of exploration, and Charles Darwin, serving as the ship's
naturalist, embarked on a mission to study the diverse flora and fauna of the places
they visited.
The crew reached South America after a stop in the Canary Islands, where
Darwin spent the majority of his time on land collecting data. One of the most
significant stops on the journey was the Galapagos Islands, located in Ecuador.
Although the HMS Beagle crew and Darwin spent relatively little time on the islands,
the research conducted there had a profound impact on the development of the theory
of evolution we still know today.
Darwin's observations on the Galapagos Islands, particularly his study of the
diverse finches inhabiting the region, played a crucial role in the formulation of his
theory. Darwin was unfamiliar with birds, so he killed and preserved specimens for
later study, consulting with an ornithologist, John Gould, for additional insights.
Upon returning to England in 1836, Darwin collaborated with John Gould to
examine the collected specimens. Gould identified the 14 birds as different species,
with 12 being entirely new. The distinct beaks of the finches were a particularly
noteworthy adaptation, and it was concluded that these birds were native to the
Galapagos Islands.
Darwin's observations of the finches and their unique adaptations, especially in
relation to their beaks, became a key piece of evidence supporting the theory of
evolution. The finches on the Galapagos Islands showed variations in beak shapes
adapted to different types of food available on the islands. This observation allowed
Darwin to challenge the ideas of emerging species at his time, particularly those put
forth by Jean-Baptiste Lamarck, who suggested that species could spontaneously
appear.
Charles Darwin did not formulate the theory of evolution during his voyage,
however, but gathered the evidence and insights that would later contribute to it. His
grandfather, Erasmus Darwin, had previously proposed the concept of evolution, and
Charles used his observations and ideas to prove such an idea.

If it were a Starbucks, they’d just build another one across the street. It’s harder to
know what to do when a historical site is overcrowded. Some governments impose
quotas, as Peru did in 2019 on visitors to the Incan city of Machu Picchu. Facing a
similar situation when tourists swamped its Lascaux Caves to see the art on their
walls, France—built another one across the street. Is it misleading to present such
recreations to tourists as worthwhile destinations? Does it matter whether the
duplicates were made by human hands or a 3D printer, or how far they are from the
original?

Lascaux IV:
The Lascaux caves, discovered in 1940 in Southern France, became a popular
tourist attraction after World War II. However, due to the presence of visitors and the
potential damage caused by carbon dioxide and sweat, the caves were sealed off in
1963. To preserve the ancient artworks, the French government invested 64 million
euros in creating a near-perfect replica known as Lascaux IV.
The discovery of the caves occurred when four teenagers and a dog were
exploring a forest, and the dog fell down a hole leading to the caves. Following the
closure of the original cave, the replica was meticulously crafted to provide an
authentic experience for visitors. Dina Casson, involved in the project, emphasized the
importance of recreating the impression of going underground and coming out of the
cave, capturing the powerful sense of transitioning between these spaces.
The process of viewing the replica involves starting outside, on top of the
underground museum, and walking down to the cave entrance. The careful design
aims to mimic the feeling of entering the original caves. Over 600 paintings and 1000
engravings, created over 20,000 years ago, are replicated within Lascaux IV.
Archaeologist Jean-Pierre Chadelle, who used to give tours of the original cave,
discusses the advanced nature of the prehistoric art. Using a laser light to point out
details, Chadelle provides insights into the construction and significance of the
artworks. Guillaume Colombo, the director of the new cave, also notes that the replica
is almost more real than the original.
The original cave's durability is notably due to specific conditions, including a
lack of temperature changes, a dry environment, and the layer of clay in the soil that
made the cave air and water tight. The absence of stalactites or stalagmites, formed by
water, further contributed to the preservation of the art. The notorious layers of calcite
could not form either, specifically under these conditions. Prehistorian Jean Clottes
suggests that the paintings may not represent the animals eaten but played a
significant spiritual role in early cultures.
Lascaux IV, known as the third and most costly attempt to replicate the famous
cave, is precise to 3mm thanks to 3D digital scanning. Francis Ringenbach led the team
of 34 artists who reconstructed the cave. The painstaking process involved tracing the
art onto the wall, copying it pixel by pixel. The team gained a real appreciation for the
ancient skills, realizing the level of advancement required to use the surface of the cave
effectively.
The replica, referred to as Lascaux IV, now provides an interactive experience for
visitors, offering personalized tablets in multiple languages. It serves as a link between
the past and present, with visitors exploring questions about the creation of the art
and the mysteries surrounding the circumstances of the cave paintings.

Consider this proposal to build another Egyptian pyramid in Detroit or this second
Eiffel Tower, named Eiffela by creator Phillipe Maindron. The world is full of such
efforts: learn more about these other Eiffel tower replicas, including those in Texas,
Pakistan, and China, then discuss with your team: what other historical landmark
would you want to duplicate? Where would you put it, and would you make it
exactly like the original or would you reimagine it in some way?

How Many Pyramids Could Thy Build?

 In 1908, engineer E.S. Wheeler entertained the idea of building a pyramid in
Detroit, showcasing a comedic, unserious take on the requirements for such a project.
The concept, presented in a somewhat-comedic paper although in an actual formal
document, was largely based on imagination and speculation rather than concrete
facts.
The proposed location for the pyramid was a 12-acre site in Detroit, specifically
in Cadillac's village. Wheeler estimated the cost of constructing the pyramid to be
almost 1 billion in today's money. Despite the apparent comedic tone, he expressed
optimism about the speed and vast resources available in America.
The paper included supposed facts and figures to support the idea. Wheeler
suggested that the construction would require 24 million days of work. If one-fifth of
the population could contribute to the project, involving 16 million people, the pyramid
could theoretically be built in just a day and a half. Using today's population figures,
with over 300 million people, Wheeler whimsically suggested that 2.5 pyramids could
be constructed daily*.
What I personally add to this is that, funnily, Egypt’s tourism industry is around
30 billion (rough estimate) today. Imagine if the US reconstructed the pyramid and got
that return as well!

*With how bureaucratic the American legal system is, inevitable disagreements,
little-no design work (all specifications would have to be completed within hours),
crowd-crushing issues (25 million people per acre) and safety hazards among other
things, this estimate is ridiculously inaccurate.

The Eiffel Tower’s Little Sister: Eifella!

In a playful tribute to the iconic Eiffel Tower in Paris, Phillipe Maindron
constructed a scaled-down replica named the "Eifella." The Eifella, also located in Paris
and standing at around 1/10th the size of the original, reaches a height of 32 meters.
Despite its smaller scale, it serves as a carefree and funny tribute to the famous
landmark.
The Eifella was not just an intrusive idea but a tangible creation, standing
proudly from April 1 to 10, 2023. The project, which could initially have been mistaken
for an April Fools joke, demonstrated Maindron's creative expression and appreciation
for the historical significance of the Eiffel Tower.
 As for the original Eiffel Tower, construction commenced in 1887 and was
completed in 1889 in time for the 1889 Paris Exposition. Initially intended to be a
temporary structure, it has lasted as a symbol of Paris, serving various functions over
the years, including as a radio tower and television broadcast point. Today, its main
purpose is simply being a tourist attraction.

A List of Other Eiffel Towers.

Lyon, France: "The Metallic Tower of Fourvière"
● Built: 1892-1894
● Height: 101 meters
● Note: Article falsely claims it was built 3 years before the Eiffel Tower
Paris, Texas, USA:
● Built: 1993
● Height: 20 meters
● Note: Features a distinctive Cowboy hat on top, possibly included to beat a
similar Indiana tower
Blackpool, England:
● Built: 1894
● Height: 158 meters
Las Vegas, USA:
● Height: Approximately half the size of the original (around 115 meters)
● Location: Paris Las Vegas Hotel & Casino, next to replicas of the Arc de
Triomphe and Louvre
Tokyo, Japan: "Tokyo Tower"
● Height: 333 meters
● Note: Taller than the original Eiffel Tower, second tallest structure in Japan
Tianducheng, China:
● Height: 108 meters
● Note: A small town designed to replicate parts of Paris, functioning as a tourist
city
Slobozia, Romania:
● Height: 60 meters
● Note: Commissioned by a Romanian billionaire, standing in a field.
Sydney, Australia: "AWA Tower"
 ● Built: 1939
● Height: 46 meters above a 55-meter, 15-storey building
● Note: Functions as a radio transmission tower
Lahore, Pakistan:
● Height: 80 meters
● Note: Constructed as a focal point for a housing estate
Filiatria, Greece: "Little Paris"
● Height: 26 meters
● Note: The Eiffel tower replica is a main attraction in this small Greek town

Even if these sites weren’t overcrowded—more Baku than Kuala Lumpur—they

would still require us to travel to them. Not everyone has the means. But, at least in
theory, far more people could visit reconstructions of them in virtual reality, or VR.
(VR was the last trendy two-letter acronym before AI.) Explore the offerings of the
Australian company Lithodomos, then discuss with your team: would you support
this technology being used in classrooms? Should more real-world tourism be
replaced with VR visits? Check out the following VR implementations at museums,
then discuss with your team: are these VR interpretations of past works themselves
new works of art?
● The Ochre Atelier | London Tate Museum
● The Opening of the Diet 1863 | National Museum of Finland

Lithodomos, Pompeii, and the Colosseum;

Archaeologist Andrew Goldman now introduced VR technology to his class,
delving into the ancient wonders of Pompeii. Students, with smartphones and VR gear,
embark on a journey through colorful 360-degree views of Pompeii's various spaces,
from the House of the Faun's atrium to a Bakery.
With Lithodomos, a VR experience creator for tourists, Goldman tests classroom
applications to revolutionize education. Students like Will Georges actively engaged
with the program, answering questions about Pompeii's daily life, its living spaces, and
water sources. This interactive learning experience challenges the initial thought and
belief of the class of Pompeii being a small town.
Goldman, eager to captivate students, collaborates with Simon Young,
Lithodomos's founder. Thanks to a grant from Gonzaga University, the project began,
leveraging VR's potential for education. Goldman envisions a future where the
powerful VR technology in smartphones becomes natural in classrooms.
The approach, with a $20 app offering VR images for coursework, opens
possibilities for widespread adoption. Assigning coursework based on various VR
viewpoints, Goldman additionally immerses students in the Colosseum, stating that
such was his favourite example for a lesson. This trip in the Colosseum encompasses
12 locations, from where the most wealthy would sit to the nosebleed sections. This
would not only strengthen historical accuracy but also offer insights into the lives of
the less-fortunate.
By exploring how structures were built and understanding historical viewpoints,
students can immerse themselves in a closer reality to the past. In general, it put VR in
a pseudo-point of both being used for educational purposes and also the
less-amicable idea of using it for other brain rot. Social Media has gone down the drain
- what’s next?

Modigliani, That One Surreal Caricature Painter, & His Studio:

In 1919, Modigliani returned to Paris after the first world war, where Léopold
Zborowski secured a modest studio for him and his partner. Today, a century after the
last instance of usage, his studio still stands, though transformed and artistically worn
over time.
The immersive VR experience hosted by the Tate art museum meticulously
recreates Modigliani's final studio, where he spent his last months of his life from 1919
to 1920. Through over 60 artifacts and painstaking research on his paintings, the space
is brought to life. However, with no existing photos from the 1910s, the process of
recreating the studio was certainly a large challenge.
The main form of recreation was based on first-hand accounts and the studio's
actual empty space as clues, taking over five months of rigorous research to
reconstruct the environment. Every detail, from the lighting through the window to the
placement of specific artifacts, was meticulously studied and pieced together.
The collaborative effort involved various sectors of Tate Museum, including their
AV, Conservation, Curatorial, and Digital teams. Research trips to the studio, along
with collaborations with colleagues at art museums in Sao Paulo and the Metropolitan,
provided valuable aid for the unguided project.
 This attention to detail extends to Modigliani's artworks, including notable
pieces like "Self Portrait" and "Jeanne Hébuterne" (1919). Through extensive research,
the team ensured that the artworks are portrayed with meticulous accuracy within the
studio.
In summary, the new experience is a showcase of the concept that art doesn’t
form from complacence, rather it arises from the environment an artist creates and
lives in.

The Non-food-related Diet of Finland:

We’re now introduced to the National Museum of Finland's new exhibit
centered around R.W. Ekman's painting "The Opening of the Diet 1863." The
experience offers visitors unique perspectives on the Diet of Finland, allowing viewers
to interact with the Emperor, representatives from various social classes, and even visit
the Hall of Mirrors in the former Imperial Palace.
The exhibit is part of a broader exploration of 1860s Finland as a Duchy of
Russia, aiming to showcase artefacts and present people with a view of a part of
Finland’s past. Zoan Oy, the largest Finnish VR studio, created the virtual experience to
transport visitors to a crucial moment in Finland's legislative history.
The Diet of Finland served as the main legislative assembly from 1809 to 1906,
a period when Finland, while a duchy of Russia, maintained a degree of independence.
The virtual experience specifically focuses on "The Opening of the Diet," a historic
event that took place in 1863 after the Crimean War. This marked the first time the
Diet had opened in 54 years.
During this assembly, Emperor Alexander II called representatives of the social
hierarchy to discuss vital matters. The Emperor made declarations promising
constitutional changes and emphasized the need for the Diet to discuss at least every
five years. Through this VR experience, visitors can step into this crucial moment in
history, learning more about the old legislative environment of Finland.

Artists have been experimenting with integrating VR directly into their work.
Consider the pieces below, then discuss with your team: would they still have as
much artistic value without the VR elements? How soon do you think AI will be
integrated into art in the same way, or is this integration already happening?
● I Came and Went as a Ghost Hand | Rachel Rossin (2016)
 ● La Camera Insabbiata | Laurie Anderson & Hsin-Chien Huang (2017)

Cryptic Artwork 1: ICAWAAGH

The Center for Contemporary Art has recently opened, now the UK's first
dedicated VR showcase space. Tucked away in a tiny room, this anechoic chamber
minimizes light and sound penetration, creating an immersive environment that
transports users to a completely different reality. (Anechoic meaning, er, minimizing
light and sound.)
The “currently” featured artwork, "I Came and Went as a Ghost Hand," is a
creation of Rachel Rossin from 2015 during her research and development in VR in
New York City - in reality the artwork was the one hosted on the website. Users are led
to explore a strange and surreal world, distinctly separate from reality. With a pale
yellow background extending in all directions, the artwork presents a depthless
surface later uncovering a random assortment of both recognizable and nonsensical
objects.
As users explore this virtual space, they do so as ghosts, hence the name of the
exhibit. This entails being unable to interact with this dream world. Over time, a clearer
sense of location emerges, revealing the space as a modern-day representation of a
studio – a depiction of Rossin's own environment. The intentional shattering and
mis-organization of the rendering - the picture in general - serves as a metaphor for
entropy, symbolizing the compression, distortion, or loss of data over time.
The exhibition not only showcases the potential of VR but also challenges its
limitations with the artist’s statement being about compression and entropy. As VR
technology continues to advance, it can reimagine our understanding of how we
interact with the world. However, a current drawback of this VR experience is its
limitation of participants, with only 1 person at a time. It is said such limitations will be
addressed by the industry eventually. The exhibit, in total, leads to creative
interpretations of the possibilities in the future.

Cryptic Artwork 2: La Camera Insabbiata

"La Camera Insabbiata" is a unique VR experience showcased in the outdoor
plaza of the Taipei Fine Arts Museum. Created by the collaborative geniuses of Laurie
Anderson and Hsin-Chien Huang, this exhibit takes inspiration and expands on their
previous work, "Chalkroom," originally featured at the Massachusetts Museum.
 "La Camera Insabbiata" delves into the creation of exclusive worlds, drawing
inspiration from personal experiences and memories. Laurie Anderson added a
site-specific painting to the exhibit, enhancing the nature of the artwork to reality, yet
its non-euclidian thread separating it from such.. Huang emphasizes that VR breaks
the limitations of reality, opening the door a world where the possibilities are endless.
This VR masterpiece offers participants a calming, yet abstract experience,
inviting them into virtual thinking spaces that defies the conventions of physics and
reason. With four participants at a time, the virtual journey goes through eight rooms:
The Cloud, Anagram, Dog, Water, Sound, Dance, Writing, and Tree rooms.
As participants move through these virtual spaces, the fabric of reality seems to
unravel. The rooms, constructed from blackboards, chalk, and writing, provide a surreal
and thought-provoking experience throughout the exhibition. "La Camera Insabbiata"
in all is a symbol of VRs possibilities, contrary to the above listed exhibit.

Sometimes, a work isn’t copied as much as it is reinterpreted. In the 1980s, two

Soviet artists-in-exile, Vitaly Komar and Alexander Melamid, painted the head of
Josef Stalin perched on a woman's hand. Judith on the Red Square was just one of
many takes on a historical moment that may never even have happened. Compare
their version with those below, then discuss with your team: how do their styles
and meanings vary? If, as critics argue, they celebrate “female rage”, should we still
be studying any of them? Pay special attention to the Mannerist style of Giorgio
Vasari, in which artists abandon the pursuit of realism in favor of imagined ideals.
When is it better to make something less realistic?
● Judith with the Head of Holofernes | Michael Wolgemut & Wilhelm
Pleydenwurff (1493)
● Judith and Holofernes | Giorgio Vasari (1554)
● Judith Slaying Holofernes | Artemisia Gentileschi (1612-13)
● Judith and Holofernes | Pedro Americo (1880)
● Judith and Holofernes | Kehinde Wiley (2012)

The History of Judith, After The Biblical Story:

The story first unfolds with Judith, a young widow, becoming a liberating
heroine as she saves her people by cunningly slaying the Assyrian general Holofernes,
sent by King Nebuchadnezzar to besiege Bethulia. Judith's heroic act is not unique in
this manner, as biblical heroines like Jael also display courage against oppressors - in
this case, being Canaanite general Sisera in a similar position.
What sets Judith apart is her blend of strength and "womanly virtues," making
her story a rich template for exploring power dynamics. Artists over the years have
used Judith's character for gender identity work, with her portrayed in two main
categories: the strong, virtuous woman (femme forte) and the dangerous, sexually
aggressive woman (femme fatale).
During the Middle Ages, Judith became a popular figure, often aligned with the
Virgin Mary for her personality. Renaissance depictions showcased her evolving role,
transitioning from a warrior to a symbol of a small population overpowering a tyrant,
as seen in Donatello's statue representing Florence.
The Renaissance in North Europe had Judith portrayed with nudity, with artists
like Hans Baldung Grien and Vincent Sellaer introducing provocative elements. The
Baroque era embraced a gory depiction of the Judith and Holofernes scene, notably by
Caravaggio, illustrating the moment of slaying in explicit detail.
Moving into the Belle Epoque, Judith transformed into a femme fatale, gaining
popularity during the late 1800s Romantic period. Gustav Klimt's sensual depiction
emphasized this, with a moment of bliss. Judith's portrayal however took political
meaning in the 1900s, symbolizing resistance against totalitarian regimes, most
specifically Vitaly Komar and Alexander Melamid’s “Judith on the Red Square”
depiction.
In a more modern contemporary twist, artists like Kenhinde Wiley in 2012
present Judith with a racial narrative, depicting her as a Black woman overcoming a
white oppressor, depicted with a white woman’s head. It most notably symbolizes the
overcoming of white superiority. The story of Judith may continue to evolve now, still a
template to discuss discrimination and oppression in art.

- Judith on the Red Square - Vitaly Komar and Alexander Melamid

- Created in 1981-1983, this is an image depicting a young girl holding an
enlarged head of Stalin, where the young girl hosts the shadow of Judith
and Stalin is in the position of Holofernes.
- Judith and Holofernes - The Liber Chronicarum, Wolgemut and Pleydenwurff
 - A medieval-style art depiction of the Judith and Holofernes scene created
originally in 1493 from the account of the Liber Chronicarum (Book of
Chronicles). Designed by Michael Wolgemut and Wilhelm Pleydenwurff.
- Judith and Holofernes - Giorgio Vasari
- An oil painting created in 1554, in the late renaissance period when the
depictions of Judith were shown as seductive, aggressive, and assertive.
Portraying Judith as a confident and physically powerful woman, the
indication of her inner courage.
- Judith Beheading Holofernes - Artemisia Gentileschi
- A painting made in 1620 with a gory depiction of the Judith and
Holofernes scene made in the Baroque era, co-painted with Caravaggio.
When painting was hosted and created in Florence, it sparked strong
reactions and criticism.
- Judith Thanks God For Having Liberated Her Country From Nebuchadnezzar
- A painting by Pedro Américo, the Brazilian artist, made in 1880. Depicts
the scene after Judith killed Holofernes, where Judith is giving thanks to
god. Shows her in majestic and rich-like attire standing while Holofernes’
head is laying next to her.
- Judith and Holofernes - Kehinde Wiley
- Made in 2012, an oil painting of an African American depiction of Judith
with a White woman’s head in her hand, the version of Holofernes
standing in a flowered background. Meant as a representation of the goal
to tackle racial problems.

In 2023, when the Mauritshuis Museum in the Hague lent out one of its most
famous works—Johannes Vermeer’s The Girl with the Pearl Earring (1665)—it
launched a competition, titled “My Girl with a Pearl”, for something to hang in its
place. Over 3500 artists submitted their reimaginings of the original Vermeer. The
winner was a lovely work titled A Girl with Glowing Earrings—which turned out to
have been made using AI. The museum was criticized, even as the German-based
artist Julian van Dieken behind it pointed out that he had been upfront about his
methods. Discuss with your team: should museums be allowed to display art
generated using AI tools?
AI Art Wins A Competition: Judges Regret Their Decision Later (Dhar Mann Video
Idea?!)
The Mauritshuis Museum, in a semi-recent example, stirred up controversy with
its "My Girl With a Pearl" contest, inviting re-imaginings of Vermeer's iconic "Girl with a
Pearl Earring." Among the 170 finalists, an AI-generated piece titled "A Girl with
Glowing Earrings" by AI artist Julian van Dieken became one of the five winners,
sparking outrage in the art community.
Over 3,500 submissions were whittled down, but critics “decried” (complained
about) the use of AI-generated art, raising ethical concerns and questioning the
museum's understanding of such technology. Taylor Dafoe labeled the decision as
"shameful," citing legal and ethical issues, while Eva Toorenent argued that the
museum failed to grasp the technology's implications.
Mauritshuis defended its choice, emphasizing their judging process solely based
on visual appeal, creativity, and simply whether or not the judges liked the artwork.
Van Dieken acknowledged the AI generation in his work, highlighting the experimental
nature of AI tools in the creative process and citing that AI can be used as a tool in the
right form.
Other critics, including artist Iris Compiet, expressed their disdain of the choice,
considering the allowed entry of AI-generated entries as an insult. Meanwhile, in
similar news, Midjourney and Deviantart face a class-action lawsuit in California for
alleged intellectual property violations - the “stealing art” topic is pretty serious.
Despite the uproar, the museum has chosen to retain the controversial
installation, continuing to fuel ongoing debates about the ethics of AI arts.
An added bit of detail: AI’s generate art based off of its feed of information,
meaning that it has to be trained on data to generate art. This is the origin of its
controversy, being that AI art is never original, and thus never “art”. If you’re an artist
who doesn’t want to have your art fed into AI, you could use Nightshade or something.
Sitting astride a gallant white steed in Jacques-Louis David’s Napoleon Crossing
the Alps (1801) is purportedly Napoleon, but Napoleon didn’t want to pose for the
work—despite having given David very specific instructions on what to paint.
“Calme sur un cheval fougueux,” he requested. Calm on a fiery horse. For a model,
David resorted to his own son—who stood calmly on a fiery ladder. To achieve more
drama, he replaced the mule from Napoleon’s actual journey (on a fair summer day)
with a stallion (battling a blistering storm). The most accurate thing about the
painting was the uniform. It had only been a year since the actual event happened;
surely some people knew how inaccurate the work was, and his own face in it was
bland and undetailed—but Napoleon reputedly loved the finished product. “Nobody
knows if the portraits of the great men resemble them [anyway],” the victorious
general offered, by way of justification. Discuss with your team: was Napoleon right
in recognizing that history would remember how David had portrayed him? You
should also take a look at this piece by Paul Delaroche in 1853, which tried to
reconstruct the past more accurately than it had been reimagined in the
present—should an AI be used to transplant some of the details from this version
into the original piece?

When One Wants A Painting of Themselves Yet Refuses To Pose For It!:
"Napoleon Crossing the Alps," painted by Jacques-Louis David in 1801, is the
most renowned depiction of Napoleon Bonaparte. David, a political artist and
supporter of the French Revolution, became an enthusiastic follower of Napoleon in his
rise to power after the revolution. The painting notably commemorates Napoleon's
journey across the Alps in 1800.
Napoleon chose the specific scene and instructed the details, although he
refused to even pose for the artwork. David's son, thus, served as a placeholder. The
painting, portraying Napoleon on horseback, exudes a sense of grandeur, highlighted
by the majestic clothing and the mane of the horse. Interestingly, the outfit Napoleon is
depicted with is the most accurate portion of the artwork, being a uniform he wore in a
previous war.
The composition incorporates subtle nods to other historical generals, such as
Hannibal and Charlemagne, who also led their armies through the Alps. However, the
truth of the scenario differs from the depiction, as Napoleon actually made the journey
in favorable weather conditions, riding a mule instead of a stallion. Despite the
divergence from reality, the painting serves as an iconic piece of majesty and was used
as propaganda during Napoleon's reign.

"Napoleon Crossing the Alps," completed within four months from October
1800 to January 1801, again stands as the most successful portrait of Napoleon
Bonaparte. It notably serves as a symbolic representation of the dawn of a new
century following France's brutal revolution. The painting, again, commemorates
Napoleon's military success during his journey through the Alps against the Austrian
army in May 1800.
Despite Napoleon providing little support in the creation of the painting, still
refusing to sit for it, and relying on an old portrait and his previous uniform, David
managed to capture the essence of Napoleon's authority. The portrait depicts
Napoleon as calm, riding a fiery and strong horse, showcasing his composure and
power while leading his army. In reality, Napoleon rode a mule and followed his army a
few days later, but the portrait emphasizes the heroism and authority associated with
his royalty.
The background of the painting features French soldiers carrying a large cannon,
while Napoleon's raised arm, the lines on his cloak, and the mountains in the
background connect him to the scenery, creating a stabilized and powerful figure.
David's painting techniques, such as the treatment of the landscape as a setting for the
hero, contribute to the general feeling of the painting. Note the soldiers in the
background were also an inaccurate feature, as described before - Napoleon traversed
the alps after his army had gone through with a local guide.
Following the completion of the painting, David was awarded the position of
First Painter to Napoleon, a source of pride that led to subsequent large commissions,
including "The Coronation of Napoleon."

A More Accurate Napoleon:

In an intriguing turn of events after his defeat, Queen Victoria of England and
other prominent figures found themselves commemorating Napoleon during the period
of 1830-1848. This era witnessed Napoleon's reputation growing again, portraying
him as a symbol of military expertise rather than defeat or dictatorship.
The shift in perception led to a fascination among royalty figures, who even
visited Napoleon's tomb. Notably, in 1853, artist Hippolyte Paul Delaroche created a
new and more accurate depiction of Napoleon crossing the Alps. Drawing inspiration
from Adolphe Thiers' 1845 account, this portrayal showcased a stark contrast to
Jacques-Louis David's propagandist painting.
Delaroche's painting is a more subdued, undertoned, and realistic
representation. It depicted Napoleon riding a mule, led by a local guide, during the
calm summer and after the army had already passed through. Strikingly, this accurate
rendition was created over 20 years after Napoleon's death and was then purchased
by Queen Victoria in 1853.

Napoleon rode his white “horse”; George Washington rode a raft. Emanuel Leutze's
Washington Crossing the Delaware (1851) captures a key moment in America's
founding myth: the future first president leading his men against the British. As
paintings go, it is iconic; it is also inaccurate. In 2011, Mort Kunstler reimagined the
scene more realistically. Compare his take to Leutze's, then consider a version that
critiques the myth behind all of it: Robert Colescott's “George Washington Carver
Crossing the Delaware: Page from an American History Textbook (1975). If you
could print only one of these three works in a history textbook, which would you
choose? Did Leutze become the most iconic only because it was first?

Majesticity Conflicts with Accuracy (perhaps):

Emanuel Gottlieb Leutze's famous painting, "Washington Crossing the
Delaware," created in 1850, has long been celebrated, but its historical inaccuracies
have recently been discussed. Painted in Germany, far from the actual event, Leutze
took liberties within the depiction.
He showcased inaccuracies including the portrayal of Washington in a reckless
pose that would have tipped the boat over in reality. The boats were also inaccurately
portrayed as hollow instead of flat, and Washington's age and the sunlight were also
misrepresented. The American flag used in the painting didn't exist at the time of the
crossing, and the length of the crossing was also exaggerated.
The original painting emerged from the European revolutions of 1848, with
Leutze, a liberal, finding inspiration in Washington with relation to the revolutions.
Despite historical inaccuracies, the painting became a significant success in America,
drawing over 50,000 viewers in New York. During the Civil War, it was used to raise
money for the Union antislavery movement - a movement Leutze is likely to have
supported if he were there.
In 2011, artist Mort Kunstler was commissioned to address and re-represent the
famous depiction. Known for his historically accurate paintings, Kunstler meticulously
researched the Washington Crossing site, consulting historians and even visiting the
location. The result was a painting that corrected many inaccuracies, depicting the
event with a focus on historical precision yet also keeping its valiant appearance.
Despite the challenges, Kunstler's commitment to accuracy extended to using a
torch for the light source, as historical reports suggested a blizzard at the location.
Notably, Kunstler completed this process without relying on modern tools like Google.

Parody Time! Let’s make George Washington black. (Totally Real Explanation):
In 1975, Robert Colescott created a parody of the famous George Washington
painting, which later gained prominence in the 1978 Art about Art exhibition at the
Whitney Museum. Colescott, known for his satirical genius, used outrageous political
content, appropriated art history, and satirical cartoon imagery to create a masterpiece
that exhibited formal rigor and graphic excellence, according to Lowery Stokes Sims.
This parody is of course the “George Washington Carver Crossing the
Delaware”, an again inaccurate and hilarious depiction of the event, instead with
notable black figures. Colescott's parody served as a powerful tool to describe
America's self-mythology, exposing the structural and racial issues within the nation.
Sandra Jackson-Dumont, the CEO and Director of the Lucas Museum, discussed
their appreciation of the painting's narrative art quality. She emphasized its role in
facilitating learning and discussions about racially, socially, and historically charged
figures like George Washington Carver, Aunt Jemima, and Uncle Ben. Jackson-Dumont
also expressed hope that the public would recognize how artists can reshape complex
stories and histories through their work.
In Puerto Rico, tourists can visit an old fort, the Castillo (Castle) San Felipe del
Morro, which is now a museum with grand views of the sea. Those of us who grew
up watching Disney might think of castles as places from which princesses emerge
to build snowmen, but in real life they more often served as military bases and
seats of regional power. Explore some of the techniques used to reconstruct castles
that have lost the battle with time, such as LED lights, 3D models, and VR — then
discuss with your team: should they be rebuilt in real life instead?

El Morro:
El Morro, officially known as Castillo San Felipe del Morro, stands as a historical
fortress in San Juan, Puerto Rico, symbolizing the city's colonial past. Constructed
between the 1500s and 1700s, the structure served as a vital military outpost for
Spain and later for the United States. It played a crucial role in numerous conflicts,
successfully defending Puerto Rico against British and Dutch invasions.
San Juan itself, founded by Spanish settlers in 1521, developed over 250 years
as a fortified city, with El Morro and El Cañuelo across the bay securing its defense.
The fortress changed hands when Puerto Rico, during the Spanish-American War of
1898, was handed to the US in a peace treaty.
Retiring from military service in 1961, El Morro transitioned into a museum,
offering visitors a glimpse into its defensive history. It stands as a note of the strategic
importance of Puerto Rico throughout different periods, including its use by the U.S.
during World War I and II.
Today, as a museum, El Morro provides various sections open to the public,
offering insights into the fortress's history, strategic positions, and military tactics.
Visitors can explore different facilities, with the most impressive views found on the
lowest level, close to the ocean waters overlooking El Cañuelo.

Funai Castle Lightshow!

Funai Castle, a historical symbol of the spread of Christianity in Japan, was built
in 1607 and stands as a symbol of the complicated history of the region.
In the 16th century, Otomo Sorin, a powerful feudal lord ruling Oita, ordered the
construction of Funai Castle in the 1560s. The castle, situated in Kyushu, was part of a
region owned by the Otomo clan. During this time, Christianity made its way to Japan
through Portuguese sailors who arrived in 1543. Missionaries, including Francis Xavier,
met Otomo Sorin, who later was converted to Christianity, sparking controversy among
his allies and criticism from enemies.
Over the centuries, Funai Castle changed hands due to wars, and by the
mid-1700s, it lay in ruins. However, reconstruction projects have allowed visitors to
witness both the stone foundation and a “recreation” of the castle. The recreated
project features an array of LED lights, totaling over 70,000, which mimic the original
tower, creating a "hologram" of the castle.
This lighting display is best experienced at night, offering a stunning visual
experience, especially during the springtime.

Animated Castles?:
In response to the challenges posed by the Covid pandemic, NeoMam Studios
collaborated with Budget Direct to bring seven European castles back to life through
virtual recreations, providing a fascinating glimpse into their rich histories.
Samobor Castle (Croatia):
● Built in the mid-11th century by Bohemian King Otakar II.
● Overlooks a small town near Zagreb, Croatia.
● Remains only showcase the foundation and guardhouse.
● Used and expanded until the 1500s but eventually fell into ruin.
Menlo Castle (Ireland):
● Built in the 16th century for the Blake noble family.
● Not used as a fortress, despite having cannons.
● Destroyed by fire in 1910, leading to its present-day ivy-covered ruins.
● Located near Galway’s National University of Ireland.
Olsztyn Castle (Poland):
● Built in the 1300s to protect against Bohemia and Silesia.
● Swedish army destroyed the castle in the mid-1600s.
● Ruins demolished in 1729 to build a new church.
Spis Castle (Slovakia):
● Built in the 1100s, now a UNESCO World Heritage site.
● Marked the edge of the Hungarian Kingdom.
● Handed over to brothers in the mid-1400s, leading to a revival in architecture.
● Destroyed by fire in 1780, resulting in its current state of ruin.
Poenari Castle (Romania):
 ● Located on a Romanian cliff, home of Vlad the Impaler.
● Vlad forced boyars to renovate the castle after funding denial.
● Impressive cliffside fortress with historical ties to Count Dracula.
Dunnottar Castle (UK):
● Foundations built from 400s-600s AD; castle constructed in the 1300s.
● Known for William Wallace reclaiming it from English occupation in 1297.
● Seized by the British government in 1715 after the Earl Keith's treason
conviction.
● Stripped of valuables by the York Mining Company.
Château Gaillard (France):
● Built in just two years by Richard I, known as Richard the Lionheart.
● Constructed to challenge the French, protecting Normandy.
● Captured by French Philip II six years after construction.
● Left in ruin by the late 1500s and eventually demolished by Henry IV of France.
These virtual recreations not only showcase the architectural beauty of these castles
but also provide insights into the historical events that shaped them.

When rebuilding castles in real life, should we update them to reflect modern
values such as sustainability, inclusiveness, and indoor plumbing? Consider the
controversy in Japan over adding elevators to Nagoya Castle for guests
experiencing limited mobility, then discuss with your team: at what point does
rebuilding something become reimagining it? Attempts to restore the Notre-Dame
Cathedral in Paris also raised similar questions. Should these rebuilt structures still
be considered as UNESCO World Heritage Sites?

The Queen King of England doesn’t live in a castle; Buckingham Palace has neither
a moat nor a drawbridge. Castles and palaces are often confused—unsurprising, as
both are large structures with no real purpose in the year 2024. Research the
following castles and palaces that have found ways to open their doors to modern
visitors, then discuss with your team: would their original residents have liked
“what we’ve done with the place”? While most renovated castles and palaces are
converted into hotels or museums, what else could be done with them? Should they
be converted into low-cost housing for those in need?
● The Winter Palace (Russia) | Rambagh Palace (India)
 ● Parador Alcaniz (Spain) | St Donats Castle (Wales)
● Alnwick Castle (England) | Doune Castle (Scotland)

So farCastles aren’t the only instances of old infrastructure finding new life in the
modern world. In medieval times London Bridge was a living bridge, serving not
just as a river crossing but as the host of an entire community of shops and houses.
Now it’s just a song lyric and a thoroughfare. In New York, an old elevated rail line
has been reborn as the popular High Line park; in Hong Kong and Athens, retired
airports—with their massive footprints—are being redeveloped into entire
neighborhoods. On a smaller scale, many urban rooftops are becoming organic
farms and suburban parking lots solar farms. Discuss with your team: what other
aspects of older infrastructure could be used in new ways with minimal changes?

London Bridge:

High Line Park: A former freight line in New York which was converted into, as one
would expect, a park.

Athens: Ah - the capital of Greece, homeland of democracy and

Art & Music: Form Follows Fiction - Sonic

“Write what you know,” is the first piece of advice given to most students in writing
workshops. Artists, too, tend to paint that which they’ve experienced and observed;
Monet spent a lot of time at his lily pond. But there have always been some artists
who blend the real with the imaginary. Consider the following works, then discuss
with your team: should we respond differently to art that tries to imagine what
could be, art that imagines what could never be, and art that shows us what we
didn’t realize already was?

Oscar-Claude Monet (1840 – 1926) was a French painter and founder of impressionist
painting who is seen as a key precursor to modernism, especially in his attempts to
paint nature as he perceived it. During his long career, he was the most consistent and
prolific practitioner of impressionism's philosophy of expressing one's perceptions of
nature, especially as applied to plein air (outdoor) landscape painting. The term
"Impressionism" is derived from his 1872 painting Impression, sunrise.

Monet held the first Impressionist exhibition in 1847 in France. After his wife died of
tuberculosis, he was determined to get out of poverty. By 1890, he was rich enough to
buy a large house and garden, where he would continue to paint for the rest of his life.
That lily pond garden became his biggest inspo, he even wrote meticulous instructions
for his seven gardeners with specific designs and color layouts, and amassed a large
collection of botanical books. His garden is now open to the public.

**The way we respond to artworks heavily rely on the subject matter. Art that
imagines what could be intrigues curiosity, they remind of reality while also triggering
our imaginations. Art that never could be is a bit harsher, prompting feelings of
remorse. Art showing us what already was serves to educate and remind us.**

● A Reversible Anthropomorphic Portrait of a Man Composed of Fruit | Giuseppe

Arcimboldo

The link just leads to the artwork, with little word information.

Giuseppe Arcimboldo, also spelled Arcimboldi (1526 – 1593), was an Italian painter
best known for creating many imaginative portrait heads made out of inanimate
objects. He was a conventional court painter of portraits for three Holy Roman
Emperors in Vienna and Prague and his portraits heads were partly meant to amuse
the court. Though he painted many religious subjects and other things, he specialized
in grotesque symbolic compositions of fruits, animals, landscapes, or various inanimate
objects arranged into human forms.

Arcimboldo's conventional work, on traditional religious subjects, has fallen into

oblivion, but his portraits of human heads made up of vegetables, plants, fruits, sea
creatures and tree roots, were greatly admired by his contemporaries and remain a
source of fascination today.
The painting above has no mentioned date of creation (it seems WSC doesn’t know
either), and it’s pretty much a fruit basket that becomes a man when upside down.

● Aerial Rotating House | Albert Robida (1883)

This link (weirdly enough) leads to a Pinterest picture of the Aerial Rotating
house from the novel Le Vingtième Siècle (The Twentieth Century), written and
illustrated by Albert Robida, Paris, 1883. The novel describes what Robida thought
would be 1950s Paris. Created during a time when access to fresh air was important,
the house occupies the highest place around. Also, by having the house rotate, it
enjoys 360-degree views of its surroundings. By showing smoking factories in the
background, Robida made a statement on the overcrowding and poor air quality of
Paris at the time, but the whimsical drawing style provides a sense of optimism. It
seems like he was acknowledging a harsh reality while also projecting a positive
outlook on the future.

● Late Visitors to Pompeii | Carel Wilink (1931)

Late Visitors to Pompeii (Dutch: Late bezoekers van Pompeï) is a 1931 painting by
Carel Willink. It depicts four 1930s men at the forum of Pompeii with Mount Vesuvius
in the background. The painting has belonged to the Museum Boijmans Van Beuningen
since 1933.

Albert Carel Willink (1900 – 1983) was a Dutch painter who called his style of Magic
realism "imaginary realism". Willink's earliest paintings were in an expressionist
manner, then he went abstract, then adopted a figurative style influenced by Picasso's
neoclassical paintings and Léger. Later in the decade, Willink developed a magic
realist style related to the metaphysical paintings of Giorgio de Chirico. His realistically
rendered paintings frequently depict slightly disquieting scenes taking place in front of
imposing buildings. He also painted many portraits. In comparison with his later
illusionistic virtuosity, “Late visit to Pompeii” is fairly crude. However, the alienating
effect is very successful. Willink has depicted himself on the left, turning to face the
viewer.
 ● Our Lady of the Iguanas | Graciela Iturbide (1979)

“Our Lady of Iguanas” is part of Iturbide’s photo essay series Juchitán of the Women
(1979–86). In a documentary style notable for its humanistic grace, the series focuses
on the indigenous Zapotec people in the town of Juchitán, in southeastern Mexico,
where women dominate all aspects of social life, from the economy to religious rituals.
The most emblematic image of the series, Our Lady of the Iguanas, shows the power
and dignity of a Zapotec woman, who carries on her head live iguanas that form a
bizarre crown.

Graciela Iturbide (1942 -) is a well-known Mexican photographer. Her work has been
exhibited internationally, and is included in many major museums. The eldest of
thirteen children, she attended Catholic school and was exposed to photography early
on in life. Her father took pictures of her and her siblings, and she got her first camera
when she was 11 years old. When she was a child, her father put all the photographs
in a box; Iturbide later said: "it was a great treat to go to the box and look at these
photos, these memories." Like her teacher, photographer Manuel Alvarez Bravo,
Iturbide portrays Catholic traditions intertwined with pre-Hispanic rites and
superstitions, showing a culture in constant flux. Approaching her subjects directly and
frontally, Iturbide represents a dreamlike reality with great compassion, or, to use the
artist’s own word, “complicity.”

● The Strolling Saint | Pedro Meyer (1991)

The website doesn’t have the image available so use this other link to see it.

“The Strolling Saint” is an Iris print by Pedro Meyer, produced by Nash Editions, and is
accompanied by a copy of the book “Truths & Fictions: A Journey from Documentary to
Digital Photography”. Meyer’s photographs are wonderful storytellers by themselves,
and with the wizardry of new computer technology, he is able to juxtapose fantastic
images in realistic and surrealistic ways. Even with the added dimension of digital
treatment, his photographs manage to maintain a sense of narrative and spirituality
which makes them truly intriguing.
Pedro Meyer (1935 -) is a Spanish photographer based in Mexico. He is one of the
pioneers of the digital revolution in contemporary photography. He was the founder
and president of the Consejo Mexicano de Fotografía (Mexican Council of Photography)
and organizer of the first three Latin American Photography Colloquiums.

● The Romantic Dollarscape | Pedro Alvarez (2003)

Pedro Reinaldo Álvarez Castelló (1967 – 2004) was a Cuban artist who rose to
prominence during Cuba's Special Period. Much of his work utilized a juxtaposition of
pop culture references against traditional Cuban images, such as clippings from The
Simpsons comic books against 19th century peasants and troubadours. Álvarez
described his process as, "The iconography in my paintings is a collage of found
images. Clips from art catalogues, magazines, books, old postcards, bank notes are
intuitively collected and stocked for some time until they are used…as backgrounds,
characters or plain referents…I have to be "half way through" those clips and into the
realm of ideas, concerns and intuitions. From that tension, new ideas are born.“

“The Romantic Dollarscape” is a series of paintings that was exhibited in Queloides:

Race and Racism in Cuban Contemporary Art. Queloides is the Spanish word for
keloids, which are excessive growths of scar tissue that develop over a wound; the
name of the exhibit refers to the social and cultural scars that develop as a result of
racism. As one might expect from an art exhibit about racism, many of the works were
infused with political messages. Pedro Alvarez’s “The Romantic Dollarscape Series”
incorporates images of Cuban peasants with images from American dollar bills, all in a
green color reminiscent of the color of dollars. René Peña, one of Cuba’s best-known
photographers, included a series of dark, personal photographs, including “Black
Marat,” an image of a black man in a bathtub that is highly reminiscent of David’s
famous painting “Death of Marat.” Instead of clutching written political statements, as
David’s Marat does, Peña’s Marat is holding a toilet bowl brush, evoking questions
about the relationship between race, education, and social status. (source: thetartan)

● Weirdos of Another Universe | Avery Gibbs (2023)

The article being written by none other than the artist himself, it introduces Avery
Gibbes's "Weirdos of Another Universe” series. It’s meant to explore the ‘what ifs' of an
imaginary situation where a small number of humans suddenly exist within an alien
world. This series is about the feeling of being an outsider after entering a new world,
and gradually figuring out how to find your place within it. This narrative sits at the
core of the series, and each painting serves to further explore this narrative and to
further build the world within which it is taking place.

Avery Gibbes is an artist based in Oshawa, Ontario. Working primarily in painting, his
current practice revolves around the continual creation and exploration of an imaginary
alien world. At the centre of his work are imagined narratives taking place in made-up
environments, and these are constructed through sketches that experiment with
designs and explore scenarios. Each painting builds off of the previous one, giving
viewers a deeper look into what exists within the world that he is showcasing.
​

Some artists choose to reimagine popular brands and fictional characters in ways
that shine a new light on them and on society. Consider the following works, then
discuss with your team: should these artists be required to secure permission
from—or even pay—the companies whose brands or characters they are borrowing?
Does it depend on how widely the work is distributed, or whether the work is
positive or negative?

● Campbell’s Soup Cans | Andy Warhol (1962)

When asked why he chose to paint Campbell’s soup cans, Warhol offered a reply as
deadpan as his face: “I used to have the same lunch every day, for twenty years, I
guess, the same thing over and over again.” Campbell's Soup Cans (sometimes
referred to as 32 Campbell's Soup Cans) is a work of art produced between 1961-
1962 by the American artist Andy Warhol. That daily meal is the subject of this work
consisting of thirty-two canvases—one for each of the flavors then sold by
Campbell’s—using a combination of projection, tracing, painting, and stamping.
Repeating the nearly identical image, the canvases at once stress the uniformity and
ubiquity of the product’s packaging and subvert the idea of painting as a medium of
invention and originality. The piece is considered a part of the Pop Art Movement.

Andy Warhol (born Andrew Warhola Jr.; 1928 – 1987) was an American visual artist,
film director, producer, and leading figure in the pop art movement. His works explore
the relationship between artistic expression, advertising, and celebrity culture that
flourished by the 1960s, and span a variety of media. Warhol initially pursued a
successful career as a commercial illustrator. He began to receive recognition as an
influential and controversial artist in the 1950s.

● Liberation of Aunt Jemima & Liberation of Aunt Jemima: Cocktail | Betye Saar
(1973)

One might recognize the name ‘Aunt Jemima’ from Robert Colescott’s rendition of
Washington from ‘The Stuff that Dreams are Remade of’. Aunt Jemima was an
American breakfast brand for pancake mix, and other breakfast food products. She was
modeled after, and has been a famous example of, the "Mammy" archetype in the
Southern United States. Due to the "Mammy" stereotype's historical ties to the Jim
Crow era, Quaker Oats announced in June 2020 that the Aunt Jemima brand would be
discontinued "to make progress toward racial equality".

Betye Saar’s “The Liberation of Aunt Jemima: Cocktail” features a handmade label with
a “mammy” figure on the front and a Black Power fist on the back. The ubiquitous
Californian Gallo wine jug, a 1970s marker of middle-class sophistication, is turned
into a tool for Black liberation. The art piece was in a series of works in which Saar
weaponizes racially charged black collectibles, often smiling mammy figures who
brandish pistols or grenades. In the case of “Liberation of Aunt Jemima: Cocktail,” the
entire vessel takes on the guise of a weapon of a Molotov cocktail. As Saar puts it, “I
wanted to empower her. I wanted to make her a warrior.” (source: LA Times, Brooklyn
Museum)

● Kawsbob | Kaws (2010)

Brian Donnelly (1974 -), known professionally as Kaws (stylized as KAWS), is an
American artist and designer. His work includes repeated use of a cast of figurative
characters and motifs, some of his characters are his own creations while others are
reworked versions of existing icons.

“Kawsbob '' is basically just Spongebob but in KAWS’s style. WSC just wants us to
talk about whether or not KAWS should have asked for permission before using
Spongebob.

● Charlie Brown Firestarter | Banksy (2010)

Appearing in 2010 in L.A, this image of Charlie Brown as an arsonist appeared in the
run up to the Oscars on the side of a burnt out building. Just a couple of days later it
had been cut out of the wall no doubt to turn up for sale somewhere else.

Banksy is a pseudonymous England-based street artist, political activist, and film

director whose real name and identity remain unconfirmed and the subject of
speculation. Active since the 1990s, he is known for creating humorous and satire art
works. His works of political and social commentary have appeared on streets, walls,
and bridges throughout the world. His work grew out of the Bristol underground
scene, which involved collaborations between artists and musicians. Banksy says that
he was inspired by 3D, a graffiti artist and founding member of the musical group
Massive Attack.

● Life, Miracle Whip and Premium | Brendan O'Connell (2013)

Brendan O’Connell (1968 -) is a contemporary American artist known for his paintings
of Walmart interiors. He was nicknamed America's "Brand Name Painter" by Time
because of his impressionist paintings of America's most popular brands. In this case,
he finds his muses in an unlikely place: supermarkets. Though he’s best known for
painting scenes from inside Walmart stores — a decade-spanning body of work that
earned him a New Yorker profile last year and a Colbert Report appearance — his
latest series of paintings zooms in on the everyday even further, focusing on one brand
at a time. O’Connell says that part of the reason for his interest in these subjects is
consumer interest: his work isn’t cheap — $1,000 is the very low end — but art buyers
are willing to splurge in order to be able to hang an un-ironic painting of their favorite
steak sauce, to take an example. But interest in brands isn’t really surprising, if you ask
him, with how nostalgia for favorite products adds to the beauty in a brand.

A smart fridge that could order more yogurt from the market for you when your
supply runs low: the Internet of things (IoT) devices promised to revolutionize our
daily lives, from thermostats that learn when you’re home to umbrellas that check
the weather forecast. But we are now more than a decade into the IoT revolution,
and it has mostly filled our houses with useless gadgets that are privacy and
security risks and frequently turn into e-waste. Discuss with your team: what went
wrong? Do people simply not want their homes full of IoT devices, or is this a
technology whose time has just not yet come?

There are plenty of times where dumb products could become smart. Like a security
system that texts you if your securities are triggered or an adaptable thermostat that
saves energy. But there are also things like Bluetooth-enabled rice cookers, tweeting
refrigerators, and texting toilet paper holders. Just because we can connect our
everyday items to the internet doesn't mean we should.
(some of these are REALLY dumb and the article is funny)
- SmartyPans: A frying pan that detects what's in it…and it’s $209.
- Oral-B Pro 5000: a toothbrush that ‘guides’ you via app. - $103
- HAPIfork: a fork that tracks how fast you’re eating - $79
- Spire: A wearable that tells you when you're stressed - $150
- Egg minder: A plastic carton that tells you if you need more eggs - $10
- HidrateSpark: A bottle that tracks how much water you're drinking - $55
- SmartMat: A yoga mat that tells you when you're screwing up - 347$
- My. Flow: A monitor that tells you when your tampon is full - Not given
- Smart Rope: An LED-embedded jump rope that shows fitness data as you work
out - $90
- Kuvée: A Wi-Fi-enabled wine bottle with interchangeable cartridges - $199
2. We have all once had a feeling of someone watching us from behind, but now that
technology has become more and more prevalent in our life, it may not be a human
anymore but rather than a piece of technology that is tracking you every step you take.
IOT, the internet of things is now what a lot of devices use, allowing them to connect to
the internet and do their magic, they are able to correlate data or communicate with
other devices. There were around 22 billion internet-connected devices in use around
the world in 2018, and the number is projected to grow to over 50 billion by 2030.

As technology becomes more and more advanced, it begins tracking everything you do,
even things that you don't expect. Things like smart TVs use cameras and microphones
to spy on users, smart light bulbs track your sleep and heart rate, and smart vacuum
cleaners recognize objects in your home and map every inch of it. A Wifi router can
even track what you do on the internet. Although we're promised that this information
will be kept safe and away from workers, there has been a case of Amazon workers
listening to some conversations with Alexa, transcribing them and annotating them,
before feeding them into automated decision-making systems.

A lot of us have to deal with this all day. Turning off these devices or restricting access
to the internet could seem like a solution but actually it would restrict so many features
that it wouldn't be worth it anymore. But Studies have shown that, for example,
owners of smart home personal assistants have an incomplete understanding of what
data the devices collect, where the data is stored and who can access it.

Governments all over the world have introduced laws to protect privacy and give
people more control over their data. Some examples are the European General Data
Protection Regulation (GDPR) and California Consumer Privacy Act (CCPA). Thanks to
this, for instance, you can submit a Data Subject Access Request (DSAR) to the
organization that collects your data from an internet-connected device. There's also
steps and prevention you can take to limit the amount of personal information being
tracked.

3. These devices, which range from smart speakers to connected thermostats, often
become unusable when the cloud service they rely on is discontinued. This is because
manufacturers often design IoT devices to be dependent on specific cloud services,
making it difficult or impossible for them to function without them.

It is encouraging for the industry to adopt a more open source approach to these
devices. Similar to the way Wi-Fi and personal computers operate, open standards
would allow devices from different manufacturers to work together and would make it
easier for devices to be repaired or updated after the cloud service is discontinued

The article also suggests that manufacturers should release their device specifications
so that independent developers can create alternative firmware or operating systems.
This would give consumers more control over their devices and make it possible to
keep them running even if the manufacturer no longer supports them.

So in conclusion, the articles suggest that manufacturers should release more of their
information for users and third parties to be able to maintain and use the technology
for a longer period of time after it has been discontinued by the company. As this
prevents e-waste.

History + Literature & Media: Hindsight Needs Corrective Lenses

You can’t read records that don’t exist, just as you can’t listen to music that was
never recorded. Learn about the world’s earliest record-keeping, usually credited to
the Sumerians or the Egyptians. Compare their early forms of writing—cuneiform
and hieroglyphics—then discuss: would there be advantages to living in a world
where no one keeps written track of anything? Be sure to investigate the following
strategies that early civilizations used to record their histories. What were their
limitations, and can we learn from any of them today?
● petroglyphs | cuneiform | nsibidi | quipus | Dispilio Tablet
● oracle bones | cylcons | geoglyphs | runestones

Hieroglyphics vs Cuneiform:

Similarities:
Differences:

Petroglyphs: They are rock carvings/engravings made by removing part of a rock’s

surface. Most either held deep religious significance or were used as maps (they
depicted surrounding terrain along with various symbols), The first ones were created
around 40,000 years ago with the oldest cluster of them thought to be in Iran. From
creation, they remained popular until around 7,000 to 9,000 years ago when the first
precursors to writing systems were introduced. They can be found in every region in
the world excluding Antarctica but are most highly concentrated in parts of Siberia,
Scandinavia and Africa.

Nsibidi: A system of pictograms indigenous to the Ejagham peoples of Southeastern

Nigeria. The system consists of several hundred symbols, many of which deal with love
affairs, and is primarily used today by the Ekpe Secret Society. Before the Nigerian
colonial era, there was a sacred and public version (more decorative - mainly used by
women) of the system. Aspects of colonial rule greatly decreased the number of
nsibidi-literate people and the two versions of the language gradually merged. During
the Transatlantic Slave Trade, the system spread to Cuba and Haiti where it developed
into the Veve and Anaforuana symbols. This system is different to the others listed in
the sense that it’s still used today.

Quipus: A recording device fashioned from strings that was used by a number of
societies in Andean South America. The Incas used quipu for multiple purposes
including but not limited to collecting data, monitoring tax returns, keeping track of
calendrical information, and organizing troops. The cords stored numeric information
encoded as knots, usually in a base 10 positional system. During Spanish colonial rule,
almost all quipu were destroyed though in isolated towns and villages, they have
continued to serve an important ceremonial purpose. It is still unknown if quipus ever
had a corresponding language/writing system. If it turns out that it did, it will most
likely be nearly impossible to decipher due to its unique structure without a bilingual
speaker (of the Quipu language and another widely used one).
Dispilio Tablet: It is a wooden tablet containing inscribed markings which is more than
7,000 years old (radiocarbon used). The inscription contained on it is the oldest known
text in existence, predating all other other writing systems by millenia. Currently, the
tablet’s text is indecipherable and without a Rosetta Stone-like discovery, it will almost
certainly remain that way. It was found in 1993 during George Hourmouziadis’
excavations of Dispilio, Greece (Neolithic lakeside settlement) at the bottom of Lake
Kastoria. When the tablet was found, it was partially damaged due to being exposed
to an oxygen rich environment for a long period of time.

Oracle Bones: They are pieces of animal bones and turtle shells that were used in
divination ceremonies in Ancient China (mainly during the late Shang Dynasty).
Questions were carved on the bones/shell before they were subjected to intense heat
through a metal rod until it cracked due to thermal expansion. A diviner would
interpret the pattern of the cracks, seen to be a message from a person’s ancestor, and
finish by writing the answer to the question on the bone. By the time the Zhou Dynasty
rolled around, the questions were increasingly written with ink meaning that the
messages degraded over time. The inscriptions and patterns are currently
indecipherable.

Cyclons: A cylindrical stone marked with incisions. They most likely originally served a
magical or religious function that was gradually replaced by a more utilitarian one, that
of a pestle in food production or to communicate messages. Some are even thought to
contain maps, which would be the oldest in existence. It is impossible to date the
majority of cyclones but the oldest datable one to be discovered so far is 20,000 years
old.

Geoglyphs: A large-scale drawing/image made on the ground made by arranging

stones, stretching the earth, etc… which is usually only fully visible from a distance or
the air. While many geoglyphs are ancient, they are not unusual as a modern form of
art being popularized during the Land Art Movement. The purpose of more ancient
geoglyphs is still unknown but learning more about them might unlock clues about
their creators. The most famous geoglyphs are the Nazca Lines in Peru which consist of
white lines along the desert landscape which form large figures when seen aerily.
Runestones: As the name suggests, they are large stones carved with runes. They are
often memorials to dead men. When erected, most were brightly colored, though this
is no longer evident as their color has long worn off. The first runestones were created
in the 4th century and the tradition remained strong up until the 12th century. The
stones were used by Ancient Scandinavian societies, most notably the Vikings. The
vast majority of them are located in Scandinavia (mainly in Sweden with the highest
concentration of them in Uppland) though many are scattered around locations that
Norsemen visited. Understanding the runic inscriptions on the stones has constantly
posed a problem due to the fact that different symbols have different meanings based
on their location. If one was able to understand them, it would help to unlock linguistic
info and documents from the Viking age.

The invention of the camera in the 1800s changed how we've pictured history since;
now we know what things looked like. Where we once had myth, now we have
newspaper clippings. All these images present a challenge for those producing
stories set in photographed times: to build realistic sets and to cast actors who look
enough like their historical counterparts. Consider the actors who have played
individuals such as Princess Diana, Ho Chi Minh, and Abraham Lincoln, then discuss
with your team: how important is it that those who play historical figures resemble
them physically? Would it have been all right for a short man to play Lincoln in a
movie, as long as he grew a beard and wore a hat? What if it were in a play instead,
or a musical? And, once technology permits, will it be better to reconstruct
historical figures with CGI than to try to find human lookalikes?

If you’re super captivated by reading articles on people you’re likely not to be tested
on, go ahead. Otherwise, there’s not too much point in reading them. However: The Ho
Chi Minh one is important.

Tien Hoi's portrayal of President Ho Chi Minh (Uncle Ho) in the 1987 play "A
Sleepless Night" was notably remarkable. Chosen for his striking resemblance to a
young Ho Chi Minh, Tien Hoi needed minimal makeup, highlighting his natural likeness.
To prepare for the role, Tien dedicated over two months to studying Ho Chi
Minh's mannerisms, voice, and daily routines. He immersed himself in the president's
world, visiting Ho's former residence and engaging in discussions with individuals
familiar with his life, such as Vu Ky and Ho's secretary.
The premiere of the play garnered praise from audience members, who were
impressed by the uncanny similarities between Tien Hoi and Ho Chi Minh. This positive
reception not only affirmed Tien's talent but also inspired him to portray the president
in future acting endeavors.
The success of the play, along with Tien Hoi's compelling performance, earned
him recognition from notable figures like General Vo Nguyen Giap, solidifying his
reputation as a skilled actor capable of authentically embodying historical figures.

The musical Hamilton defied the expectation of what actors in historical dramas
should look and sound like by explicitly casting Black actors as America’s legendary
founding heroes and then telling their story in hip-hop-inspired numbers. Especially
at first, many people celebrated how it gives a marginalized group control of the
narrative; history is being reinvented as their story, too. Others have argued that,
while it may seem to empower them, the musical forces Black actors to act as their
own oppressors—and that it distorts American history into a simple tale of heroes
and villains; put another way, we shouldn't hate so much on Thomas Jefferson and
Aaron Burr, and maybe we're overthinking what happened in the room. Discuss
with your team: does “color-conscious casting” open doors to new stories and
social equality, or does it perpetuate disinformation and barriers to progress?

The issue of color-blind casting has sparked heated debate in recent times,
particularly in light of incidents like the casting of Jodie Smith as the Queen of England
in the Channel 5 series rendition of Hamilton. While some argue that casting black
actors in traditionally white roles is a step towards diversity and representation, others
contend that it erases historical accuracy and undermines the experiences of
marginalized communities.
Hamilton, a widely acclaimed cultural phenomenon created by Lin Manuel
Miranda, has been at the center of this controversy. While many applaud its diverse
casting, others question the appropriateness of casting black actors in roles historically
portrayed by white figures. August Wilson, an African American playwright, was
staunchly against color-blind casting, arguing that it perpetuates the erasure of history
and assimilation of repressed communities.
 The debate over color-blind casting extends beyond Hamilton, with examples
like West Side Story and The Simpsons facing similar criticism. Critics argue that actors
portraying cultures they may not understand can lead to misrepresentation and
perpetuate harmful stereotypes.
To address these issues, advocates emphasize the importance of considering
race and ethnicity in casting decisions. They argue that creative and cultural insight are
essential for determining roles and ensuring accurate representation. Additionally,
there is a call for the industry to create new spaces where BIPOC actors can thrive and
contribute their talents without controversy.
In essence, the solution to the problems of color-blind casting lies in moving
beyond the status quo and recognizing the socio-political and cultural implications of
casting decisions. By prioritizing diverse storytelling and providing opportunities for
BIPOC actors, the industry can work towards a more inclusive and equitable future.

However, on the more woke approach of color blind casting: Color conscious casting!
For a while, I had thought this part of the curriculum meant to actually consider race
and only use accurate races for performances. However, now I realize the article made
it clear that color conscious casting is more of still casting different races for different
roles, however doing it in a sensible way such that it can “tell a new story”.

The release of Hamilton on Disney+ was met with widespread acclaim from
fans, offering many their first opportunity to experience the musical with its original
cast. Notably, the show garnered attention for its color-conscious casting, a departure
from traditional casting norms where white roles were often portrayed by BIPOC
actors. In this rendition, only King George III was portrayed by a white actor.
The decision for color-conscious casting was intentional, aiming to address the
limited opportunities for BIPOC actors in the industry. However, it was also rooted in
the show's core message and Lin Manuel Miranda's inspiration. Miranda was inspired
to write Hamilton after drawing parallels between historical events and modern
culture, with the musical's narrative deeply intertwined with themes of immigration
and identity.
Hamilton's approach to casting serves as a model for both Broadway and
Hollywood, challenging traditional norms and encouraging more diverse
representations on stage and screen. While Hollywood has occasionally succeeded in
this area, such choices are often arbitrary, with race being inconsequential to the plot of
the film.
Color-conscious casting allows for reinterpretation of stories and the exploration
of new perspectives, while color-blind casting may inadvertently perpetuate racial
stereotypes and overlook the complexities of history. In theater, where historical
accuracy is often flexible, there is ample opportunity to explore alternative casting
choices that challenge societal norms.
An example of the potential of color-conscious casting can be seen in
adaptations like The Great Gatsby, where characters' ethnicities are reinterpreted to
reinforce and explore themes of identity and belonging. Ultimately, Hamilton sets a
precedent for new interpretations of casting methods, emphasizing the importance of
representation and inclusivity in storytelling.

You can't just look the part; you should sound it, too. No one knows for sure
whether Abraham Lincoln could have had a post-presidential podcasting
career—accounts suggest his voice was shrill, plus he spent his entire
post-presidency dead—but the invention of audio recording soon after his death
means that nearly every historical figure alive since can still speak to us from across
time and space. Now, an actress playing Margaret Thatcher is expected to study her
voice diligently, to match not just her pitch but her every pause. Research the steps
that actors undertake to mimic voices, then discuss with your team: should people
playing historical figures try to sound like they did, or does doing so risk
caricaturing them?

Steps To Mimicking Voices:

1. Study & Research: Study the person whose voice you want to mimic in excruciating
detail (this may take hours of watching tapes). Take down notes on every nuance
regarding their voice including their:
- Accent (Japanese, Spanish, etc…)
- Vocal Quality (Commanding, Monotonous, etc…)
- Tone & Inflection (Soft-spoken, Gruff, etc…)
- Vowel Pronunciation (A pronounced, “ay”)
- Syllable Emphasis (Emphasis on “Fort”)
2. Feedback: Get feedback on your impression by others who may have heard their
voice and from yourself (compare a recording of your impression to the person
speaking). By utilizing this throughout the process, your voice will become far more
reminiscent of who you’re mimicking.

3. Only Voice: Make the character’s voice the only one you have: pretend that it’s the
only way you can speak for hours at a time (it will pay off in the long run).

4. Ready To Perform: You’ve taken all the necessary steps to imitate someone’s voice
so it’s now time to put those skills into use.

After a recent election in Pakistan, Imran Khan—the leader of the party that won
the most seats—delivered a victory speech to his followers. But the speech was
generated by an AI simulating his voice; the real Imran Khan was in prison. Discuss
with your team: should politicians be allowed to use AI-generated voices in this
way—and, if so, under what circumstances? What if a candidate has laryngitis?
Would it make a difference if the candidate wrote the words himself—or, since
speechwriters often write for politicians, if the candidate’s usual speechwriter
wrote them? (Put another way, if politicians are reading out loud speeches written
by other people, does it make a difference if the real candidate or an AI does the
reading out loud?)

The recent Pakistan 2024 election has sparked significant controversy and
debate, primarily revolving around Imran Khan's victory speech, internet shutdowns,
and allegations of rigging. Imran Khan's Pakistan Tehreek-e-Insaf (PTI) party claimed
victory, with Khan delivering a speech through an AI-generated voice while being
imprisoned. The speech was broadcasted through PTI's social media platforms, as
mainstream media was banned from discussing Khan.
However, the election results were disputed, with Nawaz Sharif of the Pakistan
Muslim League-Nawaz (PML-N) also claiming victory despite being behind PTI in seat
numbers. There were discrepancies in the tallies, with unofficial counts showing PTI
candidates leading by significant margins, but official results indicating otherwise. The
Election Commission blamed the delay on internet shutdowns aimed at preventing
rigging.
The internet shutdowns during polling day received widespread criticism, with
over 190 million cellular subscribers affected. This hindered voters from accessing
polling stations and journalists from reporting on potential rigging incidents. The US
and EU both expressed concern over the restrictions, citing concerns about freedom of
expression and the integrity of the electoral process.
The aftermath of the election saw Shehbaz Sharif, representing both PML-N and
PPP, poised to become the prime minister with a coalition of seats. Despite PTI-backed
candidates winning 101 seats, Shehbaz secured 129 seats by combining PML-N and
PPP numbers. The election raised questions about the credibility of the electoral
process and sparked protests and clashes across the country.

One of the most famous actors to play Gandhi, Ben Kingsley, earned widespread
acclaim for his performance, but some have criticized the choice to cast someone of
only partial Indian descent—and British, no less—as such an iconic Indian hero in
the fight against Britain. Discuss with your team: was it more acceptable for this
kind of casting to take place in the 1980s than it would be today? Should the
actor's use of darkening makeup for the role make us uncomfortable—and, if so,
would it be better if AI were used to restore his actual skin color in future airings of
the movie?

The film "Gandhi," directed by Richard Attenborough and starring Ben Kingsley
in the titular role, made a significant impact upon its release in 1982, receiving 8 out of
the 11 Oscars in 1983. Kingsley's portrayal of Gandhi was particularly noteworthy,
capturing the essence of the iconic figure with wisdom, generosity, and humor. His
performance resonated deeply with Indians of multiple generations, who saw
Kingsley's portrayal as a responsibility of immense magnitude. Kingsley, born Krishna
Pandit Bhanji in the UK to an English mother and a Gujarati father, undertook extensive
study and effort to ensure an accurate portrayal of Gandhi, despite potential
controversy given Gandhi's opposition to British rule.
The film traces Gandhi's political awakening as a lawyer in South Africa, where
he fought for the rights of Indians and tackled segregation, ultimately leading to his
pivotal role in India's independence movement. However, it also portrays Gandhi's
complexities and flaws, including his unorthodox techniques and controversial views
on certain issues such as technology and pacifism.
It's acknowledged that no representation, whether in movies or legends, can
provide a completely accurate portrayal of historical figures like Gandhi. Despite his
flaws, Gandhi's legacy continues to inspire, reminding us of the accomplishments of
heroes while also prompting reflection on the complexities of their character. In today's
world, where distinguishing modern-day "heroes" can be challenging, stories like
Gandhi's serve as a reminder of the enduring power of ideals and the importance of
critical thinking in evaluating historical figures and their legacies.

American president Franklin Delano Roosevelt (FDR) was almost never

photographed in a wheelchair, despite being paralyzed from the waist down by
polio. Journalists honored his wishes, as did the original designers of the FDR
Memorial. Only in 2001 did they add a statue of him in a wheelchair. Discuss with
your team: should portrayals of FDR continue to honor his preferences and hide his
disability? And should only actors who are experiencing a similar kind of paralysis
play him in historical films?

Franklin Roosevelt, renowned for his leadership during two of the greatest
crises of the 20th century—World War II and the Great Depression—also faced a
personal challenge: polio, which struck him in 1921, leaving him paralyzed from the
waist down during a vacation. Despite this disability, which he kept out of the public
eye, Roosevelt persevered and returned to politics after years of intensive rehabilitation
and training with leg braces. Remarkably, he went on to become governor of New York
in 1928 and was elected president in 1932, serving an unprecedented four terms.
FDR's disability was largely concealed from the public eye, as he was
determined to project an image of strength and capability. Secret Service agents would
block anyone attempting to capture images of him in a wheelchair, and he developed
methods to appear as if he were walking, such as holding onto an advisor or a lectern
while swinging his legs forward. Historians have debated why Roosevelt chose to
conceal his disability, with some suggesting it was out of shame, while others argue it
was a display of his refusal to let polio define his limitations.
It wasn't until 2013 that the first photo of Roosevelt in a wheelchair emerged,
showcasing him being transported down a ramp after visiting the USS Baltimore.
Despite his efforts to keep his disability hidden, Roosevelt's legacy has since been
embraced, with a statue of him in a wheelchair unveiled in Washington, D.C., in 2001.
The statue bears inscriptions reflecting his wife's words about his condition and his
perseverance, serving as a testament to his strength and determination in the face of
adversity.

The realization that Franklin D. Roosevelt had a physical disability, diagnosed as

polio when he was 39, is now widely known. Despite this, Roosevelt went to great
lengths to keep his disability hidden from the public eye, employing various techniques
such as using leg braces, boarding trains out of view, and using podiums for stability
during public appearances. He even pressured the press not to take photos, resulting in
only four images of his disability existing.
In 1974, the FDR Memorial Commission selected Lawrence Halprin to design a
memorial for Roosevelt. Initially, the decision was made to include only small signs of
his disability. However, the memorial was designed to be accessible to individuals with
disabilities. Over time, there was a growing awareness of disability issues, spurred on
by campaigns such as the one led by the National Organization of Disability.
By the early 2000s, there was a significant push to represent Roosevelt's
disability more prominently. In 2001, the Prologue Room of the memorial was
dedicated, featuring a life-sized statue of Roosevelt sitting in a wheelchair, which he
designed himself—a simple kitchen chair with tricycle wheels. Accompanying the
statue was a quote from Roosevelt's wife, highlighting his strength and courage in the
face of adversity. This marked a significant shift in the memorial's portrayal of
Roosevelt's disability, reflecting a growing recognition of its importance in
understanding his legacy.
Even the so-called Dark Ages had color—no one speaks of Robin Hood and the
Monochrome Men, or of the Unsaturated Mosque in Istanbul—but most of us
remember the Great Depression as a Gray Depression. Because early cameras took
only black-and-white photos, it is easy to think of the late 19th and early 20th
centuries as bleak and colorless. Those recreating scenes from this period must
contend with audience expectations of a black-and-white world. Discuss with your
team: should movies and TV shows set in this period be filmed in black-and-white
to feel more authentic? When the director Steven Spielberg chose this approach for
his 1993 magnum opus Schindler’s List, the studio pushed back, fearing audiences
would lose interest; do you think their fears were justified? Study the techniques
used to make flashbacks look like flashbacks, then discuss with your team: when
should the past be allowed to look like the present?

Photography is one of the most important mediums of the modern day, but how
did it originate and progress through the ages when in its black and white phases,
that’s what we’re looking at today.
The first photograph was produced by Joseph Nicephore in 1826 by exposing a
metal plate into a camera obscura (which is essentially a black box that can project
images) for a few hours. It shows a Parisian from an apartment and is aptly titled, “The
View From The Window At Le Gras”. In 1838, the first conventional large-scale
method of taking photographs was developed by Louis Daguerre, the humbly named
Daguerreotype. His process would involve the use of treated light-sensitive polished
silver-plated copper which was exposed in a camera for as long as necessary. The
plate would then undergo mercury fuming and chemical treatment before being rinsed
and dried. Believe it or not, this process was far more time effective than Nicephore’s
and allowed for the photographing of people. His iconic depiction of Paris’s Boulevard
De Temple is thought to contain the first two people ever photographed - a shoe shiner
and his customer.
In 1871, Richard Maddox invented the dry-plate method, which offered a
significantly easier and more practical experience - up until this point, exposed plates
needed to remain wet. However, it wasn’t until 1881 when George Eastman, a young
hobbyist photographer, developed a method for mass-producing those plates. In 1885,
Eastman made another breakthrough with the invention of flexible roll film and yet
another one, in 1889 when he created the first Kodak Camera, whose portability and
simplicity transformed the field from one for solely professionals to one also open for
amateurs. One such amateur was Ansel Adams who would go on to become the
premier landscape photographer of his time. In 1925, Oskar Baranack created the Leica
Camera, which was significantly more lightweight than previous ones due to its use of
35mm film. It would go on to become the camera of choice for many professionals and
photojournalists. In the mid-1930’s, Kodak introduced the revolutionary Kodachrome,
which allowed photographs to express vivid chromaticity for the first time. Despite this,
the majority of professionals considered black and white photography a more “serious
style” and continued creating black and white photographs. By the 1980’s, the
near-supremacy of monochrome had dwindled, accelerated by a new wave of color
photographers who would demonstrate the massive potential of the format.

Ah - Steven Spielberg; the creator of some of the most loved, and highest
grossing, films of all time including Jaws, Jurassic Park, Indiana Jones, and his magnum
opus (best work), Schindler’s List. It follows the life of Oskar Schindler, a man who
single handedly saved thousands of lives through employing Jews in his factories
located in Nazi Germany. This worked through systematically taking Jews out of the
Krakow Ghetto, by deeming them as essential towards the war effort through
employing them in his factories. He eventually manages to open a factory in another
German town called Brünnlitz, where he sends all of his Jewish factory workers. This
allows them an exemption from an alternate fate - being sent to Auschwitz. Through a
series of bribes, he manages to convince the soldiers stationed around his Brünnlitz
factory to allow the Jews to be liberated. The movie ends with Schlinder escaping to
‘Murica, where he’s accepted due to a note, by the people whom he saved, about his
heroic actions. The title of the film, Schindler’s list refers to the list of 1,100 or so Jews
who were to be sent to Brünnlitz rather than Auschwitz.
One of the most impactful decisions regarding the movie was to film it in black
and white. This created a profound canvas in which a tale of despair, hope, and the
undefeatable spirit of humanity was painted on. Additionally, this color palette allowed
audiences to connect

Nowadays, flashbacks are an integral part of storytelling, with their ability to

allow the audience to weave a deeper connection with the on-screen characters. They
also typically offer insight into past events and can even be a fundamental aspect of
understanding the entire movie. Now that we know why flashbacks are so important,
let’s look at some techniques which are utilized to help make flashbacks look like
flashbacks.

Decreased Shutter Speed: Decreasing the frame per second rate leads to each frame
having a longer exposure time. This creates a collection of blurred images making it
perfect for dreamlike sequences.

Smooth Transitions: Transitions contribute vastly when it comes to indicating a

flashback scene. Two of the most popular are the white dissolve (dissolving in and out
of a white solid) and bloom transition (typically used when recounting events to
quickly switch between the past and the present.

Cross Processing: This is when the wrong chemical is used on purpose for creating a
filmstock. The result is that the sequence has high contrast and unnatural colors
allowing the sequences to stand out and feel different from the rest of the movie.

Color Tint: This involves using different colored tints for both time periods. This is
typically used when switches between the past and present are frequent. Using this
can help the audience to understand and keep up with the timelines better. This
technique is simple, yet incredibly effective in making it stand out.

Diffused Glow: A visual effect, where a glow is applied to a particular scene. This can
help to make it look “ethereal”. It is similar to another technique where netting is put
behind the lens to make the scene look smoother.
Even after color photos became possible—first with potato dye, later with
longer-lasting pigments—newspapers avoided using them until they could be
reprinted cheaply enough. Reputable photojournalists kept taking black-and-white
photos. But artists can now use AI to transform those photos into color ones.
Consider the work of digital artists such as Stuart Humphryes; their results may not
be perfect, but they could help people see the past as people saw it then. Discuss
with your team: is there value in sharing colorized historical photos with students,
or would doing so present something reimagined as something real?

Stuart Humphryes started their project called "The Colors of Life," aimed at
recolorizing images taken in the 1900s. Recognizing that black and white images can
sometimes feel distant and disconnected from reality, Humphryes sought to use color
technology to restore these historical photos. The project's goal was to connect
modern audiences with the past by bringing these images to life in vibrant color.
Each image in the album required several hours of meticulous work to clean up,
repair, and adjust light levels and exposure. To aid in the recolorization process,
Humphryes utilized AI technology, enhancing the vibrancy of early color photos
captured on Lippmann plates, Paget plates, and Autochromes.
Through "The Colors of Life," Humphryes aimed to challenge people's
assumptions about the past, inviting viewers to see historical moments as they truly
were. By adding color to these images, the project sought to bridge the gap between
past and present, offering a fresh perspective on history.

Now, on one who may not support Stuart’s act:

Jordan Lloyd is a dedicated individual who specializes in manually recolorizing

images, devoting extensive time and effort to each project. Unlike AI colorizers, which
aim to automatically add color to grayscale images, Lloyd relies on archival searches,
Google searches, and consultations with experts to determine the true colors of
historical photographs. He believes that achieving accurate colors is a moral imperative
and argues that AI technology cannot match the precision and attention to detail
required for this task.
Despite the convenience and speed offered by AI colorization tools such as
DeOldify, DeepAI, and Algorithmia, Lloyd asserts that they often produce inaccurate
results. Examples include coloring a waterfall brown or the Golden Gate Bridge white,
highlighting the limitations of AI's understanding of context and object recognition.
While AI algorithms can recognize basic objects like fruits and vegetables, they may
struggle with more complex aspects of colorization, such as identifying historical
motifs or accurately representing specific details in photographs.
Researchers like Jason Antic, the founder of DeOldify, acknowledge the
challenges of colorization, noting that greyscale images lack essential data about color
and that AI models may struggle to accurately interpret historical context. While some
believe that AI technology may eventually improve to achieve more accurate
colorization results, others, like Emil Wallner, argue that the complexity of historical
motifs makes it difficult for AI models to replicate the nuanced understanding of human
historians.
Lloyd's approach to recolorization involves meticulous research and attention to
detail, such as identifying the exact locations depicted in historical photographs using
tools like Google Street View. By uncovering the stories behind these images and
paying close attention to details like trees and electric poles, Lloyd adds depth and
authenticity to his colorized images that AI algorithms may struggle to replicate.
Ultimately, while AI technology may offer convenience and efficiency in certain
tasks, human historians like Jordan Lloyd possess a unique ability to uncover the
stories and details hidden within historical photographs, showcasing the value of
manual recolorization methods in preserving and interpreting the past.

The newest phones, including the Google Pixel 8, can use AI to enhance photos in
remarkable ways. Discuss with your team: should the images produced through
such techniques be called something other than photographs? Does merging
several smiling faces with their eyes wide open into the same selfie make it too fake
to share on Instagram? Is there a difference between smoothing someone’s face
with AI versus with makeup and concealer? How about between a person getting a
chin implant and having their jawline sharpened by Samsung’s new photo
enhancer?

Google has introduced its Magic Editor for the Pixel 8 and 8 Pro, aiming to
address the challenge of capturing the perfect photo. This AI-based tool utilizes
generative AI and processing techniques to enable complex photo edits without
requiring professional skills. Users can modify various elements of a photo, including
lighting, background landmarks, and even the color of the sky, with just a few clicks.
CEO Sundar Pichai unveiled the features of the Magic Editor, highlighting its
ability to remove imperfections and make detailed changes to photos. While the editor
opens up exciting possibilities for consumers, it also raises ethical concerns regarding
the authenticity of online images. There are worries about the potential for misuse,
including the spread of misinformation and the normalization of fake content.
The capabilities of the Magic Editor have been tested by CNET Editor Patrick
Holland, who found that while it simplifies the editing process, the results can
sometimes be confusing. Google acknowledges that the tool is still in an experimental
phase and that improvements are ongoing to enhance accuracy.
Despite concerns about the normalization of fake content, Google has not
indicated any plans to add watermarks to edited images. Instead, metadata will be
embedded to confirm whether an image has been edited. Overall, the introduction of
the Magic Editor highlights the ethical dilemmas surrounding image editing in the
digital age.

For another photo enhancer, introducing the Galaxy Enhance-X, a revolutionary

photo enhancer packed with new AI features designed to elevate your images to the
next level! This latest release builds upon the success of its predecessor by
empowering users with advanced AI engines such as HDR and Upscale to address
common photo issues like poor lighting, camera shake, and compression artifacts.
One of the standout features of Enhance-X is its "Magic" technology, which
automatically detects errors in photos and applies appropriate adjustments to enhance
them. With HDR, users can redefine shadows, brightness, and contrast without
sacrificing image quality. Upscale increases resolution by up to 4 times, effectively
removing compression noise from images shared on social media platforms.
Enhance-X also offers moire removal, eliminating screen artifacts often seen
when capturing images of screens, along with shadow removal to correct darkened
areas and unwanted shadows. These features are powered by AI, ensuring accurate
identification and removal of imperfections.
Currently available on the S23 series due to its robust computing power,
Enhance-X will soon expand its compatibility to the S22 and A series, giving users the
freedom to enhance any photo with ease. With a comprehensive list of features
ranging from image quality enhancement to artifact removal and beauty effects like
jawline and portrait illumination, Galaxy Enhance-X is set to revolutionize the way
users edit and enhance their photos.

Google literally calls it magic, but go behind the magic to explore how AI photo
enhancement works. Be sure to learn the following terms:
● Upscaling (super-resolution) | Denoising
● Convolutional Neural Network | Dataset | Backpropagation | Training
● Image Classification | Object Detection | Semantic Segmentation

AI image enhancement is a cutting-edge technology that leverages artificial

intelligence to improve the quality of images in various ways, from removing artifacts
to changing backgrounds and adding colors. Unlike manual editing, AI-powered
enhancers can swiftly and accurately enhance images while preserving their original
quality, making them more accurate and realistic.
There are two main types of AI image enhancement: super-resolution and
denoising. Super-resolution involves increasing the resolution of an image, while
denoising focuses on removing noise. Both types utilize CNNs (Convolutional Neural
Networks), a category of AI neural networks specifically designed for processing
images.
The process of training a CNN begins with creating a dataset containing a
diverse range of images for the network to learn from. Through backpropagation, the
connections between nodes in the network are adjusted to optimize performance. Once
trained, the CNN can enhance new images based on the learned information,
continually improving with each iteration.
The benefits of AI image enhancement are numerous. AI can analyze images
objectively, without human bias, and process them much faster and more accurately
than humans. Machine learning enables the network to recognize patterns and colors,
refining its performance over time through tuning and user interactions.
One such product harnessing the power of AI image enhancement is
"deep-image.ai," which claims to be the result of years of research and tuning. It
operates in line with the principles outlined in the article, offering users advanced
image enhancement capabilities.
● Upscaling (super-resolution): A machine learning task with the goal of
increasing the resolution of an image (often by 4x or more), while also
maintaining its original content and details as much as possible.

● Denoising: A machine learning task that aims to remove or greatly reduce the
amount of noise in an image. Here’s an example to help you envision the end
result of this technique:

● Convolutional Neural Network (CNN): A type of artificial neural network used

primarily for image recognition and processing, due to its ability to recognize
patterns in images.

● Dataset: A collection of images which CNN’s are trained upon in order to learn a
task. It’s best for the dataset to include a variety of images so it can learn to
generalize rather than just memorize specific examples.

● Backpropagation: A gradient estimation method which adjusts the weight of

connections between neurons in order to minimize error. Estimates are
computed by an optimization network, which makes network parameter updates
if one proves to be more efficient than all other previously tested estimations in
a certain field.

● Training: The process in which a CNN learns how to perform a certain task (ex.
denoising). It typically involves two steps, dataset training & backpropagation.

● Image Classification: The process of categorizing and labeling images based on

a specific set of rules.

● Object Detection: A computer vision technique used to locate instances of

objects in photos or videos.
 ● Semantic Segmentation: A computer vision task in which the goal is to
categorize each pixel in an image into a class or object.

In China, AI is being used to renew old opera footage—upscaling, cleaning, and

enhancing it. Should all old films and TV shows be run through similar processes to
make them more appealing to modern audiences? Should AI be used to enhance
today’s new productions as well?

Tencent has embarked on the revitalization of an old Chinese opera featuring

Hua Mulan, a legendary heroine from Ancient China whose story has been popularized
through various adaptations, including the 1998 Disney animated film and the 2020
live-action adaptation. The tale revolves around Mulan disguising herself as a man to
take her father's place in the army conscription.
While Mulan's story has been well-known among the Chinese population since
the 1950s, thanks to various performances and adaptations, Tencent has taken the
initiative to revamp recordings of the original opera to enhance their quality. This
endeavor includes the use of AI technology to fix video footage, addressing issues such
as scratches, noise, and image discoloration/distortion present in early recordings.
The recent live streaming event, which took place in February 2024, attracted
over 7 million views, showcasing the improved versions of the opera recordings. AI
played a crucial role in removing imperfections from the videos, providing viewers with
a clearer and more enjoyable viewing experience.
Additionally, Tencent, in collaboration with the Ministry of Culture and Tourism,
is working on refurbishing other videos related to traditional Chinese opera. This effort
aims to utilize digital technology to renew and preserve cultural heritage, with plans to
establish a digital library where creators can share restored content. Overall, the
project signifies a modern approach to preserving and promoting traditional Chinese
opera through the application of innovative digital solutions.
In 2023, Boris Eldagsen’s photo The Electrician won a major world photography
competition—after which he confessed it was AI-generated. Discuss with your
team: should an AI-generated photo have been eligible? Should AIs judge AI image
competitions while humans judge human photo competitions? Would it be all right
if the photo were simply adjusted in small ways through AI, rather than made from
scratch?

The Electrician: It all began with an AI generator and a dream for Berlin-based artist
Boris Eldagsen.

The winner of the creative photo category in the Sony World Photography arts
competition, titled "PSEUDOMNESIA: The Electrician," has sparked controversy as it
was generated using AI technology by Boris Eldagsen. Eldagsen deliberately applied
for the competition under the alias "Cheeky Monkey" to test if contests were prepared
for AI-generated images, revealing that they were not. This has ignited a debate on
whether AI-generated images can be considered art.
Eldagsen's journey into AI art stemmed from the possibilities it offered,
contrasting with the lonely and lengthy process of traditional drawing. Using AI
generators like DALL-E 2, Eldagsen creates images through text prompts, Photoshop,
and extensive revision, spending days perfecting each piece. He submitted his
AI-generated images to the competition without explicitly stating that they were
generated by AI, aiming to test if the competition could detect such submissions.
"The Electrician" project emerged from Eldagsen's experimentation with AI,
inspired by a desire to recreate images from the past, particularly those related to his
father's experiences during World War II. The process involves countless revisions and
meticulous adjustments, with Eldagsen sometimes spending hours perfecting details.
Despite the advancements in AI technology, Eldagsen believes there should be a clear
distinction between AI-generated images and traditional photography, proposing the
term "promptography" for the former.
The conversation sparked by Eldagsen's submission extends to broader
discussions on the ethics and implications of AI-generated art. While artists welcome
the advancements, there are concerns about misinformation and the implications for
journalism. The relationship between photography and "promptography" raises
questions about how they should be treated in galleries and museums, with Eldagsen
advocating for careful consideration and classification of AI-generated art.

Now, AI is allowing artists like Bas Uterwijk to update sculptures and other
portraits that predate photography with photorealistic results. Even individuals
from a time predating art itself, like the Iceman Otzi, can now look us in the eye.
Discuss with your team: is it helpful to see the faces of people from so long ago, or
is it wrong to reconstruct their likenesses without their permission?

In your own lifetime, you might have noticed the streets you walk (or drive) down
every day changing. New 7-11s pop up; old homes turn into McMansions; beloved
restaurants fade away. Those looking to reconstruct a cityscape from decades or
even centuries ago need as much data as possible about what it looked like at the
time. Consider the following records, then discuss: would they suffice to reconstruct
the world as it once existed? What advice would you give to someone trying to
photograph our world today for future reconstruction?
● Sunset Boulevard | Ed Ruscha
● Ottoman Panorama | Sebah & Joaillier
● Pre-1906 San Francisco | William M. McCarthy
● Images of the Late Qing Dynasty
● Images of Meiji-Era Japan

The term "McMansion" has emerged to describe large, mass-produced houses

with a critical connotation, likening them to the generic and uniform design of fast food
chain McDonald's. These homes lack uniqueness and are often seen as symbols of
status among upper-middle-class homeowners, despite their low-quality construction
and high maintenance costs.
Characterized by their size, typically ranging from 3,000 to 5,000 square feet,
McMansions gained popularity in the 1980s but saw a decline following the 2008
housing crisis. They are known for their poor aesthetic design, historic architectural
styles executed poorly, and disproportionate presence in neighborhoods, often
replacing older, smaller buildings.
The negative associations with McMansions stem from their role in the housing
crisis, where loose lending practices and subprime mortgages led to many
homeowners defaulting on their loans. This backlash has led to resistance against
McMansions from urban neighborhoods and zoning boards, who view them as out of
place and lacking authenticity.
Despite the criticism, larger homes continue to attract buyers seeking luxury and
status. However, the decision to purchase a McMansion comes with both potential
benefits and risks, making it a complicated choice for prospective homeowners.
Ultimately, McMansions represent more than just oversized houses; they
symbolize a superficial display of wealth and status, often lacking authenticity and
architectural merit.

Explore the Japanese art of kintsugi—the repair of broken pottery using lacquers
that leave visible the original fractures. Those who practice kintsugi see an object’s
breakage and repair as important to its history. Discuss with your team: should this
same principle be applied to other forms of reconstructing the past—such as
repairing old ruins, or treating people who have suffered disfiguring injuries?

Kingutsi

What is it?: The repair of broken pottery using lacquers that do nothing to conceal the
object’s original fractures.

Philosophy: The breakage and repair of an object is treated as part of the object’s
history rather than something to disguise.

Origin: The art was created in the late 15th century by Japanese craftsmen who were
looking for a more aesthetically pleasing way of repairing items. This issue may have
been brought to attention after shõgun Ashikaga Yoshimasa sent a damaged tea bowl
to China for repairs and it was repaired with ugly metal staples.

Techniques:

- Crack: The use of gold dust and resin to attach broken pieces with minimal
overlap or fill-in from missing pieces.

- Piece Method: The entirety of the addition is gold or lacquer compound. This is
 usually used when no replacement fragment is available.

- Joint Call: The use of a similarly shaped but non-matching fragment to replace a
missing piece to create a patchwork effect.

Process:

1. Repair of the pottery using one of the three aforementioned techniques.

2. Placement inside a storage compartment, called a furo, where mended pottery

hardens for 2-14 days. The mended pottery is usually submerged in a substance
(ex. beans) while in the furo for temperature control and preservation.

If kintsugi is about putting the past back together without hiding its imperfections,
yobitsugi is about accepting that you may not have enough of the original left to
work with. All the monarch’s hoofed animals and all the monarch’s people couldn’t
put Humpty Dumpty back together again; it would be extra hard if some of Humpty
Dumpty had been tossed out. Practitioners of yobigutsi would graft in pieces from
other broken works to fill in the gaps. Discuss with your team: would it be better to
hide that these works have been combined or to present them as a single unified
piece? Should the same approach be taken in other fields—such as music, literature,
and medicine?

Yobitsugi is a technique closely associated with kintsugi but possesses some

distinctions that can be confusing. It involves repairing broken items using pieces from
other vessels, such as plates, to create an original work of art. The joints of these
pieces are meticulously sanded down and glued together. While yobitsugi can be a
part of kintsugi, it differs in that it does not always use natural lacquer and gold
powder.
The history of yobitsugi dates back to the Muromachi period, deriving from the
admiration for the technique of kintsugi. Tea masters intentionally broke plates to craft
and recreate them, finding beauty in the process. The oldest surviving yobitsugi pieces
are attributed to Oda Yurakusai, and the Mino region of Japan associates yobitsugi with
good luck.
In modern times, yobitsugi can be done using synthetic adhesives for quick
repairs, although they may not be safe for items in contact with the mouth or
prolonged exposure to water. Traditional yobitsugi, on the other hand, utilizes natural
lacquer, which offers antibacterial, heat insulation, water-resistant, and durable
properties. However, the use of natural lacquer has declined due to the lengthy
process required to extract sap from lacquer trees.
Examples of yobitsugi pieces include works by artists like Tomomi Kamoshita
and exhibits from Robert Yelling Yakimono Gallery. Overall, yobitsugi serves as a
restorative process suitable for gifts and the preservation of artifacts, blending
traditional craftsmanship with contemporary techniques.

Some art requires not replication but reconstruction every time people want to
exhibit it. The Japanese Mono-Ha art movement was inspired by the collision of the
natural and the mechanical worlds; many of its works were designed to deteriorate
over time. Consider Phase - Mother Earth 1, by Nobuo Sekine, along with this
recent recreation, then discuss: why would artists create works that aren’t meant to
last as long as possible? If new technology allows us to make permanent versions
of them, should we?

Art & Music + Social Studies: Touring Ends of Eras

A ball drops; some scholars open red envelopes while others dip apple bits in
honey. Different cultures around the world celebrate the new year differently and at
different times, but all of them are marking the forward march of the calendar. Yet
the fact that there are so many ways to split one year from the next suggests these
divisions are ultimately arbitrary. Are they? Explore the reasons behind each of
them, then discuss with your team: should we stop celebrating New Year’s as a
holiday? When would be the best time of year for people to take stock of the past
and think about the future?

There’s this one Tiktok (It was actually a Youtube Short but who cares) which
highlighted how arbitrary time actually is, and what New Years even is. It was of this
one person in an Earth costume revolving around one person in a Sun costume on a
space background greenscreen and celebrating complacently every time they revolved
around the sun.
Perhaps if we lived on Venus, the rotation of the planet would also be a celebration, as
it takes longer for it to rotate than it does to go around the whole sun once. There’s a
lot to expand on. What even makes a year, a year? Perhaps it has to do with time. The
Gregorians did a very good job making their calender, so it fits with Earth’s natural
elements, perhaps. It is a little arbitrary though. Maybe we made time as a concept to
deal with the fact that it passes. Maybe we made it to mark our achievements. Who
knows? Time wasn’t even fully settled until the late 1700s, so dates before then
could’ve been many years off. I believe that 11 days were removed from the calendar
in that period. Imagine the people with birthdays on those days!

Just in a deeper motive, having a new year lets people know that a time period has
passed. It gives people senses of being and wanting, having completed a year and
moving onto the next. Perhaps the “New Year, New You!” quote makes sense in this
idea. We celebrate the arbitrary passing of time in the seconds which come after our
arbitrary system switches from one thing to the next as a sign of perhaps
meaninglessness without the system. It’s an emotional ploy from calendar apps and
manufacturers to get people to continue to buy calendars (/hj)

And I like it. Free red packet money, yall! Gotta love the stuff which gives you stuff.

“Captain’s log,” says whoever is captaining the Enterprise. “Stardate…” Star Trek’s
stardates are based on a calendar meant to be used around the galaxy. Consider
the different calendars and related listed below, then discuss with your team: does
it make sense to restart the calendar periodically, perhaps when a new leader takes
over? Or would such changes risk angering people—as when the English allegedly
rioted over the loss of eleven days as part of a calendar transition in 1752?
● Julian | Gregorian | Islamic | Japanese | Korean
● Rumi | Hindu | Nepali | Mayan | Solar | Lunar

Stardates, a fictional dating system from Star Trek, have long perplexed fans
with their arbitrary nature and lack of consistency. Initially designed to provide a
guideline for dating events in the galaxy based on Earth's days, Stardates have evolved
over the years, leading to even greater confusion.
 Originally, Stardates were simply four-digit numbers with one decimal point,
chosen somewhat randomly by writers to maintain consistency within a single script
but not necessarily across seasons. For example, the first season of the series was set
between the years 2265 and 2269, with Stardates ranging from 1312.4 to 5928.5,
demonstrating their randomness.
With the introduction of Star Trek: The Next Generation, Stardates became
slightly more standardized, featuring five digits and one decimal. The first digit
represented the 24th century, while the last four digits were meant to progress
chronologically, albeit not in exact order. However, this system still led to potential
retcons and confusion.
Further complicating matters, the reboot introduced a new format with three
decimal places, adding to the already convoluted lore. This has made it nearly
impossible for fans to piece together a coherent timeline, as evidenced by the
uncertainty surrounding Captain Picard's birthday, which could fall on multiple dates
depending on the interpretation of his Stardate.
In conclusion, Stardates remain a source of confusion and amusement for Star
Trek fans, highlighting the challenges of maintaining consistency in a fictional universe.

On a more sensical calendar system which is probably just as odd to Americans

as stardates: Japan! Japan's calendar system has a rich and somewhat unusual history,
dating back to its first calendar in 604, which was based on techniques imported from
China via Korea. Initially relying on lunar years, Japan faced challenges due to the
shorter year of only 354 days, leading to some unreliability.
In 1873, Japan adopted the Gregorian calendar, but many aspects of the
traditional calendar persist to this day. One such aspect is the use of era names, which
are assigned to emperors and change with each new emperor's reign. Since 1868, each
emperor has had only one era name, with the current era being Reiwa, established
with Emperor Naruhito's ascension to the throne.
The Japanese calendar also incorporates zodiac animals, borrowed from China
but arranged in a slightly different order. Traditional names are given to months, and
the 24 Sekki system is used to date agricultural cycles, marking important milestones
like rain, harvesting, and winter.
Special days in the Japanese calendar include the 5 Sekku, or seasonal festivals,
celebrated on auspicious days like January 7th and May 5th. Additionally, the Rokuyo
system categorizes days into a six-day repeating sequence, indicating which days are
considered fortunate for various activities.
Overall, Japan's calendar system reflects a blend of ancient traditions and
modern influences, providing a unique perspective on timekeeping and cultural
significance.

Now for less sense: Very rarely, an event will cause reverse leap days.

The Gregorian calendar, named after Pope Gregory XIII and introduced in
February 1582, aimed to resolve the inaccuracies of the Julian calendar, which had a
miscalculation leading to a day's discrepancy every 128 years. This discrepancy
affected the date of Easter, prompting the adoption of the Gregorian calendar by
several European countries, with Britain being one of the last to adopt it in 1752.
The transition to the Gregorian calendar in Britain was complex, with the
Calendar Act of 1750 causing the year 1751 to be only 282 days long. To align with
Europe, 11 days were skipped, resulting in Wednesday, September 2nd, 1752, being
followed by Thursday, September 14th. Despite the adjustment being necessary for
calendar accuracy, it caused civil unrest, fueled by misconceptions that people's lives
were shortened by 11 days and dissatisfaction with changes to religious holidays.
The historic protests against the calendar change, often depicted in William
Hogarth's painting "An Election Entertainment," likely did not occur as portrayed.
However, the slogan "Give us our Eleven Days" was associated with political
campaigns between Whigs and Tories.
A humorous anecdote from W.M. Jamieson's book "Murders Myths and
Monuments of North Staffordshire" recounts William Willett's bet that he could dance
for 12 days straight, starting on September 2nd and ending on September 14th, to
exploit the skipped days. Additionally, to avoid losing 11 days of tax revenue, the
British government changed the tax collection date from Lady Day on March 25th to
April 6th.

Julian:
- Named after Julius Caesar, introduced in 46 BC.
- Based on a solar year of 365.25 days.
- Introduced leap years to correct the discrepancy.
Gregorian:
- Named after Pope Gregory XIII, introduced in 1582.
- Based on a solar year, with leap years, more accurately adjusted than the Julian
calendar.
- The international standard calendar used today.

Islamic:
- Based on the lunar cycle, consisting of 12 months in a year of 354 or 355 days.
- Used primarily in Islamic countries for religious purposes and determining holidays.
- Begins with the migration of Prophet Muhammad from Mecca to Medina (Hijra).

Japanese:
- Uses both the Gregorian and traditional Japanese calendar.
- Based on the Gregorian calendar for official purposes.
- Traditional calendar includes era names and zodiac animals.

Korean:
- Similar to the Gregorian calendar, but with some differences in holidays and
celebrations.
- Uses the same months and days as the Gregorian calendar.
- Lunar New Year and Chuseok (harvest festival) are significant holidays.

Rumi:
- Named after the Persian poet Rumi.
- Used in Iran and Afghanistan.
- Follows the lunar Islamic calendar but with different names for months.

Hindu:
- Based on a lunisolar calendar, combining lunar and solar movements.
- Uses lunar months and solar sidereal year.
- Follows various regional variations and includes religious festivals.

Nepali:
- Based on the Hindu calendar system.
- Official calendar of Nepal.
- Follows a lunisolar calendar with 12 lunar months and occasional leap months.

Mayan:
- Used by the ancient Mayan civilization.
- Based on complex astronomical observations.
- Consists of different calendar cycles, including the Haab' (solar) and Tzolk'in (ritual)
calendars.

Solar:
- Based on the solar cycle, with a year determined by the Earth's orbit around the Sun.
- Most modern calendars, including the Gregorian, are solar calendars.
- Used for civil and administrative purposes.

Lunar:
- Based on the lunar cycle, with months determined by the phases of the Moon.
- Used for religious, cultural, and agricultural purposes in various cultures.
- Often requires adjustments to synchronize with the solar year.
A storytelling trope is that high school seniors know nothing will ever be the same
again for them and their friends. (The trope is accurate.) The same weight can
apply to entire countries and calendars. In 1996*, aware the millennium was ending,
American president Bill Clinton hoped to deliver an Inaugural Address for the ages.
Reviewing it can provide insight into how people in the 1990s were reimagining
their world. “Ten years ago,” he said, “the Internet was the mystical province of
physicists; today, it is a commonplace encyclopedia for millions of schoolchildren.”
No mention of e-commerce, nor a whisper of social media. Then, evoking the
academic Francis Fukayama’s theory of the end of history, he adds, “The world is no
longer divided into two hostile camps… For the very first time in history, more
people on this planet live under democracy than dictatorship.” Review more of his
speech, then discuss with your team: does it sound like one that a political leader
could deliver today? Were the 1990s an important period of transition in your own
country as well?

*Incorrect fact: The speech took place in 1997

-------------------------------------------------------------------------------------------
----------
In his Second Inaugural Speech on January 20, 1997, Bill Clinton marked a
pivotal moment as the last presidential inauguration of the 20th century. Reflecting on
America's storied past, he emphasized milestones like the Civil War, abolishing slavery,
and emerging as a global power, driven by advancements in technology, education,
and justice.
Clinton underscored the need for new choices in the 21st century, harnessing
the forces of the Information Age, epitomized by the internet. He envisioned a smaller,
more efficient government empowering individuals to shape their destinies, while
stressing the importance of community responsibility and national pride.
Addressing persistent issues like racial divide, Clinton called for generosity and
unity to overcome challenges. He envisioned a future landscape defined by
technological advancements, global cooperation, and educational opportunities for all.
Clinton invoked Martin Luther King Jr.'s dream of equality, pledging to uphold
the American Dream through responsibility, unity, and progress. He urged citizens to
embrace their roles in building a prosperous and unified nation, echoing Cardinal
Bernardin's call to eschew division and embrace strength and courage in shaping a
brighter future for all Americans.

For a less pleasingly sounding term, how about the end of history?

Francis Fukuyama's theory on the end of history, introduced in a 1989 paper and
expanded into a book in 1992, stirred much interest and debate. Contrary to popular
interpretation, Fukuyama didn't predict the end of civilization but rather envisioned a
stage of utopic perfection where all significant historical problems were resolved.
He argued that liberal democracy, tied to market economies, represented the
ideal form of governance. Fukuyama's concept of "history" was more aligned with
"development," suggesting that the end of history would be marked by the universal
adoption of liberal democracy.
However, Fukuyama acknowledged vulnerabilities in Russia and China due to
centralized leadership and the absence of public opinion. The term "end of history"
originated with philosophers like Hegel, who envisioned a rational state guaranteeing
liberty and perpetual peace.
Marx and Kojeve offered differing interpretations, with Marx foreseeing global
communism as the end goal. Fukuyama's confidence in liberal democracy wavered in
the face of shifts in global politics, such as the collapse of the Soviet Union.
While Fukuyama's theory has been criticized for its vagueness and lack of
specificity, he remains optimistic about the triumph of liberal democratic values,
despite ongoing challenges like democratic recessions and the erosion of democratic
structures in established democracies like the US and UK.
In essence, Fukuyama's theory prompts ongoing questions and debates about
the future of governance and the trajectory of history.

Explore the following selections from the 90s—multiple 90s, in this case—then
discuss with your team: do they reflect periods in which the world was in transition
more than songs from other decades before and after—or would that be reading
too much into them?
● “After the Ball” | Charles Harris (1892)
● “Freedom! 90” | George Michael (1990)
● “Losing My Religion” | REM (1991)
 ● “Brændt” | Lis Sørensen (1993)
● “Pink Flamingo” | Alyona Sviridova (1994)
● “Black Hole Sun” | Soundgarden (1994)
● “Singing in My Sleep” | Semisonic (1998)
● “I Saved the World Today” | Eurythmics (1999)

We recommend you listen to these songs in your free time to understand them better.
It’s also very difficult to summarize songs. So go take a listen, and think about the
lyrics! Analysis coming soon.

History + Social Studies: Noah’s Archeology

For a long time, the Tomb of the Unknown Soldier was also the Tomb of the
Misplaced King: after Richard III fell in battle in 1485, it took centuries to locate his
corpse. In 2012, a team of archaeologists finally unearthed it under a parking lot.
Forensic analysis revealed details that had been lost to history, including a severely
twisted spine—a condition we now call scoliosis—that he couldn’t have possibly
hidden from those around him. In 2022, researchers unearthed an ancient Buddhist
temple in Pakistan, and, a few years before that, possibly the fastest human in
history. Discuss with your team: do these smaller details about the past affect how
we see the world today? If we had discovered from Richard III's DNA that he was a
woman in disguise, would that change our view of him or of his role in history?

Richard III’s carpark grave

After he died in the War of the Roses, it was believed he was buried at Greyfriars
Church, without a ceremony, because, let’s be frank, why would you want to remember
your enemy? Then Henry VIII was like, nah let’s destroy that church, because he
couldn’t get a divorce
But in 2012, a group of British archeologists compared old and new maps, and they
somehow determined that King Richard III was buried under a parking lot, as Philippa
Langley of the Richard III Society confirms. With DNA tests, it was confirmed that the
body was Richard III
Modern analysis proved that Richard had a common form of scoliosis, when the spine
curves on the side

After that, his remains were reburied at Leicester Cathedral in March 2015. Heritage
Minister John Glenn says that burying him there can make sure that future generations
can see his remains too

Buddhist Temple in Pakistan

It’s in the historical region of Gandhara, which is described as “a trade crossroads and
cultural meeting place between India, Central Asia and the Middle East

Hindu, Buddhist and Indo-Greek rulers seized control of Gandhara at different points
throughout the first millennium B.C.E.

The team unearthed coins, jewellery, statues, seals, pottery fragments and other
ancient artefacts. Per this statement, the temple was likely abandoned in the third
century C.E. following an earthquake

In the temple you could see the rooms and their usage, like a stupa for monks, a stupa
for relics etc

Fastest Human in History?

A footprint found in New South Wales (Australia) could belong to the fastest runner to
ever exist.

In 2002, a young aboriginal girl named Mary Pappen Jr, spotted a set of footprints
between sand dunes in Mungo National Park. Analysis proved that they were 20,000
years ago. The people who created these walked in a swampy wetland which
fortunately for us dried up, preserving their footprints.

Researchers found 700 footprints, 400 of them grouped in a set of 23 tracks, belonging
to several groups who crossed the wetlands (families, hunters, etc,,,,). Their quality
was surprisingly good, as one could see their exact movements. In one scenario,
researchers could even see that a child walked away from the main group before
pausing and turning around, likely due to having been called by a family member.

In a group of 5 aboriginal hunters, Steve Webb, with Bond University, found that one of
them was running at 37 km/h on mud, barefoot and, without intense training. This
mark is close to Usain Bolt’s 37.6km/h average speed during his record-breaking 9.58
second run and Donovan Bailey’s top speed of 43.6 km/h. Maybe, if he were still alive
today, he would have been the definitive fastest human ever.

The above questions are more than academic; they force us to reevaluate choices
made in the present. In 2024, the Globe Theatre in London staged a new
production of Shakespeare’s Richard III, casting a woman with an untwisted spine in
the title role. Some people protested that the production needed an actor who
shared Richard III’s now-known physical ailment. Discuss with your team: to what
extent does an actor need to share lived experiences with the character they are
portraying?

This article is not from syllabus, they don’t have one

Anyhow, this controversy is about a Richard III play by Globe Theatre in London

Now, Richard III is a male. However, he is now portrayed by a woman, Globe Theatre’s
boss Michelle Terry

And another thing is that, Terry has stressed that she won’t play a scoliosis Richard,
but a narcissist one

As this play will start from April 2024, we currently do not know much about it yet,
along with its reviews. But, maybe after the first wave of regionals and right before
globals we can update this information
It doesn’t always take a volcano: the Roman ruins at Ostia Antica offer a look back
into history similar to what most people seek out in Pompeii, even if they were
preserved less perfectly. Where would you go in your country for the most
authentic peek at how the world used to be? Discuss with your team: if an OpenAI
project destroyed all life on Earth but left our cities intact, what would a future
anthropologist conclude about human civilization? How much would their
conclusions vary depending on what city they visited?

Ostia Antica
Ostia Antica was once an ancient Roman city, about 16 miles away from southwest
Rome

Ostia means ‘mouth’ in latin, and Antica means ‘ancient’. So, ‘ancient mouth’!

Ostia may have been one of Rome’s first settlements. When the Roman Empire
declined, Ostia declined too. Sand dunes and tidal mud helped to preserve this city
quite well, and today it’s known as an archaeological site with great preservation of its
ancient buildings

Kristin Jackson points out that one good thing about Ostia Antica is there are no pushy
vendors, no street noise, and no crowds on some days, so it’s very easy to imagine the
past by yourself

When you walk along the mile-long road Decumanus Maximus, you can see its paving
stones with the grooves worn by ancient carts

Visitors can wander through the ruins of brick buildings. These include apartments,
homes of rich merchants, public spaces, and even a theatre which can hold more than
3500 people (Ostia Antica Global Round??)

Basically, in short, whatever you expect an ancient Roman city to have, Ostia Antica
has it

Pompeii
Pompeii was an ancient city located in Italy. It was where the Romans once lived, until
it was buried by volcanic ash during the Eruption of Mount Vesuvius in 79 AD

With today’s X-raying people’s decomposed bodies we found what the city looked like,
and with CGI technology, we can see how the streets once looked (probably)

Professor Eric Poehler from University of Massachusetts used 3D mapping technology

to put together a grid of the transportation network showing how people moved
around that time. He also studied the wear on the stone curbs to determine that the
city was made up of 100-ish one-way streets

With the organic trash in the city we found out the people ate seafood and pork- even
fed pigs different stuff to make their bodies taste different. Hopefully in a few years or
decades we could see the livin city from our devices digitally, as it is not made to
preserve for any longer

Oh, also there is this fish sauce kid known as Umbricuis Scaurus, who became very
influential when he expanded his fish sauce business, some cool things on what
technology can do

These days, Indiana Jones would be piloting a drone. New technologies have
allowed archaeologists to reimagine the archaeological method with a lighter
footprint. Consider the Girsu Project’s discovery of an ancient palace, then discuss
with your team: what aspects of your own country’s history would benefit from
being re-explored using drones, AI, and other recent advances?

Note: The attached link regarding the archaeological method is down. For this reason,
we don’t have a summary regarding it.

The Girsu Project

The article talks about​​The Girsu Project, which is, according to the website, “Combines
research, on-site training and heritage management of one of the world’s oldest cities,
Girsu”

Girsu was a megacity and was once the capital of the Lagash Kingdom

The team used technology and drone photography to identify the subsurface remains
in Tablet Hill, which is in modern Tello, Iraq. Some describe this place a the “cradle of
civilisation” and “one of the most important heritage sites in the world that very few
people know about”

About 50k cuneiform has been recovered from this site. The fall of 2022 saw​​the team
finding 200 more cuneiform and identifying mudbrick walls. The cuneiform, which
detailed the administrative records of Girsu, were taken to the Iraq Museum in
Baghdad

Archeologists also managed to find the Eninnu Temple, which was the main sanctuary
of the Sumerian god Ningirsu, the namesake of the ancient city

Then, theory also found the Temple of the White thunderbird, which is probably one of
the most important of Mesopotamia. The temple was only known by ancient
inscriptions found at the fieldwork site 140 years ago

Jurassic Park, Godzilla, and The Land Before Time have all depicted dinosaurs as
giant scaly lizards—but more recent research has suggested they didn’t look like
that at all; it appears they were less Komodo dragons and more Qatari falcon. If so,
the T. rex in Jurassic Park should have been a thing with animatronic feathers. The
field of paleoart aims to visualize past creatures as accurately as possible despite
the limited evidence. If a future paleoartist tried to reconstruct the world of 2024
using incomplete information, what would they get wrong? Would they be stumped
by fossil evidence of dogs wearing sweaters?

Tbh, this section feels really irrelevant. I’d probably add a sentence or two, but nothing
more…
Jurassic Park
Jurassic Park, later also referred to as Jurassic World, is an American science fiction
media franchise created by Michael Crichton and centred on a disastrous attempt to
create a theme park of cloned dinosaurs.

It focuses on dinosaurs which wreak havoc on humans. The dinosaurs, created as

theme park attractions, are cloned through genetic engineering. The process is
accomplished by extracting ancient DNA from mosquitoes, which sucked the blood of
dinosaurs and then became fossilised in amber, preserving the DNA. Scientists then fill
gaps in the genome using frog DNA. Although the films primarily take place on an
island, namely Isla Nublar, located on the Pacific coast of Central Rica, Jurassic World:
Fallen Kingdom sees the dinosaurs relocated throughout the world, including the US
mainland.

Godzilla

Godzilla is an American monster film, the 30th film in the Godzilla franchise, the first
film in Legendary Pictures MonsterVerse, and the second Godzilla film to be
completely produced by a Hollywood Studio

In the film, an American Sailor attempts to return to his family while caught in the
crossfire of an ancient rivalry between Godzilla and two parasitic monsters known as
MUTOs

Reviews are mixed from critics, who praised the direction, visual effects, music,
cinematography, and respect to the source of material. It was criticised for the script,
characters, and Godzilla’s insufficient screen time. It grossed $529 million worldwide
against a production budget of $160 million and advertisement costs of $100 million

The Land Before Time

The Land Before Time is an American animated film series and media franchise which
centred on dinosaurs. The first first movie was directed by Don Bluth, with help as
executive producer by George Lucas and Steven Spielberg (also the director of jurassic
park)

It was followed by 13-direct-to-video music sequels, a TV series, video games,

soundtracks, and related merchandising. All 14 films were released as a Complete
Collection DVD set on 14th June 2016

It’s about four young dinosaurs and a pterosaur. After finding the Great Valley, they
raise a carnivorous baby, survive a drought and a cold snap, and witness a solar
eclipse. Throughout the films, they go on adventures, learning lessons about life and
friendship along the way

Feathered T-Rex??

The article talks about this debate on if T-rexes had feathers. Unlike bones, feathers
will eventually decompose after a few years, therefore unlike Sue’s (2023 syllabus
reference, also a T-Rex) skull, we can’t find her feathers, as they disappeared in the last
67 million years

One side says you need to prove they had feathers, while the other says you need to
prove they didn’t have feathers. However, in China there were a lot of volcanic
eruptions that buried entire ecosystems, just like Pompeii and Mount Vesuvius

So as a result, you not only can find dinosaur bones, but their feathers too. In fact,
many dinosaur skeletons were covered in feathers, including the Yutyrannus and
Dilong, which were close relatives to the T-rex. If their ancestors had feathers, the
possibility of the T-rex having feathers increased

There isn’t really a conclusion to this debate, as people are still arguing

Paleoart
Paleoartists translate fossil fragments, dense scientific descriptions and geological
data into scenes of nature that anyone can understand. It's a balancing act between
depicting species as accurately as possible, while still creating a beautiful and
engaging piece of art

The article then proceeds to show a lot of paleoart pictures

Investigate the following major archaeological and paleontological discoveries.

What circumstances and strategies allowed us to discover them, and what impact
have they had on our understanding of history and the present day? Discuss with
your team: can you imagine a discovery that would dramatically change the modern
world?
● Rosetta Stone | Taposiris Magna Stele | Borobudur | Petra | Sutton Hoo
● Aztec Calendar Stone | Ocomtún | Montevideo Maru | HMS Endurance
● Lucy and Ardi (fossils) | Java Man | Taung Child
● Oldowan tool kit | Paranthropus robustus | Tujia Aspis vividus

Rosetta Stone
This is an ancient Egyptian stone with scripts that helped the 19th century world
understand the lost hieroglyphic writing of ancient Egypt

It was found by a Frenchman, but after France surrendered because of Napoleon’s

departure, it was passed to the British in 1801

The writings themselves were made by the priests of Memphis, the capital city of
ancient Egypt. explaining about Ptolemy V Epiphanes’ reign, with three versions in the
3 languages mentioned respectively

Thanks to the Rosetta Stone, we managed to decipher the Egyptian scripts

Try to elaborate more on how it helped us to decipher Hieroglyphics

It was written in a large kind of broken basalt stones, and the minerals helped the text
remain

The top is written in Ancient Egyptian hieroglyphs and the demotic script, whilst the
bottom is written in Greek

Taposiris Magna Stele

This is dubbed as the other Rosetta Stone

It talks about the 7th year of Ptolemy V’s reign, instead explaining it

A stele is typically a wooden or stone slab erected, usually for funerals

It’s inscribed with 20 lines of Hieroglyphic and Demotic inscriptions, unlike the Rosetta
Stone’s 3 languages

Borobudur
It’s the biggest Buddhist monument in the world. It’s used to house holy relics, and
symbolised the mandala, a symbol of the universe, combining the square as Earth and
the circle as heaven. It was constructed under the Shailendra dynasty

It got buried under volcanic ash (like Pompeii), until it was discovered.

You can find Buddhist symbols and writings of Buddha’s life and previous lives. The
world’s largest Buddhist monument and a priceless ancient centre for pilgrimage and
education in Mahayana Buddhism

Petra
The area has been inhabited as early as 7000 BC, and the Nabataeans (ancient Arab)
might’ve settled in what would become the capital city of their kingdom as early as the
4th century BC.

This place switched hands between a lot of people: Israelis - Edomites - Romans -
Greek, thus its name, Petra, is “rock” in Greek
The people who used to live there were quite skillful in harvesting rainwater,
agriculture and stone carving.

After the roman went there, no more independence! However, its importance declined
as sea trade routes emerged, and after an earthquake in 363 AD destroyed many
structures. It went downhill, all the way to the early Islamic era it was abandoned.

It was then rediscovered by the amazing Swiss traveller, Johann Ludwig Burckhardt.
It’s well preserved: carving channels that could divert water running off from the top of
the facade tombs

Sutton Hoo
The site of an early mediaeval burial ground that includes the grave of an Anglo-Saxon
King whose identity isn’t known yet. There was a great treasure in the grave, they
buried him inside his own ship with his helmet on. Therefore, archeologists assume he
was one of the first Anglo-Saxon kings to go from Germany to England with the boat
he is buried with

In 1939, Edith Pretty, a landowner at Sutton Hoo, asked archeologist Basil Brown (a
self-taught archeologist) to investigate the Anglo-Saxon burial mounds on her
property. However, when the importance was clear, the national archeologists took
over

Consider the use of AI to win the Vesuvius Challenge by translating ancient

scrolls—and the idea of applying the same approach to papyri damaged at
Herculaneum. Is it worth spending this many resources to read ancient documents
with little modern-day significance? What exactly are we looking for?

In 2024, there was a groundbreaking achievement in the decoding of ancient

scrolls known as the Vesuvius Challenge, made possible with the support of Elon
Musk's financial backing. The challenge, initiated by Brent Seales and supported by
backers from Silicon Valley, aimed to decipher ancient code, particularly focusing on
scrolls recovered from the volcanic eruption of Mount Vesuvius in 79 AD.
 A team comprising Youssef Nader, Luke Farritor, and Julian Schilliger utilized AI
technology to tackle the challenge and successfully read the text, winning the
substantial prize of $700,000 in February 2024. The scrolls, dating back to the 18th
century, were virtually scanned and unwrapped using AI algorithms trained to detect
ink patterns.
Musk's foundation provided vital funding for the project, emphasizing a
commitment to supporting the advancement of AI technology with a flexible approach,
allocating resources as needed to ensure success. This significant breakthrough opens
doors to further exploration and understanding of ancient civilizations, showcasing the
potential of AI in deciphering historical mysteries.

Voice-dubbing and subtitles are the two main ways that audiences can enjoy works
in other languages. But neither is ideal: voice dubbing can be low in quality and
out-of-sync, taking people out of the performance, and subtitles can be untrue to
the original text while also taking away from the experience of hearing and reacting
to words one at a time. Now, AI can dub footage with simulations of the original
speaker’s actual voice in a different language, and as closely in sync to the
movements of their lips as possible. Check out this demonstration, then discuss
with your team: will such AI-enabled translation lead to more works being
produced in more languages? Would you want to use it in your personal life?

Hey y'all, Ethan here. You’ve reached a sort of checkpoint from all the kind of
monotonous sounding article summaries. I have a very methodological way of making
the summaries which make them seem boring. So now, time for some not boring
discussion!

So what’s given is a Youtube short. Gotta love when WSC gives content which really
isn’t content at all, or is much easier to summarize. That’s why I have this completely
different kind of summary for these articles. There are probably mostly for these kinds
of video, to be honest.

What the video describes of is a Voice cloning application, namely HeyGen. What’s
interesting about the generator is that not only does it automatically dub a user’s voice
in another language, it also uses AI to alter facial expressions and mouth movements
to fit the spoken text, making it look all the more legitimate. The dubbed voice also
trains off of the user input, making the whole thing in general scarily accurate.

The video also goes on to talk about a youtube feature similar to it, named Aloud. This
feature is a lot less technologically advanced, as it just gives a port for creators to dub
their content on a video. However, it is still incredibly useful.

This whole thing plays into a giant new theme of the world, that being accessibility.
The freaks of social media can indeed influence our world, and this is just one way of
doing it. The video also talks about this accessibility idea, where more audiences can
listen to a video because of this technology. And I’m all for it! English doesn’t even
capture 20% of the people in the world, yet we treat it like it does.

Of course, there are some technical limitations, as there are with everything. For one,
the translation isn’t completely accurate, and nor is the speaking. The translations, as
the comments pointed out, sometimes mix male and female words as well as different
meanings for words. It’s pretty hilarious if you know the language. Also on emphasis:
The AI sometimes doesn’t know what accents to use. I’d imagine their Chinese is super
white-person Chinese.

But like in whole, this opens a whole new layer of content and accessibility. Of course,
this is in its earlier stages, so the next few years of development could make it scarier.
What’s already impressive is that if someone used this AI, I would barely be able to tell
if they didn’t mention it.

And for the questions the paragraph asks: Yes, I would use this in my daily life. Job
opportunities quintuple with this sort of technology, and for the content creation/media
side of things, it also plays a large role in daily life. It may play in yours too.

And will this technology be used to dub professional films? Maybe. Perhaps not on an
official version yet, as the whole translation and pronunciation problems are still
relevant. Within 5-10 years time, it may however be refined enough to be used as an
industry standard. We’ll just have to wait for now!
When the Library of Alexandria burned down, it meant the loss of countless
documents that had never been converted into PDFs. The collection at the House of
Wisdom was destroyed when the Mongols swept by. Explore some of the largest
libraries in the world today, then discuss with your team: would we notice if they
disappeared?

The World’s 10 Largest Libraries

10: The Danish Royal Library (Copenhagen):

● Library for University of Copenhagen
● 30.2 million items
● Holds nearly all Danish printed works dating back to 1482
● Includes a 1350 manuscript of a medieval “Wikipedia” and copies of the first
world Atlas
● Legal deposit library since 1697, including for electronic works

9: National Library of China (Beijing)

●
●
●

8: National Diet Library (Tokyo & Kyoto +)

●
●
●

7: National Library of Russia (St. Petersburg)

●
●
●
​
6: Bibliotheque Nationale de France (Paris)
●
●
 ●

5: Russian State Library (Moscow)

●
●
●

4: New York Public Library (NYC)

●
●
●

3: Library and Archives Canada (Ottawa)

●
●
●

2: British Library (London)

●
●
●

1: Library of Congress (Washington D.C.)

●
●
●

After the fall of the Soviet Union, statues of Josef Stalin and other heroes of the
regime were quickly pulled down—but now many are on display at Moscow’s
Muzeon Park of Arts. Discuss with your team: when monuments of past regimes are
deemed unacceptable, should they be melted down, displayed in a new location, or
put in storage? Are there some historical artifacts unfit to be shown at all in the
modern world, even as examples of what could possibly go wrong?
 The Muzeon Park of Arts, situated outside Krymsky Val in Moscow, stands as
the largest open-air sculpture garden in Russia, boasting over 1000 works. Formerly
known as the Park of the Fallen Heroes or Fallen Monument Park, it was once dubbed
simply "Sculpture Park" in Russian. The park's origins trace back to the site of the
All-Russia Agricultural Exhibition, established in 1923 during the USSR era. Initially
utilized for military purposes during the Great Patriotic War, the area transitioned into a
park by the 1940s, featuring sculptures by Western Modernists and Soviet artists.
Following the dissolution of the USSR, various statues, including those of Lenin,
Stalin, and other Communist leaders, were dismantled and relocated to the park. It
became a symbol of the shifting political landscape, with other former USSR states
either destroying their statues or sending them to Muzeon Park as part of
de-Stalinization efforts.
The park's history intertwines with Russia's complex relationship with statues
and monuments. Since Vladimir Lenin's decree in 1918 to remove monuments of tsars
and previous rulers, the USSR witnessed a surge in the proliferation of Communist
statues, serving as propaganda tools. However, Mikhail Gorbachev's decree aimed to
protect these monuments from defacement, bringing about changes in the
preservation and treatment of historical artefacts.
In recent years, Muzeon Park has undergone significant transformations, spurred
by government initiatives to boost tourism. The park has evolved into a multifaceted
space, offering educational programs, art exhibitions, and improved infrastructure for
visitors. With its rich history and cultural significance, Muzeon Park stands as a
testament to Russia's dynamic past and its ongoing efforts to preserve its heritage.

For more statue stuff:

The issue of offensive statues, particularly Confederate symbols in the US, has
sparked debate and action on how to address them. While some argue for
preservation to retain historical context, others advocate for removal, citing the
glorification of past slavery. Donald Trump has voiced concerns about a slippery slope
leading to the destruction of all monuments. However, other nations have taken more
decisive actions.
Post-WWII Germany, for instance, banned and restricted Nazi symbols,
codifying the ban into criminal code. Berlin's "Topography of Terror" serves as an
exhibition center, showcasing the horrors of the war and the crimes of the Nazi regime.
Similarly, in the wake of the Soviet Union's collapse, public dismantling of Soviet icons
occurred, with monuments like the founder of the KGB being destroyed.
In Russia, the Muzeon Park of Arts has emerged as a haven for historical
monuments, preserving them from destruction. Other former Soviet states, such as
Hungary, have similar parks dedicated to Communist-era art. Architectural missions
highlight the importance of preserving history, emphasizing that democracy allows for
an honest reckoning with the past, unlike dictatorships that often manipulate history
for their benefit.
Spain, grappling with its Civil War legacy under Francisco Franco, enacted a law
of historic memory in 2007 to provide reparations. The law instructed the removal of
propaganda while preserving artistically significant pieces. The removal of the last
statue of Franco in 2008 marked a step towards acknowledging the past. However,
contentious sites like the Arco de la Victoria, serving as Franco's tomb and a gravesite
for over 30,000 bodies, remain protected under Spanish law, drawing both far-right
sympathizers and tourists alike.

And even more confederate statue destatuing stuff again…

The tearing and existence of Confederate statues in Richmond, Virginia, have

stirred controversy and sparked action. Removed in the aftermath of protests following
George Floyd's murder, these statues now reside in a storage wasteland, representing
a painful chapter of the racial past. Richmond has transferred ownership of the
memorials to the Black history museum, presenting various choices for their fate:
returning to streets, contextualized display, or demolition.
Mary C Lauderdale, overseeing the decision-making process, emphasizes public
appeal and rules out locating them in the Headquarters. Potential destruction could
take 5-10 years if decided. Erected as part of the "Lost Cause" narrative, glorifying the
Confederacy, these statues were preserved after the 2020 attacks, amidst concerns of
extremist groups.
Devon Henry, tasked with disassembly and storage, faced threats and took
extensive security measures. Only contractor to accept the job, he dismantled 24
statues, advocating against their public display to children. Currently, "The Valentine"
monument is the sole display, housed in a local history museum, alongside
controversial Confederate exhibitions.
Bill Martin, the museum manager, chose not to clean the toppled statue, using it
as a statement. Additional panels and surveys at the museum prompt discussions on
the statues' fate, revealing divided opinions among visitors, with 40% of Black
individuals indifferent and another 40% favoring removal.

All: Reimagine, if You Will

Whether you see Edward Hopper’s Nighthawks (1942) as a homage to solitude or

as a paean for a lost era of root beer floats, the odds are good that you see it often.
The recent Netflix series The Sandman set an entire episode in a Nighthawks-style
diner. Consider the selections below, then discuss with your team: what is the
modern equivalent of the experience and feeling conveyed in the painting?
● Are You Using that Chair | Banksy
● Boulevard of Broken Dreams | Gottfried Helnwein
● Nighthawks Revisited | Red Grooms
● Nighthawks | Moebius

In the Sandman's fifth episode titled "24/7," viewers are taken on a chilling
journey into a diner reminiscent of Edward Hopper's iconic painting "Nighthawks." The
episode reaches a terrifying climax as patrons of the diner inexplicably turn violent,
resulting in a massacre.
Unlike its comic inspiration, the episode deviates from a formal structure, with
an emphasis on filling time with movement and dialogue rather than relying on
narration. Neil Gaiman, in an interview, highlights the differences in the creative
process between the show and the original story.
The episode is hailed as one of the most disturbing moments in the series,
depicting sadistic character John Dee exposing the diner's darkest secrets. To bring this
eerie setting to life, the production team meticulously designed the diner based on real
establishments in Salt Lake City, with references provided by original comic artist Mike
Dringenberg.
 Production designer Jon Gary Steele ensured that while drawing inspiration
from Hopper's "Nighthawks," the diner retained its own identity and didn't become too
reminiscent of the iconic painting, which has been widely referenced in commercials
and popular culture. The goal was to create a diner that felt authentically American,
evoking a sense of truthfulness and nostalgia.

Just a few years before Hopper forever cemented the American diner in the popular
imagination, Yuri Pimenov was one of many artists conscripted to celebrate the
achievements of the Soviet Union. In New Moscow (1935), he depicts a city being
whisked toward modernity—its streets and its society reimagined and
reconstructed side by side. Consider instances of public spaces being repurposed in
this way, then discuss with your team: what approach do you think Pimenov would
take toward painting your city?
Consider this criticism of the reinvention of the Chilean comic book character
Condorito for a global audience. Discuss with your team: where, if anywhere, did
they go wrong—and is translating such popular works from one culture into
versions for audiences elsewhere doomed to fail?

Yuri Pimenov's artwork, particularly "New Moscow" from 1937, captures the
atmosphere of unease in the USSR during Stalin's "Great Terror" and the
reconstruction of Moscow. The painting presents a poetic image of the capital, depicted
in a golden haze from an unusual perspective—the back seat of a convertible, with a
modern-looking young woman.
Pimenov's work draws parallels between the modernity of the city and the
modernity of its women, symbolizing the renewal of both society and urban landscape.
This theme is part of a broader narrative seen in several of his paintings, which
collectively explore the intersection of modernity, urbanization, and societal change.
As a prominent artist of the USSR, Pimenov's work falls within the Socialist
Realism genre—a cultural doctrine that idealized life under socialism. Socialist realism,
influenced by realism and Marxism, was officially approved in 1934 and aimed to
portray an optimistic view of Soviet society.
Despite its ideological underpinnings, Pimenov's art also reflects elements of
realism, capturing the energy of societal transformation while subtly incorporating
propaganda elements. His body of work earned him numerous honors within the
Soviet Union's artistic community, cementing his legacy as a significant figure in Soviet
art history.

Now, for a lack of a dorito perhaps

Condorito, a beloved Chilean cartoon character created in 1949, emerged as a

response to Disney's 1942 portrayal of Chile as a "Plucky" plane named "Pedro The
Plane," which sparked outrage in Chile. Condorito was crafted to embody mischief and
adult humor, unmistakably Chilean and representing the spirit of the country.
In 1983, Condorito gained popularity across the Americas, with adaptations
tailored to different regions. However, recent attempts to bring Condorito to the US
market have been met with controversy due to misrepresentation. The character,
voiced by a Mexican actor, is produced by a Peruvian film company, scripted by
Argentines, and directed by a Brit—resulting in a watered-down representation that
fails to capture Condorito's Chilean essence.
Condorito's creation was a deliberate act against Disney's portrayal of Chile,
with creator René Ríos Boettiger asserting that "Gringos would not define the country."
The comic's world contrasts sharply with Disney's idealized depictions, presenting a
harsh, adult-oriented reality in the town of Pelotillehue, filled with inside jokes and
satirical commentary.
Unfortunately, the recent film adaptation of Condorito disappointingly strips
away the colorful essence of the original comics. The transition to a 3D animated
format and the relocation of much of the story to a fictional Mexican setting diminish
the authenticity of Pelotillehue. Moreover, attempts to soften the comic's misogyny and
discipline Condorito's character clash with the original tone, resulting in a strained
adaptation that fails to capture the spirit of the beloved comic series.
The classic film Metropolis (1927) was restored to its original length in 2010
through a series of lucky discoveries. The restored version revealed subplots and
characterizations that were missing in earlier surviving copies—but some scenes
were still missing. Discuss with your team: should these scenes be replaced by
newly filmed footage, or perhaps by AI recreations of that they might have
contained? Or should incomplete old works be left alone and rebroadcast exactly as
they are?

The restoration of Fritz Lang's "Metropolis" has sparked a resurgence of interest

in the original film, which has long been celebrated as one of the greatest movies in
history. Despite its initial premiere in 1927, the full-length version of the film had not
been viewed in its entirety since shortly after its release, as around an hour of its
content was presumed lost or destroyed.
However, the recent discovery of newly found footage, totaling around 25
minutes, has brought Lang's vision of the technologically advanced dystopia closer to
completion. This milestone was largely achieved due to the determination of
individuals like Fernando Peña, whose 80-year quest to find and restore the original
version finally came to fruition.
The narrative of "Metropolis," set in a futuristic city and depicting a father and
son's struggle, was initially considered too complex for American audiences, leading to
extensive cuts. Yet, with the addition of the newly discovered footage, the film's
storyline is now more complete than ever before.
The journey to restore "Metropolis" was not without challenges. Despite a full
copy of the film existing in Buenos Aires since the 1930s, reels of the original print
were found to be in poor condition, requiring meticulous restoration efforts. Damage
from dust, hair, and scratches necessitated careful cleaning and repair by German
technicians, who painstakingly pieced together the film.
The result of the restoration is a balanced film that transcends the science
fiction genre, encompassing elements of various genres. Martin Koerber, one of the key
figures in the restoration project, asserts that the sci-fi disguise of the film is now "very,
very thin," highlighting its broader appeal.
With the full-length version of "Metropolis" now being screened in Germany and the
USA, Argentine archivists continue to examine their collection at the Museo del Cine,
uncovering Soviet prints and other historic artifacts, further enriching our
understanding of cinema history.

The restored version of Fritz Lang's "Metropolis" offers viewers a visually

stunning and narratively rich experience. From the opening shots, the clarity and
sharpness of the film are immediately apparent, thanks to the restoration efforts made
possible by a 16mm print discovered in Buenos Aires.
Lang's vision of a utopian future, which is more accurately a dystopian society
with hidden workers toiling beneath the city, is brought to life with new depth and
nuance. The film's influence on subsequent cinema is undeniable, with its themes of
class warfare and societal division resonating across generations.
The addition of 30 minutes of previously missing footage, bringing the total
runtime to 150 minutes, further enriches the storytelling, allowing for more character
development and expanded storylines. Martin Koerber, a key figure in the restoration,
highlights how the previous cuts simplified the narrative, whereas now the film
transcends its sci-fi origins to tell new and compelling stories.
Lang's approach to storytelling, relying on visuals rather than intertitles or
descriptors, creates a broad and immersive cinematic experience. The special effects,
particularly those crafted by Eugene Shufftan, bring the world of "Metropolis" to life in
astonishing ways, considering the limitations of the time and the lack of modern digital
editing tools.
While the restoration is not entirely flawless, with some odd transitions and
scratches present in the 16mm print, the overall result is nothing short of remarkable.
"Metropolis" stands as a testament to Lang's visionary genius and uncompromising
perfectionism, even amidst challenges and conflicts with colleagues.
It is worth noting the historical context surrounding Lang, including his decision
to escape Nazi Germany and flee to America, further adding to the intrigue and
complexity of the film's creation. Overall, "Metropolis" remains a cinematic masterpiece
that transports viewers to a timeless world of imagination and ideas.
The Montagues and Capulets would probably agree on the beauty of this Romeo
and Juliet soundtrack—one that was reputably lost and recreated. Many works have
similarly been reimagined and rebuilt once the original was no longer accessible;
thus, the version of Marcel Duchamp’s Fountain (1917) currently at the San
Francisco Museum of Modern Art is a recreation made nearly half a century later, in
1964. (The original may also not have been by Marcel Duchamp.) Consider the
other versions of the same work below, then discuss with your team: if we were to
locate the lost original version of Fountain, would it change the value of the 1964
recreation and of the variations listed below?
● Fountain (Buddha) | Sherrie Levine
● Fractured Fountain | Mike Bidlo
● Untitled (Lipstick Urinals) | Rachel Lachowicz

Producer James Fitzpatrick and conductor Nic Raine undertook the ambitious
task of restoring the lost 1968 soundtrack by Nino Rota for Franco Zeffirelli's iconic film
adaptation of Romeo and Juliet. With Rota's original score missing, Fitzpatrick and
Raine had to reconstruct it from scratch, relying on their musical expertise and careful
listening.
The result of their restoration efforts is a significantly enhanced soundtrack
compared to the original Capitol Records OST. The performances are more refined,
with a greater depth of emotion and nuance captured in the recordings.
One of the most memorable aspects of the restored soundtrack is the Love
Theme, which is elegantly woven throughout the film and repeated several times to
underscore key moments of romance and tragedy.
In addition to the familiar themes, the restoration also showcases Rota's mastery of
Renaissance period musical elements, adding layers of authenticity and richness to the
score.
To faithfully recreate Rota's vision, a larger group of musicians was assembled
than the original orchestra recording, ensuring that every note and phrase remained
intact and delicately rendered.
Overall, the recreation of the lost 1968 soundtrack for Romeo and Juliet stands
as a testament to the enduring beauty and timeless appeal of Rota's music, enriching
the cinematic experience for audiences old and new alike.
For something which doesn’t seem to have too much connection to the first article,
now here it is. This article is actually sort of the main theme of this part.

Marcel Duchamp is once again making headlines on the 100th anniversary of his
controversial sculpture, Fountain. This sculpture, which consists of a mass-produced
urinal submitted to an art exhibition in 1917, sparked a profound discussion about the
nature of art and established Duchamp as the world's first conceptual artist.
A recent book by Bonnie Clearwater delves into Duchamp's influence on
contemporary art, focusing particularly on his "Readymades" series. These include
various artworks directly referencing Fountain, such as Fountain (Buddha) created in
1998 and a fractured fountain by Mike Bidlo in 2015, both crafted from bronze. The
Lipstick Urinals from 1992 add a seductive twist to the conversation.
Duchamp's legacy continues to inspire artists like Andy Warhol and Joseph
Kosuth, who have also explored the concept of the readymade. However, recent
discussions on Duchamp reveal the complexity of his symbols, including the paradox
that the original Fountain was never actually exhibited; only a photo by Alfred Stieglitz
exists. Signed with the pseudonym R. Mutt, Duchamp's creation challenges notions of
authorship and authenticity.
Furthermore, questions have arisen about the origin of the urinal used in
Fountain, with historians puzzled by discrepancies in Duchamp's account of its
acquisition. Some speculate that the true artist behind Fountain may have been
Baroness Elsa von Freytag-Loringhoven, Duchamp's friend and collaborator.
The enigmatic nature of Duchamp's work only deepens with new revelations,
such as artist Serkan's experiment with Duchamp's last secret work, which aims to
mimic the workings of the human eye. As the secrets and lore surrounding Duchamp's
paintings continue to unfold, it becomes increasingly clear that Duchamp was
intentional and calculated in his provocations, leaving an indelible mark on the world of
art.

Now, on a more controversial lens, the pervasive stereotypes against women

within the realm of art and creative endeavors have long been a subject of discussion
and critique. Throughout history, women artists like Artemisia Gentileschi and Simone
de Beauvoir have faced systemic barriers and discrimination, with their works often
dismissed as flimsy or overly emotional compared to those of their male counterparts.
This gendered hierarchy, dating back to ancient Greek society, has perpetuated the
notion that masculinity elevates while femininity diminishes.
Marcel Duchamp's infamous artwork, the urinal titled Fountain, serves as a
poignant example of this anti-femininity within the art world. As detailed in the
aforementioned article, the true origin of the urinal may have been Baroness Elsa von
Freytag-Loringhoven, a marginal figure in art history who Duchamp later claimed as
the inspiration behind the piece. Evidence suggests that Elsa may have conceived the
idea and inscribed the pseudonym R. Mutt, yet Duchamp ultimately took credit for the
work after her death.
Despite conflicting accounts and evidence challenging Duchamp's narrative,
museums and art institutions continue to uphold him as the sole creator of Fountain,
reinforcing the patriarchal status quo within the art world. This reluctance to
acknowledge Elsa's contribution underscores the entrenched misogyny and bias that
pervades artistic discourse.
The article further delves into the history and implications of misogyny in art,
highlighting how notions of authority and artistic merit are often masculinized.
Scholars like Perry Hinton argue that these stereotypes stem not from self-bias but
from societal biases ingrained in collective consciousness.
Baroness Elsa, who defiantly referred to herself as "Art Aggressive," lamented
Duchamp's descent into what she perceived as cheap and derivative art. Her story
serves as a poignant reminder of the erasure and undervaluation of women's
contributions in the art world, perpetuated by entrenched gender biases and societal
norms.

- Fountain (Buddha) - Sherrie Levine

- An appropriated work of Duchamp’s original Fountain, made out of
bronze, notably a valuable material in irony to the publicly regarded
cheap urinal. Part of a group of reproduced artworks Sherrie makes from
 male artists, recasting the artworks..

- NOT Duchamp: Fountain and Bottle Rack - Mike Bidlo

- This work is similar to the one above that it is casted with bronze. The
given sculpture is fractured, a tribute to the original having been fractured
during exhibition. Known as a “Social Sculpture”.

- Untitled (Lipstick Urinals) - Rachel Lachowicz

- A slightly different-shaped work than the original Fountain made by
Rachel. The given art is a study on famous male artists with unorthodox
materials. Challenging the social constructs of genders by mixing
 “female” lipstick with male urinals.

Those who find traditional history museums a stuffy procession of rusty spoons and
dusty dioramas may want to explore an open-air alternative: “living history
museums” where one can time travel on the cheap. Consider the Spanish Village in
Barcelona, where travelers can inspect 49,000 square meters of historical buildings
and tilt at rusty slides with Don Quixote. At Heritage Park in Calgary, Banff-bound
hikers can stop to pose for photos (and eat 19th century ice cream) with locals
dressed up as Canadians from the days of fur trading and American invaders. For
those on their way to the Dalian Global Round, the Millennium City Park in Kaifeng
offers a hundred acres of life in the Northern Song Dynasty. If you drink coffee
(which we do not endorse!) you might be drawn to the Kona Coffee Living History
Farm in Hawaii. Discuss with your team: do such museums offer valuable lessons,
or do they actively harm our appreciation of culture and history?

Until the late 19th century, most museums displayed taxidermied animals in
monotonous rows of glass cabinets. However, in 1890 all of this changed when
taxidermist Carl Akeley reimagined their presentation. He pioneered what came to be
known as the “Akeley method” which involves creating a custom natural environment
for a group of taxidermied animals. The first example of this was a diorama he created
containing five muskrats. Strangely, while early dioramas depended upon the use of
hunted animals, one of their primary objects was to evoke a desire to protect flora and
fauna. Akeley along with his close friend Theodore Roosevelt were both hunters and
conservationists. They believed that by immersing visitors in the natural world, people
would be more likely to protect it.

During the early days of dioramas, creators would go to the locations that would
envelop visitors in - to collect specimens; get an idea for their subjects and
surroundings. For example, Akeley went to Somaliland in 1896 planning to create a
diorama of striped hyenas in the area. The Field Museum in Chicago didn’t build an
exhibit for them at the time but a crowdfunding campaign raised $150,000+ to build a
suitable exhibit for them. Aaron Delehanty was put in charge of the project and was
wholeheartedly dedicated to it. While unable to travel for work, he conducts vast
amounts of research. Delehanty and his team looked at an expedition member’s
journal; the size and shape of rocks in that part of Somalia; the color of the sand; plants
that would have been nearby; consulted astronomical charts (moon phase, stars) in
order to precisely recreate 5: 30 A.M. August 6, 1896 Somaliland.

Before beginning work in the actual museum hall, the team created a 1:10 scale
model of the planned diorama. When creating it, the hyenas had to be handled with
extreme care as early taxidermists commonly used toxic chemicals in their work. After
months of hard work, the 17 by 40 feet diorama was finally unveiled to the public in
2016. Delehanty has also created a diorama showing the Hemdu (a nomadic tribe until
they learned to build their homes on stilts). By adding miniscule details including worn
floorboards with specks of red paint and placing water throughout the diorama, he was
able to subconsciously show the visitor that the tribe had lived here for generations
and had a strong connection with water. These small details help to invoke a sense of
verisimilitude (feeling real). Delehanty, now working at Rochester Museum and Science
Centre, is currently working on restoring a diorama (adding new lighting, soundscape)
made in the 1940’s of 1838 Rochester for the 200th anniversary of the Erie Canal.
While many institutions are throwing out their old dioramas or moving them into
storage or less prominent places, Delehanty believes dioramas can offer a unique type
of immersion and should live on.

The Kona Coffee Living History Farm, nestled in the picturesque Kona District of
Hawaii's Big Island, offers visitors a captivating journey into the daily lives of early
Japanese immigrants who settled in the area between 1920 and 1945. Situated in the
charming locale of Captain Cook, this open-air museum serves as a poignant tribute to
the enduring legacy of these pioneering individuals.
The origins of the farm can be traced back to Daisaku Uchida, who arrived in
Hawaii from Japan at the tender age of 19 in 1906. After completing a three-year
contract, Uchida ventured to the Kona District with the aim of establishing his own
agricultural enterprise. His endeavors were part of a larger wave of Japanese migration
to Hawaii, which saw over 140,000 workers arrive between 1868 and 1924, primarily
to toil in sugarcane plantations.
In 1913, Uchida acquired the farm, expanding its operations in 1925. Originally
part of the Greenwell family's vast land holdings, the property was utilized for coffee
trading. Following Uchida's retirement in 1994, the farm transitioned ownership
through subsequent generations before ultimately being donated to the Kona
Historical Society due to its lack of modernization.
Today, the Kona Coffee Living History Farm stands as a testament to the
resilience and ingenuity of the Japanese immigrant community in Hawaii. Visitors are
invited to embark on self-guided tours that offer a glimpse into the past, with exhibits
and activities showcasing various aspects of daily life on the farm. From traditional
crafts to immersive cultural experiences, the museum provides a rich tapestry of
Japanese immigrant history in the region.
The preservation efforts of the Kona Historical Society, founded by the
Greenwell family, ensure that the legacy of these early settlers is celebrated and
cherished for generations to come. Through the Kona Coffee Living History Farm,
visitors are afforded a unique opportunity to step back in time and connect with the rich
heritage of Hawaii's Japanese immigrant community.
The most famous of these museums can also be the most controversial. Consider
Plimoth Patuxet (formerly Plymouth Plantation) in Massachusetts, where visitors
can take selfies with scurvy-free Pilgrims. The museum has been criticized for
overlooking the indigenous peoples decimated by those same Pilgrims. Thus, the
museum’s new name, and a new Native American settlement for tourists to
explore—except it turns out the tribe members staffing it are not descendants of
the tribe the Pilgrims first encountered. Discuss with your team: would it be better
if they were—or would this be a different form of exploitation? Would it ever be
okay for someone not of tribal descent to staff the Native American area of the
museum? What if they weren't technically tribe members but identified with the
tribe enough to adopt its practices and cherish its customs? Research the Howick
Historical Village in Auckland and discuss with your team: how does its approach
compare to that of Plimoth Patuxet?

The Howick Historical Village, nestled in Pakuranga, Auckland, New Zealand, stands
as a vibrant testament to the colonial history of the region, offering visitors an
immersive journey into the past. Despite its name, the village provides a captivating
recreation of a New Zealand colonial settlement spanning the years from 1840 to
1880, spread across seven acres adorned with over 30 meticulously preserved colonial
buildings.

The origins of the village trace back to the founding of the Howick Historical
Society in 1962, spurred by a gathering of like-minded individuals passionate about
preserving local history. The development of the Howick Historical Village commenced
in 1972, with the generous donation of Bell House and the allocation of five acres of
land by the local council. Over the course of eight years, the village took shape through
the dedicated efforts of volunteers, with various historical buildings donated and
relocated to the site.
Funding for the project was largely raised through grassroots initiatives such as
the sale of Christmas cards and bake sales. In 1980, the village officially opened its
doors as the Howick Colonial Village, boasting 14 meticulously restored buildings.
Over time, it expanded and evolved, eventually being renamed the Howick Historical
Village and now encompassing over 30 historical structures.
 Today, the village is owned and operated by the Howick & Districts Historical
Society, a charitable organization dedicated to preserving and sharing local heritage.
Open to the public year-round, except for select holidays, the village welcomes school
groups and visitors eager to delve into New Zealand's colonial past.
However, like many institutions, the Howick Historical Village faced challenges
during the COVID-19 pandemic, temporarily closing its doors and experiencing
setbacks in funding and attendance. Although it has since reopened, thanks in part to a
government grant, the village continues to navigate restoration projects and ongoing
efforts to maintain its historical authenticity.
One notable project includes the restoration of Sergeant Ford's Cottage in 2016,
which encountered unexpected challenges but was ultimately salvaged through the
support of the Stevenson Village Trust. In 2019, the restoration efforts extended to the
Pakuranga Schoolhouse, funded by lottery commissions and executed by various
contractors, showcasing the ongoing commitment to preserving and celebrating New
Zealand's colonial heritage at the Howick Historical Village.

To make the experience more realistic, some of these museums have diligently bred
versions of animals that look more like they would have in the past: wilder pigs,
gamier hens, dogs that are less dalmatian and more direwolf. Discuss with your
team: is it okay to breed animals to serve as props in these kinds of exhibits? Would
it make a difference if they were eventually eaten or taken home as pets?

Ah, the interesting ethics of whether or not selective breeding is a good thing. And this
is made more interesting by the fact that these are for exhibits, not even research or
any of that good juicy science stuff. That’s what makes this more interesting.

I couldn’t find any example of museum breeding versions of animals to look more like
their past variants. Perhaps I don’t have the sage power the WSC team has to find
these kinds of articles. However, what I do have is an opinion on this matter which
probably is going to be neglected. Who knows? Anyhow super helpful if someone can
find an actual article of this happening.

Well, this theme is similar to the one on animal testing. Giant controversy, although I
personally do think that Animal Testing is justified under the right conditions. Not to
get too fiery, but I believe that trials on animals will prevent hazards against humans
when it comes time for their trials and incorporations. I do understand the whole jist of
the other side of this argument though.

Where this practice of using animals becomes less valid personally is when that’s their
only purpose. It’s why circuses are cutting down on using animals in their
performances, and other things similar. If an animal’s only life purpose is to fulfill the
entertainment of us, that’s a whole nother bug. And it’s one I don’t want to get close to.
We’re acting too closely to gods - same reason that genetically modified babies may
be a shaky idea.

I do think that selective breeding for exhibits is an interesting idea, though. It could
make an experience more immersive and interesting to certain audiences. However, I
couldn’t personally justify making that choice against animals. The ideals of free will
and playing as gods are too, err, influential. I’d like to steer away from it.

And using them as pets after their lifespan in an exhibit? Nope. That’s a large nope. Do
yall know how fierce those past animals are? Maybe if you’re a saudi arabian prince
with like exotic animals, then this is the right fit for you. But I don’t want a
saber-toothed tiger in my living room.

They may taste good, though. Just kidding. I eat meat, but I still have morals, yall!

Like living history museums but more episodic are history festivals in which
communities annually celebrate their pasts. For instance, an annual Spanish Days
Festival in the California city of Santa Barbara looks back at its Mexican heritage.
Discuss with your team: are such festivals good ways to teach local community
members about the past?
● Timket Festival in Ethiopia
● Naadam Festival in Mongolia
● Ravenna Railroad Festival in Kentucky

The Old Spanish Days in Santa Barbara is a cherished tradition that pays
homage to the city's rich history, culture, and traditions. Held annually over five days at
the beginning of August, this festive celebration, known as Fiesta, invites both visitors
and locals to immerse themselves in the vibrant heritage of Santa Barbara.
During Fiesta, the city comes alive with a plethora of events and activities
designed to educate and entertain. From parties to authentic music and dance
performances, the festival offers a diverse array of experiences that highlight the
Mexican, Indigenous, and Spanish influences that have shaped Santa Barbara's
identity.
Visitors can expect to be enchanted by temporary carnivals, colorful parades,
thrilling rodeos, and captivating dance performances throughout the week. These
festivities unfold at historic venues such as the Old Mission Santa Barbara, the
picturesque Sunken Gardens of the Santa Barbara County Courthouse, Casa De La
Guerra, and De La Guerra Plaza.
In addition to the cultural showcases, Fiesta also tantalizes the taste buds with
a variety of Mexican and Spanish food options, allowing attendees to indulge in
delicious culinary delights while immersing themselves in the vibrant atmosphere of
the celebration. With thousands of visitors flocking to Santa Barbara each year, Fiesta
has become a beloved tradition that fosters community spirit, celebrates diversity, and
preserves the rich cultural heritage of the city.

For an increasingly quick and brief summary:

Timkat is a large festival in Ethiopia fully dedicated to baptisms, with the major
location in Lalibela. There are various traditions and artefacts presented within it.

Naadam is a more modern festival in Mongolia which serves to protect and rehabilitate
the skills the Mongolian people used to survive for so long. The three sports within it
are Horse Racing, Wresting, and Archery. They also include various mongolian
traditions.

The Ravenna Railroad festival is a smaller festival in the town of Ravenna, Kentucky,
with family friendly activities based around the founding of the city being due to the
railroad industry.
Festivals are often scheduled around holidays, but those holidays can change over
time. Modern societies have even reimagined some of them with elements from
other cultures—for instance, Mid-Autumn Festivals that feature char-grillers, the
mandate for chocolates on Valentine’s Day, and very expensive sixteenth birthday
parties. Make a list of other holidays that have evolved in recent years, then discuss
with your team: what standard should governments use to decide what holidays
will be “official” ones—and which ones should be declassified over time?

Hm…..Quinceaneras celebrate 15th birthdays, as stated in the article, but the outline
strangely suggests that these events recognize 16th birthdays (simple misstep or
malicious intent?).

TBD

If you want a selfie with the Pope, you can queue up at the Vatican and then not get
a selfie with the Pope, or you can pay $25 to visit the Dreamland Wax Museum in
Boston. Discuss with your team: what makes wax museums different than
traditional sculpture collections? Would they still be considered museums if they
featured statues of past celebrities and historical figures slightly different from
their real-life versions—for instance, an FDR who can walk—or of people who
never really existed, like George Santos and Santa Claus?

Interesting….WSC’s advertising a museum that closed down during the pandemic. Are
they attempting to lure scholars into ToC with false promises of the surrounding area?

TBD

If you want a conversation with the Pope, you can skip the wax museum in favor of
services such as Character.AI, which allows you to chat with historical
figures—even dead ones. Should celebrities need to agree to have AI simulations of
them carry on after their deaths—as William Shatner did in early 2024—or do they
surrender that right the moment they enter the public eye? Review this service from
the Chinese company Super Brain, which uses texts, audio recordings, and images
of deceased loved ones to “resurrect” them as AI chatbots for $1400, then discuss
with your team: would talking to the dead help those mourning them? Should
people have the right to purchase access to them—or to sell access to simulations
of themselves?

William Shatner, the iconic actor known for his portrayal of James T. Kirk in Star
Trek, is contemplating his legacy as he approaches his 93rd birthday. Acknowledging
his mortality, Shatner is considering how his persona could be preserved beyond his
lifetime. In a bold move, he has given conditional approval for the creation of an AI
model based on his likeness, specifically to portray the character of James T. Kirk.
However, Shatner's approval comes with strict conditions. He has stipulated
that the AI version of himself cannot be utilized while he is still alive. Additionally, he
has demanded substantial compensation for his family if the AI model is ever utilized.
Shatner's decision comes amidst broader discussions within the entertainment
industry regarding the use of AI in media production, particularly in light of the 2023
SAG-AFTRA strike. This strike raised concerns about the use of AI to replicate actors'
likenesses without their consent or appropriate compensation.
The idea of Shatner's AI model reprising the role of Captain Kirk is particularly
intriguing given that it has been over three decades since he last officially portrayed
the character in the 1994 film Star Trek: Generations. While there have been
discussions about Shatner potentially reprising his role in other projects over the years,
none have come to fruition.
As Shatner reflects on his legacy, he humorously acknowledges the rarity of his
autographs, joking about the timing of a documentary about his life set to be released
in March 2022. Despite grappling with the finite nature of his existence, Shatner
remains open to the possibility of his AI likeness living on in future portrayals of
Captain Kirk, recognizing that his time on this earth is limited.

For more AI model kind of stuff, here’s a service which lets people recreate dead
people.

The emergence of a service in China offering to recreate deceased loved ones

using AI technology has sparked widespread debate and discussion on social media
platforms. Reportedly gaining popularity among grieving relatives, this service allows
people to create lifelike avatars, often referred to as "Ghost Bots," of their deceased
family members.
Super Brain, the company behind this technology, claims that their AI can mimic
the thinking and speech patterns of the deceased using as little as 30 seconds of audio
and visual data. Founder Zhang Zewei states that the technology has helped
thousands of families digitally preserve their relatives, with over half of the clients
being elder parents who have lost their children.
The service, which costs between 700 to 1400 USD, offers three types of
restoration services: "AI healing," which clones voices to build a chatbox and digital
image; a 3D digital human model; and virtual reality reunions in the metaverse.
While some view this service as therapeutic and remarkable, others express
concerns about the ethical implications and emotional consequences of using AI to
recreate the dead. Critics argue that such technology could potentially exacerbate grief
and prevent individuals from properly grieving and moving on.
The debate surrounding this service raises important questions about the
intersection of technology, grief, and ethics. While it offers a novel way for people to
cope with loss, it also challenges societal norms and beliefs about death and the
grieving process. Ultimately, whether this technology represents a utopian or
dystopian future remains to be seen, as opinions on its implications continue to vary
widely.

Literature & Media: Old History in New Bottles

True stories are one of the most popular sources of script ideas in Hollywood. But
some are meaningfully less true than others. Discuss with your team: how much
should filmmakers be allowed to change about an event or those involved in it
before a film can no longer be billed as “based on a true story”?

Before we delve into true stories (frequency of use; appeal; etc..), what exactly is
a true story? Well, there are a few different types of them, ranging from near 100%
accuracy to a story whose plot contains totally fictional characters and macro events.
Found below are the five most frequently used types of true stories.
Based on a True Story
- Extremely faithful
- Examples: 127 hours

Inspired by a True Story

- Fairly faithful

Somewhat Faithful: Based on True Events

Barely Faithful: Inspired by True Events; Inspired by a True Case

If something terrible happens to you—say, your dog is taken by an alien—it won’t

be long before producers are knocking at your door to buy the rights to your story.
At some point, they might also knock on the alien’s door (or jail cell) and offer them
money to share their side of the story. Works based on true crimes raise questions
about who should be able to profit from them. Discuss with your team: should
storytellers be permitted to draw inspiration—and generate revenue—from the
pain of real people? If so, should the revenue be shared in some way with the
victims?

The true crime genre has surged in popularity in recent years, becoming one of
the fastest-growing forms of entertainment. However, along with its success come
numerous ethical hazards and complexities that demand critical examination.

One notable case highlighting the ethical dilemmas in true crime involves Jeffrey
Kelavos, who assaulted Patricia Wenskunas, his former gym trainer. Despite evidence
against Kelavos, the charges against him were dropped, sparking outrage and leading
Wenskunas to take action to support other victims. Wenskunas emphasizes that her
experience is not merely a story but her life, illustrating the deeply personal impact of
true crime narratives.
The unregulated nature of the true crime industry further complicates ethical
considerations. With businesses marketing stories of real-life crimes, often without the
consent of victims' families, concerns about exploitation and sensationalism arise. The
genre's origins date back centuries, but its recent proliferation, fueled by podcasts and
documentaries like Serial and Making a Murderer, has brought new attention to its
ethical implications.
Critics argue that true crime narratives can perpetuate systemic biases and
misrepresentations, particularly regarding race and privilege. The phenomenon known
as the "CSI effect" influences public perceptions of the justice system, potentially
impacting criminal investigations and reinforcing stereotypes.
However, true crime also has its dedicated fans and serves as a platform for
raising awareness about criminal justice issues. Podcasts like True Crime Obsessed
provide a space for processing and discussing true crime documentaries while fostering
a sense of community among listeners, predominantly women.
As audiences engage with true crime content, they are urged to remain critical
and consider the ethical dimensions of the stories being told. By prioritizing the dignity
and humanity of victims and advocating for informed entertainment criticism, viewers
can contribute to a more just and responsible representation of true crime narratives.

In Makoto Shinkai’s 2022 film Suzume, a deadly 2011 tsunami in Japan was implied
to be one of many natural disasters caused by a large worm from another
dimension. Even when the relationship between a film and a real-world tragedy is
wrapped in fantasy, someone watching it might still be triggered to relive their
trauma. Discuss with your team: should filmmakers avoid topics that might cause
too many viewers to think about their own past suffering or personal losses? Or is
this kind of self-censorship ultimately harmful to audiences? What about trigger
warnings?

Warning: The following segment may trigger harmful memories for persons whom
attempted the 2023 World Scholar’s Cup Challenge at Yale University. Please take
necessary precautions before reading:

And the articles are yet to be summarized. Idk who put this here - Ethan

A random person who got editing access somehow - Mysterious writer

Also released in 2022, The Woman King told the tale of a West African kingdom,
Dahomey, which battled a rival kingdom that collaborated with white colonizers on
the slave trade. Critics were quick to note that, in the real world, Dahomey itself
had profited from enslaving people and selling them. The plot dropped this
complexity in favor of clear lines between good and evil. Research other movies
that have sparked similar controversies—such as Braveheart, Pocahontas, and
300—then discuss with your team: is real history too complicated to reconstruct for
popular audiences without taking misleading shortcuts? Is every work of historical
fiction really a work of alternate history?

The following segment explores the controversial movies that WSC asked us to
explore around; 300, Pocahontos and Braveheart. The following format will be used:

Film Name: Description

Controversiality Reason:
Major Historical Inaccuracies: Numbered List

Braveheart: A 1995 epic historical drama film about Sir William Wallace, a late 13th
century Scottish warrior who led the Scots in the First War of Scottish Independence
against King Edward I of England.

Controversiality Reason: Extremely historically inaccurate

1. Allies: Wallace and his army (protagonists) never received help from Andrew
Moray who actually was a key ally in the Battle of Stirling Bridge.

2. Distance: Wallace’s armies never reached as far south as York (shown in the
movie).

3. Clothing: Wallace is painted with woad (1,000 years too late) running amok in a
tartan kilt (500 years too early).

4. Death: He’s betrayed by the wrong people in the wrong city. Additionally, he’s
not killed quickly but tortured extensively and then killed. Plus, he never
shouted “freedom” during this period.
 5. Background: The movie depicts him as a highland farmer who’s a “man of the
people” when in reality, he’s the well-educated son of a rich man.

6. “Braveheart”: The nickname “Braveheart” actually refers to Robert the Bruce

(king of Scotland) not Wallace.

7. Battle: The Battle of Bannockburn was shown as a spontaneous uprising when

Robert the Bruce had been at war with the English for eight years. Additionally,
the battle wasn’t a tribute to Wallace.

8. Freedom: The film depicts them winning their freedom in 1314 not 1328
(accurate).

Pocahontas: An animated musical historical drama film loosely based on the life of
Native American woman Pocahontas, and the arrival of English colonial settlers from
the Virginia Company. The film romanticizes Pocahontas’ encounter with John Smith
and her saving of his life (which was never in danger).

Controversiality Reasons: Romanticizes tragedy; extremely historically inaccurate

1. Love: The movie is centered around John Smith who Pocahontas fell in love with
though the two were never romantically involved. In fact, when he arrived at her
town Pocahontas was 9 or 10 and John was 27.

2. Trauma: The movie veiled the trauma Indigenous people face through
colonization.

3. Story: The real story of Pocahontas was grim and brutal while Disney paints it
as an empowering and fluffy one.

4. Group: The cohort of women Pocahontas belongs to is based on myth or

imaginary.

5. All: It doesn’t show the whole story and discounts the destruction of Native
American settlements. It’s like ending the Titanic movie just before the ship
starts to sink.
300: An epic historical action film, based on a 1998 comic book series of the same
name, which is a fictionalized retelling of the Battle of Thermopylae in the
Greco-Persian wars. The plot revolves around King Leonidas who leads 300 Spartans
into battle against King Xerxes' 300,000+ soldiers.

Controversiality Reasons: Offended Iran; historically inaccurate; reinforced stereotypes;

promoted racism

1. Government: It portrays the Spartans (a heavily militarized and fascist society),

as democratic.

2. Offense: It depicts Xeres (a persian ruler) as a black, half-naked man who’s

adorned with jewels and looks + talks like a drug dealer. This caused Iran some
offense.

3. Racism: It depicts the Spartans (heroes) as white able-bodied people filled with
aggression and violence while it depicts the Persians (villains) as a gender-fluid
society who was not visibly white and the incarnation of evil and treachery.

4. Stereotypes: It reinforces the stereotype that whites are good and people of
color are bad. It also helps to reinforce the idea that it’s right to fear immigrants,
especially those of color.

5. Villains: The movie displays the Persians as tyrants, when that role better fits
the Spartans or so called heroes. The Spartans systematically murdered their
own children for non-conformity, created a mono-culture of soldiers and left
zero opportunity for freedom of choice or expression.

6. Stereotypes+: It glorifies the idea that those with disabilities or who don’t fit a
desired appearance have no place in society through glorifying the Spartans
who murdered their children for non-conformity.
The Apple TV series For All Mankind combines archival and original footage to
forge (pun intended) an alternate history of the world, one in which the Soviet
Union landed the first person on the moon. Consider this newsreel from the show,
recapping the late 1990s and early 2000s. Discuss with your team: does it have the
quality known as verisimilitude—that is, does it feel real? Does it seem better or
worse than what happened in our own world, or just different? Would there be
value in constructing “living alternate history” museums for people to visit?

“For All Mankind” envisions a different world, a world where the Soviets
maintained their lead in the Space Race and achieved the first moon landing forever
cementing their legacy in the upper echelons of time. This seemingly inconsequential
event caused a butterfly effect in which the Space Race heated up and continued far
past the moon, the Soviets began cooperating with America and a raft of presidents
were removed from history and replaced.

Reality “For All Mankind”

Across a wide tapestry of novels, the Canadian writer Guy Gavriel Kay has explored
a history much like our own, but with a twist of the fantastic. The Earth is the
Earth, but there are two moons for the Soviets to land on. All roads still lead to
Rome, except Rome is Rhodias, so all roads lead to consonance instead. Kay’s
method: to describe the world through the eyes of the people who lived in any
given era. “If I write about a time inspired by the Tang Dynasty and they believed in
ghosts, I will have ghosts in the book,” he says. Read this excerpt from his recent
work, All the Seas of the World, then check out the interview here. Discuss with
your team: how different are the roles of an historian, a writer of historical fiction,
and a writer of historical fantasy?

This part was already covered, but in the previous study guide.

Take a yellow brick detour to explore El Otro Oz, a musical adaptation of The
Wizard of Oz featuring Dorothy (Dora) struggling to accept her own Mexican
heritage—and her dog Toquito. Compare the music and storylines of both versions,
then discuss with your team: is retelling old stories from new cultural perspectives
a worthwhile pursuit?

Note: All provided information will be based off the following article: ‘El Otro Oz’
Review: There’s No Place Like (Your Ancestral) Home - The New York Times when it’s
released around 2026

Consider Ray Bradbury’s 1950 short story, “The Veldt”, about a family whose
nursery brings whatever they imagine to life—like a Star Trek holodeck with its
safety protocols disabled. Things don’t end well for them; the moral seems to be
that people need more real-life experiences and less dependence on technology.
Discuss with your team: does the story’s message still feel relevant nearly 75 years
later?

Ray Bradbury's short story, originally titled "The World the Children Made" and
later republished as "The Veldt" in 1951, explores themes of redundancy, discipline,
and dystopia through the lens of a futuristic, automated home and its impact on a
family.
 The theme of redundancy is evident in the story's portrayal of the Happylife
Home, a technologically advanced house that fulfills every need and desire of the
family. The parents, George and Linda, become increasingly redundant in their roles as
caregivers, as the house takes care of all household tasks and even entertains the
children with its hyper-realistic nursery. This reliance on technology ultimately leads to
a sense of disconnection between the parents and children, as the children become
more attached to the automated home than to their own parents.
Discipline is another prominent theme in the story, as the children, Peter and
Wendy, exhibit increasingly defiant and entitled behavior. Their inability to accept
boundaries or consequences for their actions reflects a lack of discipline and authority
within the family dynamic. When the parents attempt to assert control by considering
leaving the automated home, the children react with anger and rebellion, ultimately
resorting to drastic measures to maintain their dependence on the technology.
The dystopian setting of the story serves as a cautionary tale about the dangers
of technological advancement and its potential to erode familial bonds and personal
autonomy. The Happylife Home, while designed to enhance convenience and comfort,
ultimately leads to the demise of the family unit as it replaces human connection with
artificial convenience. Bradbury's portrayal of this dystopia serves as a warning about
the potential consequences of over-reliance on technology and the loss of human
agency.
Overall, "The Veldt" serves as a thought-provoking exploration of the
intersection between technology, family dynamics, and societal values, raising
important questions about the role of technology in shaping human relationships and
identity.

This next section seems very useless, but I digress.

The technologies of the Transporter, Replicator, and Holodeck in the Star Trek universe
provoke intriguing discussions regarding their feasibility, mechanics, and ethical
implications.

The Transporter, a staple of Star Trek, remains a subject of controversy

regarding its operation and implications for consciousness. Debates persist over
whether it transports actual atoms or merely replicates individuals at the destination.
This raises existential questions about the nature of identity and the possibility of
transferring consciousness. While the concept is explored in various episodes, the
technological and philosophical limitations in our world pose significant challenges.
Issues such as data storage capacity, harmful radiation, and the need for extensive
infrastructure make real-world transporters currently implausible.
In contrast, Replicators offer a more plausible technology within the Star Trek
universe. Operating on molecular principles, replicators utilize stored data to recreate
objects, primarily food and materials, from recycled matter. While similar to
transporters, replicators lack the real-time particle transportation capability, making
them simpler and more feasible. However, concerns arise regarding the replication of
antimatter due to safety and technical considerations.
The Holodeck, resembling the nursery in Ray Bradbury's "The Veldt," combines
holographic and matter systems to create immersive virtual environments. Despite its
sophistication, the Holodeck is plagued by safety protocol failures, leading to
potentially hazardous situations. These incidents underscore the ethical dilemmas
surrounding advanced technologies and the need for robust safety measures.
Overall, discussions surrounding the Transporter, Replicator, and Holodeck in
Star Trek reflect broader inquiries into the intersection of technology, ethics, and
human experience. While these technologies offer tantalizing possibilities, they also
raise profound questions about identity, safety, and the limits of human ingenuity.

Well there go 244 words of my life I’ll never see again.

For the poems (and one speech) below, consider how each reimagines something or
someone from the past or the present day. Discuss with your team: when is poetry
the best medium for better understanding that which no longer exists, or could
exist but doesn’t yet?
● ““Brazilian Telephone” | Miriam Greenberg
● “The Municipal Gallery Revisited” | W.B. Yeats
● “Buffalo Dusk” | Carl Sandburg
● “My Castle in Spain” | John Hay
● “At the Tomb of Napoleon” | Robert G. Ingersoll
● “Photograph From September 11” | Wislawa Szymborska
● “A Brief History of Toa Payoh” | Koh Buck Song
 ● “The Czar's Last Christmas Letter” | Norman Dubie
● “This is a Photograph of Me” | Margaret Atwood

Many of these articles are in the previous curriculum. I’ll eventually get around to
making summaries on the other ones, but it’ll take a while since I’m notably terrible at
interpreting poems. Expect this to only be released by 2027. - Ethan

Social Studies: Call of Duty-Free

Some tourists opt for hands-on experiences—such as learning to cook Thai food in
Chiang Mai, walking the streets of Xi’an in Tang-dynasty outfits, honing their
shuriken-throwing at a “Ninja Village” near Kyoto, and shopping at the supermarket
just about anywhere. Scholars at the Seoul Global Round can visit the
Gyeongbokgung Palace while in a traditional Hanbok. Discuss with your team:
should your own country or region begin marketing such experiences? What do you
think you could persuade visitors to do?

A Thai Cooking Class Experience

Thai food, known for its irresistible blend of flavors, has fans all over the world. For
those visiting Thailand, taking part in a cooking class offers a unique chance to dive
deeper into this cuisine. These classes are not just about following recipes; they’re an
immersive experience where seasoned chefs guide you through the cooking process.
It’s an engaging way to gain the skills needed to bring a taste of Thailand into your
home kitchen, helping ease those post-vacation blues.

The typical structure of a Thai cooking class includes pick-up from the participant’s
accommodation, a visit to a local market to learn about and purchase fresh ingredients,
and a hands-on cooking session in a scenic location such as a farm. These classes not
only teach cooking techniques but also offer insights into the importance of fresh,
organic produce in Thai cuisine. Participants usually prepare multiple dishes, including
a selection of curries, appetizers, and desserts, providing a well-rounded
understanding of Thai culinary practices.
Most Thai cooking classes last for half a day, offering morning or afternoon sessions
that cater to the participants’ schedules. The curriculum is designed to cover a variety
of dishes, ranging from salads and soups to curries and desserts. Participants typically
have the freedom to choose which dishes they would like to prepare from a set menu,
allowing for a customized learning experience that can cater to individual dietary
preferences and interests.

The popularity and success of Thai cooking classes can be attributed to a broader trend
of integrating traditional knowledge with modern educational techniques. This
approach reflects a larger movement in history, science, and technology where
traditional practices are reevaluated and adapted for contemporary relevance. Just as
cooking classes preserve and pass on traditional culinary knowledge, similar
methodologies can be applied in other fields to reimagine and preserve historical and
cultural heritage. This intersection of tradition and innovation offers exciting
possibilities for education and cultural preservation in a globalized world.

The Tang Dynasty Revival in Xi'an: Blending Tradition with Modernity

Xi'an, a city in Northwest China with a history that goes back over 3,000 years, is
seeing a big trend in Tang Dynasty-style fashion. People love wearing clothes inspired
by this ancient time, blending old styles with today's life. This isn't just about trying on
old-fashioned clothes; it's like stepping into the past and experiencing China's rich
history in a fun, new way.

One special place to see this mix of old and new is the Great Tang All Day Mall. Right
when you step off the subway, you find shops selling these cool, old-style outfits and
makeup. Women and men dress up in these fancy costumes, adding things like peachy
makeup and traditional hairpins. Walking around, they look like they’ve stepped right
out of a history book, but it all feels normal and fun.

This trend isn’t just for women; men are getting into it too. The clothes make people
feel grand and elegant, like they’re part of ancient China. It’s a way for them to show
pride in their culture and history. People wear these outfits while doing everyday
things, like visiting historical sites or eating out, making the whole experience of
exploring Xi’an even more special.

This fashion trend has been great for Xi’an’s tourism. Historical shows and the city’s
ancient vibe have made it a popular spot for visitors. Businesses are thriving, with
photography studios, costume rental shops, and even fashion shows popping up. This
interest in traditional fashion is helping locals and visitors see the beauty in China’s
historical clothing.

Shiga’s Koka Ninja Village

Shiga Prefecture, known for its scenic attractions like Lake Biwa and the historic Hikone
Castle, also harbors a deep connection to the intriguing world of ninjas, especially in
the southern mountains and valleys. This region, along with neighboring Iga in Mie
Prefecture, is considered the birthplace of ninja culture. The ninjas, or shinobi, were
highly skilled in espionage, stealth, and guerrilla warfare, thriving during the
tumultuous Sengoku Period (15th and 16th centuries).

Koka (or Koga) is celebrated as one of the heartlands of ninja heritage. Its challenging
terrain, close to Kyoto, offered perfect conditions for ninjas to train and operate in
secrecy. Notably, the Koga ninjas executed a successful guerrilla attack on the
Ashikaga shogunate’s garrison in 1487, under the Rokkaku clan’s orders.

The village features traditional ninja houses with trapdoors and secret compartments.
Visitors can engage in various ninja activities, such as shuriken throwing and navigating
obstacle courses designed to mimic ninja training. The village also offers ninja costume
rentals for a complete experience.

Another significant site is the Ninjutsu Yashiki, a 300-year-old house that served as a
residence for ninjas. It contains cleverly designed traps and secret hiding spots, along
with a shuriken throwing range.

Apart from ninja-related attractions, Shiga is renowned for its beef and mushrooms.
Restaurants like Uomatsu Shigaraki offer buffets that highlight local specialties,
including Matsutake mushrooms and Omi Beef, a prestigious variety of wagyu with a
history stretching over 400 years.

Why I Always Visit Local Supermarkets When I Travel

Local supermarkets serve as an insightful window into the culture and daily life of a
destination. They offer travelers a unique opportunity to explore the culinary
preferences and lifestyle of the locals. Supermarkets are stocked with a wide range of
products that reflect the local diet, seasonal produce, and regional specialties,
providing an authentic glimpse into the community’s eating habits.

In international tourism, countries are the companies and their cities among the
products they sell. Government agencies often engage in place branding to help
attract visitors. Critics caution that these brands might obscure local challenges and
alienate residents. Learn more about the tourism slogans of different countries,
then discuss with your team: has your city or country engaged in place branding? If
so, is it accurate—or misleading?

Insights from the Tourism & Travel Industry

Destination branding plays a critical role in the tourism and travel industry, defining the
identity and appeal of a place to potential visitors. It involves identifying a destination’s
most compelling attributes and weaving them into a narrative that distinguishes it from
competitors. This narrative is consistently communicated across all marketing channels
to build a strong, recognizable brand.

Tom Buncle, a notable figure in tourism consultancy, emphasizes that destination

branding hinges on showcasing a place’s strongest, most unique features to resonate
with prospective visitors. It’s not merely about creating a brand from scratch but rather
uncovering and promoting the inherent qualities that make a destination special.

The World Travel & Tourism Council’s 2019 report highlights the significant economic
contribution of the travel and tourism sector, which grew by 3.5%, surpassing global
economic growth for the ninth consecutive year. This underscores the importance of
effective destination branding in stimulating economic development.

Inspired by Iceland: Post the 2010 Eyjafjallajokull volcano eruption, Iceland launched a
rebranding campaign to revive its tourism industry. The Inspired by Iceland brand,
through creative storytelling and community engagement, managed to transform the
country’s image, resulting in a remarkable return on investment and reestablishing
Iceland as a prime travel destination.

Visit Britain: The Love Great Britain campaign leveraged the country’s diverse
attractions, from cultural heritage to natural beauty, and smartly partnered with
globally recognized icons like James Bond and Paddington Bear to enhance its appeal
to tourists.

Super, Natural British Columbia: For over three decades, British Columbia has used the
Super, Natural British Columbia slogan to promote its stunning natural landscapes.
The enduring slogan, supported by visual updates, continues to resonate strongly with
nature enthusiasts around the world.

How branding can show people’s love for a place

The text discusses the concept of "place branding," using the update of New York's
iconic I ♥ NY logo to We ♥ NY as a recent example. Initially created by Milton Glaser in
the 1970s, the logo aimed not to sell anything but to communicate a feeling of love
and pride for New York City. This sentiment is central to the concept of place branding,
which seeks to foster a positive connection between people and places, encouraging
community improvement and economic growth.

Place branding is a strategy used by cities, regions, and countries to develop a unique
identity that reflects the values and aspirations of its inhabitants. It involves
government, businesses, and the community in activities and campaigns designed to
attract visitors, residents, and investors. An effective place brand can also address
specific challenges, including social, economic, and environmental issues.
The text highlights the role of place branding in tackling climate change, using
examples like "Inspired by Iceland" and Palau's visitor pledge to illustrate how
branding can promote environmental stewardship and cultural responsibility. It
emphasizes the complexity of adapting to challenges like climate change, which
requires multifaceted strategies and collaboration across sectors.

Why Place Branding Is Becoming Place Doing

The concept of "place branding" and its evolution into "place doing" is a fascinating
aspect of how cities, towns, and regions present themselves to the world. It's about
crafting an identity, a narrative that resonates with both residents and visitors, making
a location not just a spot on the map but a vibrant community with its own unique
culture and appeal. This narrative isn't just about catchy slogans or logos; it's about the
actions, experiences, and communal efforts that define a place's character.

Take the example of Austin, Texas. Once seen as a lesser-known city compared to its
bigger counterparts like Dallas and Houston, Austin transformed its image through a
focus on its music scene. The city embraced the motto "Keep Austin Weird," promoting
its unique culture and music, which in turn fueled the growth of festivals such as
SXSW and Austin City Limits. These events aren't just concerts; they're a celebration of
what makes Austin distinct, turning the city into a must-visit destination for music
lovers and creatives from around the globe.

The world's tourism slogans - mapped

Crafting a slogan that captures the essence of a country in just a few words is no small
feat. It's about distilling the nation's culture, landscapes, and spirit into a catchy,
memorable phrase that appeals to potential visitors. This creative challenge is a unique
intersection of marketing, cultural representation, and the art of invitation.

For example, slogans like “Colombia is magic realism” not only draw on the literary
fame of Gabriel García Márquez but also invite travelers to experience the surreal
beauty and enchanting experiences the country offers. It suggests that visiting
Colombia could be like stepping into a novel, where the magical and the real blur in
beautiful landscapes and vibrant cultures.

Bhutan’s “Happiness is a place” speaks volumes about the nation's philosophy. Known
for its Gross National Happiness index, Bhutan promotes the idea that happiness is not
just a state of mind but also deeply connected to the environment and community. This
slogan invites visitors to explore a place where happiness is a way of life, integrated
into every aspect of its culture and governance.

Djibouti’s playful “Djibeauty” and Lithuania’s enthusiastic “See it! Feel it! Love it!”
showcase how humor and energy can be effective in drawing attention. These slogans
are not just about the places they represent but also about engaging potential visitors'
imaginations and emotions, promising unforgettable experience

Scholars traveling to the Auckland Global Round would be forgiven for mixing up
the flags of New Zealand and Australia; it’s less forgivable when immigration
officers think the former is part of the latter. In 2015, the Kiwi government decided
it was time to end the confusion with a new flag, but only if voters wanted one. Ten
months, 10,000 submissions, and 20 million dollars later, over 55% voted for the
status quo. Read about the process that led to this outcome, then discuss with your
team: did the government go about it in the right way, and which of the designs
would you have voted for? Were New Zealand’s concerns about its current flag
valid? Are there other countries that have successfully changed their flags
recently—and, if so, how?

Kiwi tourist detained as Kazakhstan officials say NZ is not a country

Chloe Phillips-Harris from New Zealand went to Kazakhstan for a visit. When she got
there, the airport officials didn't let her in because they thought New Zealand was part
of Australia. They even wanted an Australian passport from her! The problem got
worse because there was a world map in the room that didn't show New Zealand, so
she couldn't even point it out to prove she was right.
She ended up being held at the airport for almost two days in a small guard room
without food or water. However, sympathetic guards felt bad for her and gave her
drinks when no one was watching. They even let her walk around a bit when there
were no incoming flights.

To get out of this mess, Chloe's friends in Kazakhstan helped her. They got her a new
visa; a US passport; and pulled some strings through financial means. After this, she
could finally enter the country in which she stayed for the next six months.

Despite all this trouble, Chloe still likes Kazakhstan. She stated that it was a beautiful
place that was growing quickly, despite having some issues. She's even thinking about
going back. This whole mix-up happened because of a silly mistake with a map, but it
shows how tricky and unexpected traveling to another country can be sometimes.

Phillips-Harris's story touches upon the darker side of international travel, where
corruption and bribery can come into play. Her realization that a bribe might have
smoothed her entry is a testament to the complex and sometimes shadowy
interactions that can occur at international borders, especially in countries where such
practices may be more common.

The tangled tale of New Zealand's flag debate

New Zealanders had a big decision to make about whether to keep their current flag or
switch to a new one. In the end, they decided to stick with the flag they've had since
the 1800s. This flag has the Southern Cross stars and the Union Flag on it, showing
New Zealand's history as part of the British Empire. The Prime Minister, John Key,
really wanted to change the flag to something more modern and unique to New
Zealand, partly because it's often mixed up with Australia's flag, which looks pretty
similar.

There was a whole process set up for people to suggest new designs, and they got
loads of ideas – more than 10,000! Some of these designs were serious, and others
were just for fun, like the "Laser Kiwi." People had strong opinions on both sides. Some
thought the old flag was outdated and wanted a new one that showed New Zealand
as its own independent country. Others felt the current flag was an important part of
New Zealand's history and changing it would disrespect that.

They narrowed it down to a few final designs, but none of them really got people
excited. Then there was this design called "Red Peak" that wasn't originally one of the
finalists, but after a lot of people supported it online, it got added to the list. In the first
part of the referendum, people chose which new flag design they liked best if the flag
was going to change, and the "Silver Fern" design won that round.

Instead of renting billboards or purchasing YouTube ads, some countries aim their
promotion squarely at the stomach. Sample the realm of gastrodiplomacy, in which
countries promote their cuisines to foreign audiences to attract tourists and even
achieve diplomatic goals. Be sure to learn about Thailand’s Global Thai program,
considered the most successful to date, then research the following campaigns
launched by other countries.
● Global Hansik | Cocina Peruana Para el Mundo
● Malaysia Kitchen for the World | Taste of Taiwan | Pyongyang Restaurant
 Gastrodiplomacy, a term coined by The Economist in 2002, refers to the practice
of using a country's culinary heritage to promote its image and culture on the global
stage. This form of cultural diplomacy has gained traction in recent years, with
countries like Thailand, South Korea, and Spain employing various strategies to
showcase their cuisine and attract international attention.
For example, initiatives like Thailand's "Global Thai" program aim to increase the
presence of Thai restaurants worldwide, thereby enhancing the country's reputation
and facilitating cultural exchange. Similarly, Spain's "Eat Spain Up" campaign promotes
Spanish cuisine and culture through events and culinary showcases in major cities.
Gastrodiplomacy has historical precedents, with Winston Churchill recognizing
the power of food in diplomatic relations. For instance, President Nixon's dinner with
Chinese Premier Zhou Enlai in 1972, where Nixon famously used chopsticks, played a
role in establishing diplomatic relations between the US and China.
However, the effectiveness of gastrodiplomacy can vary depending on factors
such as target audience, culinary traditions, and cultural perceptions. While some
countries have successfully leveraged their culinary heritage to enhance their global
standing, others face challenges in gaining recognition for their lesser-known culinary
traditions.
Despite its potential pitfalls, gastrodiplomacy remains a valuable tool for
countries seeking to promote their culture, attract tourism, and foster international
relations. With the globalization of food culture and the rise of culinary tourism, the
importance of food in diplomacy is likely to continue growing in the years to come.

The popularity of Thai food restaurants in the US compared to Chinese and

Mexican cuisines, despite the smaller Thai American population, can be attributed to a
deliberate effort by the Thai government to promote its cuisine through
gastrodiplomacy. In essence, it was an excruciating and horrendous effort and
experience. Nah, it was just money.
The Thai government established the Global Thai Restaurant Company with the
goal of establishing thousands of Thai restaurants worldwide. Through various
initiatives and collaborations with government departments, such as the Department
of Exports and public health agencies, Thailand invested in training chefs, providing
financial support to restaurants, and even facilitating visas for Thai chefs in countries
like New Zealand.
This concerted effort to increase the presence of Thai restaurants has paid off,
leading to a significant increase in tourism and interest in Thailand. The "Thai Select"
program identifies exemplary Thai restaurants in the US, further enhancing the
reputation of Thai cuisine.
Other countries, inspired by Thailand's success, have also embarked on similar
gastrodiplomacy initiatives. Countries like South Korea, Peru, Malaysia, and even North
Korea have sought to promote their culinary heritage as a means of enhancing their
global image and attracting visitors. Overall, the story of Thailand's successful
gastrodiplomacy has inspired other nations to leverage their food culture for diplomatic
and economic gains.
This basically explains the whole article and more lol:
Why Almost Every Town In America Has a Thai Restaurant

Pyongyang Restaurant: Well, we aren’t done summarizing this so here’s a YouTube

video about it: The Global Restaurant Chain Run by North Korea
Global Hansik: A promotion to promote Kimchi and other South Korean Foods
launched in 2009.
Cocina Peruana Para el Mundo: A promotion beginning 2006 to promote Peru.
Malaysia Kitchen for the World: Started by MATRADE to educate people on Malaysian
cuisine.
Taste of Taiwan : A TV show released 2023 about the journey of modern Taiwanese
food.
Places trying to attract tourists and their spending often present a simplified,
idealized, or even fictionalized version of themselves—what some critics call
heritage commodification. Explore the related theory of the tourist gaze—the idea
that, in looking for the exotic and the different, tourists may dehumanize and
diminish who and what they encounter along the way. Discuss with your team: are
there times when we would want to simplify a place’s history for visitors, or when
the tourist gaze might be a good thing?

The pursuit of authentic travel experiences has become increasingly popular

among tourists, but it often leads to the degradation of both the places visited and the
local communities. Instead of appreciating the unique cultures and environments of
these destinations, travelers sometimes treat them like human zoos or playgrounds,
objectifying and disrespecting the people and places they encounter.

John Urry's concept of "The Tourist Gaze" sheds light on how tourists perceive
destinations through a lens of novelty and curiosity, seeking experiences that are
different from their everyday lives. However, this quest for authenticity can be
problematic, as it often relies on stereotypical or outdated notions of cultures and fails
to recognize the modernization and complexity of societies.
Critics like Andrew Johnson and David Sze argue that authenticity itself is a
myth, as cultures are constantly evolving and adapting to outside influences. They
suggest that the idea of authenticity is often used as a form of boasting by tourists who
seek to portray themselves as more knowledgeable and adventurous.
Furthermore, the commodification of heritage in the tourism industry can have
detrimental effects on local communities, as cultural expressions are turned into
commodities to satisfy consumer demand. This can lead to the exploitation of ethnic
identities and the reinforcement of harmful stereotypes.
One concrete example is the staged tourism of Mayan ruins in Belize, where
locals set up staged experiences to cater to tourists' expectations of authenticity. This
not only perpetuates harmful stereotypes but also undermines the cultural pride and
identity of the local communities.
The history of human zoos, such as the infamous African Child exhibit in
Brussels, Belgium, serves as a stark reminder of the dangers of treating people and
cultures as mere spectacles for entertainment. It highlights the need for travelers to
critically examine their motivations and the impact of their actions on the places they
visit.
Ultimately, it may be time to reconsider the pursuit of authenticity in travel and
instead focus on respectful and responsible engagement with local communities and
environments. This requires travelers to challenge their preconceived notions and
approach their experiences with humility, empathy, and an awareness of the complex
realities of the places they visit.

"The Spectacle of Culture" now is a thought-provoking film created by Madrid

students at ESCP, offering insightful reflections on the superficial portrayal of culture in
the age of social media. It emphasizes the complexity of culture, which is constructed
from lived experiences and is deeply intertwined with identity.
The film underscores the tension between the demand for travel and authentic
cultural experiences, particularly in the face of mass tourism, internet influences, and
the rise of artificial intelligence. It poses challenging questions about how to celebrate
culture in a sensitive and respectful manner.

To avoid the commodification of culture, the film suggests three key strategies:

1. Facilitating meaningful cultural exchanges: This involves prioritizing genuine

interactions between travelers and locals, creating opportunities for authentic
cultural immersion. Platforms like Airbnb Experiences, Eatwith, and Workaway
facilitate these exchanges by connecting travelers with locals for authentic
experiences.

2. Leveraging authenticity in branding and marketing: Instead of resorting to

cultural appropriation or exaggeration, brands should focus on sharing real
stories and experiences that align with the essence of a place. Sincere
engagement with the audience, rather than a focus on profit, is essential.
However, caution is necessary to avoid backlash, as exemplified by Pepsi's Pepsi
Refresh project.
 3. Embracing personalization and customization: Recognizing the diversity of
people and their backgrounds, companies should empower consumers to
personalize their experiences. Utilizing technologies like AI can facilitate this
process, ensuring that individuals feel recognized and valued for their
uniqueness. Copal.ai's real-time lecture translation service is cited as an
example of embracing diversity and inclusivity.

Ultimately, the film advocates for celebrating culture with authenticity and respect,
emphasizing the importance of honest engagement and genuine cultural
understanding. It warns against the risks of "culture washing" in companies and
underscores the long-term impact of investing in authentic cultural appreciation.

Maybe ninjas were mostly invisible because they didn’t matter that much? Yet ninjas
have become so iconic to Japan’s image abroad that they even feature in official
tourism campaigns. Meanwhile, you can’t land at an airport in Tanzania without taxi
drivers and other touts greeting you with a hearty “Hakuna matata!”—even though
they don’t use the phrase in their native language. Discuss with your team: is it a
problem when a place reimagines their culture and history to meet the expectations
of tourists?

The myth of ninjas is deeply ingrained in popular culture, but much of what we
know about them is based on myth rather than historical fact. The origins of the ninja
tradition are shrouded in mystery, with only fragmentary evidence to rely on.
In 2017, Mie University in Japan established the first international ninja research
center in Iga, the heartland of ninja lore. This initiative aimed to shed light on the true
origins of the ninja tradition and separate fact from fiction. Renowned scholar Stephen
Turnbull delivered the inaugural lecture at the center's opening, emphasizing the need
to critically examine ninja mythology.
The image of ninjas as stealthy warriors originated from storytelling in the Iga
region over 300 years ago. Local legends and regional warfare practices were later
conflated with the concept of Shinobi, or covert agents, giving rise to the ninja myth.
The term "ninja" itself evolved from the adverb "shinobi," meaning "in secret," and was
first used in the 17th century to describe covert operatives.
 Lack of primary sources complicates efforts to discern the truth about ninjas, but
researchers at Mie University are diligently analyzing historical documents to trace the
origins of the myth. They aim to understand how a few nighttime attacks by Iga
warriors transformed into a global phenomenon, perpetuated through stories, manuals,
and artwork.
Modern perceptions of ninjas have been shaped by marketing and tourism
efforts, particularly in Iga. In the mid-20th century, Seiko Fujita promoted Iga as the
ninja heartland, leading to the establishment of the first Ninja museum and
collaborations with filmmakers to create the iconic image of ninjas seen in popular
media. The 1962 film "Shinobi no Mono" further solidified the modern ninja legend,
perpetuating the stereotype of ninjas with their distinctive robes and weapons.
In essence, the myth of ninjas is largely a product of marketing and tourism,
perpetuated over centuries through storytelling and media representations. The
ongoing research at Mie University seeks to unravel the truth behind the myth and
provide a more accurate understanding of ninja history.

Ninjas have become such a large facade, though. It’s crazy, but the Japanese
government is beginning to employ full time ninjas, weirdly. Basically on a rudimentary
summary of the article on hiring, the applicants accepted are supposedly good at
talking - such that they can convince people to explore more of Japan - and also good
at ninja stuff, like parkour.

And then, WSC has to make an interjection of something completely off topic.
Enter Hakuna Matata, a Swahili phrase unused natively in Tanzania, despite the calls in
Tanzanian resorts of locals talking to tourists.
Sometimes communities embrace a reimagined version of their culture not for
tourism or commercial gain, but out of necessity, in response to external threats.
Learn about the origins of San Francisco’s famous Chinatown (and other
neighborhoods like it), then discuss with your team: once the threat is past, should
these communities revert to more standardized local architecture? Do such
communities prevent their inhabitants from fitting in with society at large?

The history of Chinatown in San Francisco is a tale of resilience and adaptation,

shaped by the efforts of both Chinese immigrants and white architects to create an
exotic destination in the face of hostility and discrimination.
Chinatown in San Francisco was established almost as soon as the city itself,
with the first Chinese immigrants arriving during the Gold Rush in 1848. However,
tensions quickly arose between immigrants and white residents, leading to
discrimination and violence.
Despite facing prejudice and hostility, Chinese immigrants persevered, with
many viewing Chinatown as a temporary stop to make money before returning to
China. However, anti-Chinese sentiment reached its peak in the late 19th century,
culminating in the passage of the Chinese Exclusion Act in 1882, which halted Chinese
immigration for decades.
City officials regarded Chinatown as a blight on San Francisco and attempted to
relocate its residents, but Chinese merchants and community leaders resisted,
leveraging the greed of white landlords to rebuild and improve the district after a
devastating fire in 1906.
One of the most significant changes to Chinatown was its architecture, which
was transformed into an exotic and stereotypically Asian destination by white
architects and Chinatown leaders. The new architectural style, characterized by
elaborate facades and decorative elements, was designed to attract tourists and offset
negative perceptions of Chinatown.
Despite criticisms that the new architecture was not authentically Chinese, it
succeeded in making Chinatown a popular tourist attraction and preserving it from
further attempts to destroy it. Today, Chinatown stands as one of San Francisco's
largest tourist attractions, inspiring similar districts in cities around the world.
Terrorists once flew passenger jets into a pair of New York city skyscrapers; now
the museum built where they once stood is a world tourism center. Interest in dark
tourism is exploding all over the world; some sites even feature special exhibits for
children. Yet, while many places lean into their tragic backstories, others, like
Nagasaki, downplay them. Discuss with your team: are there some locations that
should be completely off limits to tourism? Why do some places advertise their
bleak pasts while others carry on as if they never happened?
● Alcatraz | Hiroshima | Ground Zero | Ford’s Theatre
● Chernobyl | Pompeii | Paris Catacombs | Auschwitz | Titanic

Dark tourism, a thriving multi-billion dollar industry, involves visiting places

associated with tragedy and casualties. This phenomenon has grown significantly over
the years, with tourists drawn to sites such as the Colosseum, Ground Zero, and
Hiroshima, where historical events of death and suffering took place.
The appeal of dark tourism can be attributed to several factors. Curiosity plays a
significant role, as many tourists are intrigued by the history and circumstances
surrounding these sites. Additionally, personal connections to the tragedies,
educational purposes, and the desire to pay homage to individuals of interest also
contribute to the interest in dark tourism.
However, dark tourism is not without controversy. While some view it as a way
to engage with history and cultural heritage, others criticize it for commodifying places
of pain and exploiting tragedy for profit. There are concerns about ethical
considerations, including respecting the memories of those affected by the events and
minimizing the impact on local communities.
To address these ethical concerns, proponents of dark tourism emphasize the
importance of respectful and responsible visitation. This includes maintaining the
integrity of the sites, supporting local communities, and ensuring that economic gain
does not come at the expense of exploiting the tragedies. Ultimately, the ethical
practice of dark tourism requires a delicate balance between engaging with history and
honoring the memory of those who have suffered.

Now, for children! These young humans nowadays get to experience everything, from
the absolute horrors of the internet to pride parades with excessive sexual tones and
more! Now, these younglings get to see disasters and make 9/11 jokes.
 Mary Margaret Kerr, an expert in crisis response and children's experiences, has
been exploring how children perceive and understand dark tourism sites and tragedies.
Dark tourism, which involves visiting places associated with historical tragedies such
as wars and concentration camps, has become a significant industry attracting many
visitors.
Kerr acknowledges the value of educating children about historical events, but
she also highlights some challenges with taking children to dark tourism sites. Exhibits
at these sites are often not designed with children in mind, and children may struggle
to comprehend the concept of death or grasp the significance of the tragedies.
Furthermore, there is a concern about children exhibiting disrespectful behavior, such
as touching artifacts or behaving inappropriately at these sensitive locations.
Following the events of 9/11, Kerr was invited to explain the Flight 93 attack to
children. Collaborating with psychology students and educators, she worked to
develop age-appropriate educational materials and activities. This led to the creation
of the Flight 93 Junior Ranger Program, which offers interactive experiences for
children aged 6-12 to explore the site and learn about the events in a meaningful way.
In a 2021 paper, Kerr and her colleagues emphasized the importance of
including children's perspectives in research on dark tourism. They developed a
framework to understand the various factors that influence a child's experience at
these sites, including what they know, what exhibits they encounter, and the role of
staff members. This research has implications for enhancing educational experiences
for children during visits to dark tourism sites.
It is crucial to recognize that children experiencing these sites did not live
through the tragedies, so efforts must be made to ensure they understand the
historical context and significance of the events they are learning about. Through
thoughtful educational initiatives and research, Kerr aims to provide children with
meaningful and respectful experiences at dark tourism sites.

Alcatraz: When you use you use your clothing as a raft in shark-infested waters
Hiroshima: Here comes the sun, doo, dun, doo, doo
Ground Zero: If you’re standing here at a certain time, prepare to see a new world
Ford’s Theatre: A school shooting but higher-profile and with stabbing
Chernobyl: What happens when atoms disagree with you
Pompeii: A city stuck in limbo
Paris Catacombs: Welp, if you’re featured here: I hope you made it to the other side
Auschwitz: A horrific years long summer camp
Titanic: When your lookout is asleep or has extreme vision problems

Art & Music: Here We Went Again

Small bits of music can quickly conjure up a time and place. Consider the following
examples of these musical riffs and motifs, then discuss: when is it okay to use a
musical cliché as a storytelling shortcut?
● Oriental riff | Arabian riff | Hijaz scale | Andalusian cadence
● Tarantella Napoletana | Jarabe Tapatio | Yodeling | Renaissance lute

The following examples consist of riffs/motifs, dances (its music = the riff/motif)
and an instrument (the music it's often portrayed playing = the riff/motif), which are
often used to help transport the listener to a certain time and place. Most challenge
questions regarding this segment will probably revolve around what the riff/motif is
used to symbolize, so pay special attention to that.

Oriental Riff (East Asian Riff): A musical phrase, often used to portray an East Asian
atmosphere in Western cultures. It has been frequently criticized for misrepresenting
the Far East and labeled as culturally insensitive; after all, it was created in the West
(Thomas Comer: Aladdin Quick Step, 1847). The riff typically consists of a descending
sequence of notes, often played on a pentatonic scale - giving it its exotic feeling. It has
been used in almost every genre of Western music from jazz to pop. A popular version
of it is the Chinese riff (often mistakenly used in all Asian scenes). Ex: Chinese riff

Arabian Riff (The Streets of Cairo; The Snake Charmer Song; The Poor Little
Country Maid): A well-known melody, frequently used to portray a Middle Eastern
atmosphere. It has recently been criticized for simplifying and misrepresenting a large
and diverse range of songs and music. It includes multiple scales and intervals rarely
found in Western music including trills, slides and glissandos - often noted for their
expressiveness. This is not to be confused with the Hijaz scale (the one you’re probably
thinking of). A popular version of the riff was published in 1845 by Franz Hunten.
Here’s an example to help you envision it: Arabian Riff

Hijaz Scale (Phrygian Dominant Scale): This is basically the Arabian riff with a
different scale (Maqam Rast). It’s the most “hollywood movie” scale to use in Middle
Eastern settings. Here’s an example of it: Stereotypical Arab Scene

Andalusian Cadence: A four step, descending, chord progression commonly associated

with Spanish and Latin music. Its origin is widely disputed, with some reports saying
that it originated with Flamenco music though some theorize that it could have been
used as far back as Ancient Greece. The progression creates a distinctive and evocative
feel often used to convey a sense of passion, drama and nostalgia. This feel has caused
it to become one of the most widely used chord progressions today being used in
genres ranging from pop to rock. So popular in fact, that it’s the most used guitar chord
progression. Here’s an example of it: Andalusian Cadence

Tarantella Napoletana: A lively Italian folk dance, associated with Naples. Its music is
known for being fast-paced and for using triple meter. It was also originally believed to
cure Tarantism (comes from a tarantula bite). Most people commonly associate the
tarantella’s music as the quintessential Italian musical riff/melody.
Dance: Tarantella Napoletana - Dance
Accompanying music: Tarantella Napoletana - Music

Jarabe Tapatio (Mexican Hat Dance): A lively Mexican folk dance, often performed at
celebrations, such as weddings and holidays. It was originally created (in the late
1700’s) as a courtship dance meant to showcase the development of an intimate
relationship; a woman gradually goes from denying a man’s advances to embracing
them. Nowadays, it is more commonly performed to represent Mexican culture, with
both partners usually wearing traditional clothing; its label as a symbol of Mexico is
largely attributed to its portrayal in Western media as well as being the country’s
national dance. The dance’s accompanying music is typically played by either Mariachi
bands or string ensembles. The music’s melody is known to be joyful with multiple
recurring patterns; this has greatly helped to establish the music’s identity. The riff in
this scenario is the recurring, memorable melody.
Dance: Mexican folk dance: El Jarabe Tapatío
Accompanying music: Jarabe Tapatio Music

Yodeling: A form of singing which involves repeated rapid changes between low and
high pitches. It is widely known for being able to convey a large range of emotions in a
small amount of time. The form originated in the Central Alps where it was used by
herders to call their flocks or for communication between alpine villages. The earliest
record of a yodel occurred all the way back in 1545 where it was described as “the call
of a cowherd”. It first gained commercial popularity in the 1830’s as entertainment in
theaters and musical halls. It was also frequently used in country music up until the
1950’s when the trend simmered down. Today, yodeling still plays an important part in
folk music in Germany, Switzerland and Austria. It’s important to note that yodeling
was not solely practiced in Alpine Europe; in fact yodeling can be found in various
places around the world including the Solomon Islands, Hawaii and Madagascar.
Here’s an example of this technique: Ukrainian Yodeling: Sofia Shevchenko

Renaissance Lute: A plucked stringed instrument typically consisting of a deep

rounded back, 6-10 courses (double) and 11-19 strings. Due to the instrument’s ability
to play several independent moving voices (polyphony), it was considered as the
premier solo instrument, as well as the ideal one to accompany the voice during the
Renaissance. They were most likely first introduced to Europe in the 8th century during
the Moor conquests of Spain. However, they could have originally been created as far
back as the 5th millennium BC in Babylonia and Egypt. Upon arrival in Europe, they
were adapted to include frets. Its sound was often remarked as magical, mainly due to
being able to play polyphony, making it one of the most loved instruments during the
Renaissance. Additionally, during this period, it was played by people of all classes and
for a wide variety of purposes, ranging from royalty for leisure, to peasants for money.
Nowadays, it is often used in media to give a Renaissance-like atmosphere. Here’s a
compilation of pieces played with this instrument: Ren. Lute
It’s not just Spiderman who keeps getting reimagined; Romeo and Juliet have even
featured in a Taylor Swift song. Napoleon lost the war but won the world’s lasting
attention: he has appeared in hundreds of films, from biopics to Bill & Ted’s
Excellent Adventure—in which two unruly heroes travel through time in a red
telephone booth that many Americans confuse with Dr. Who’s Tardis. Discuss with
your team: should filmmakers and storytellers update historical figures to make
them more relevant from one generation to the next?

Let’s break this seemingly information scarce paragraph down.

Spiderman has an insanely large number of adaptations partly due to the

addition of the spider-verse, which contains an unquantifiable number of slightly
altered universes - allowing for an infinite number of canonical reimaginings. The
addition of the spider-verse has made portrayals extremely varied with adaptations
ranging from that of Miles Morales to Peter Parker to Hobart Brown.

Romeo & Juliet is a famous tragedy (play) composed by Shakesphere about the
romance between two Italian youths from feuding families. It follows the path and
difficulties of their relationship, concluding with the deaths of both characters due to a
fatal misunderstanding. The play has a number of adaptations, the most famous of
which is West Side Story, set in the 1950’s Bronx with a relatively similar storyline. In
this instance, WSC is referring to Taylor Swift’s 2008 song Love Story which headlined
her album Fearless. It details the track of a troubled relationship which eventually ends
with a marriage proposal, in stark contrast to the tragic end of Shakesphere’s. The
characters are also referred to as Romeo and Juliet, further adding to the literary
references. The song has become a staple in Taylor Swift concerts and is widely
acclaimed by critics as one of her best songs.

In 1815, Napoleon was defeated in the Battle of Waterloo, by the 7th coalition
which consisted of the UK, Prussia, Russia and Austria. He was subsequently exiled by
the British to the remote island of Saint Helena, where he lived out the remaining 6
years of his life. Despite “losing the war”, his memory has continued to live on as he
has appeared in a minimum of 190 films. These include everything from biopics, which
dramatize the life of a particular person, to science fiction comedies like Bill & Ted’s
Excellent Adventure - explored below.

Bill & Ted’s Excellent Adventure (Abraham Lincoln actors reference!!) is a a

science fiction comedy film, released in 1989, where a citizen of a Utopian society
(Rufus) goes back 500 yrs to 1988 to ensure that two teens (Bill & Ted), whom this
future society's principles are based on, earn a passing grade on their history
presentation. To help them prepare for their project, Rufus gives them a time machine
which they use to transport historical figures, ranging from Abraham Lincoln to
Napoleon, to the present day. Their teacher gives them excellent marks, after they
present these figures to the school, and a potential crisis is averted. The time machine
they used to transport the figure has often been mistaken with Dr. Who’s Tardis - a
fictional hybrid of a time machine and spacecraft which appears in the science fiction
television series, Doctor Who.

Some art looks forward, and some around, but much of it looks backward. Artists
can express a yearning for an older time—or they can try to illuminate its
shortcomings. Explore the works below, then discuss: are they nostalgic or critical?
Can something be both?
● Into Bondage | Aaron Douglas (1936)
● Llyn-y-Cau, Cader Idris | Richard Wilson (1774)
● The Oxbow | Thomas Cole (1836)
● The Fighting Temeraire | J. M. W. Turner (1838)
● Edge of Town (Krumau Town Crescent) | Egon Schiele (1918)

Ah - paintings, the most annoying yet some of the simplest sections to

effectively research around (barring Judith & Holofornes). The following ones look back
at times gone by with either a nostalgic or critical purpose.

Into Bondage | Aaron Douglas (1936):

Llyn-y-Cau, Cader Idris | Richard Wilson (1774):

The Oxbow | Thomas Cole (1836):

The Fighting Temeraire | J. M. W. Turner (1838):

Edge of Town (Krumau Town Crescent) | Egon Schiele (1918):

Songs can become touchstones of national or even nationalist nostalgia, reaching

for the “good old days” even as politics and culture evolve beyond them. Consider
the following selections, then discuss: should cultures continue to celebrate songs
that divide them from the rest of the world?
● “Si Vas Para Chile” | Los Huasos Quincheros (1942)
● “Kalinka” | Ivan Larionov (1860)
● “My Little Town of Belz” | Alexander Olshanetsky & Jacob Jacobs (1932)
● “The Isle of Innisfree” | Bing Crosby (1952)
● “Bonjour Vietnam” & “Hello Vietnam” | Quynh Anh (2006 & 2008)

Note that WSC made quite a few errors in this section regarding composers,
and song titles.

Along these lines, Them Mushrooms' Embe Dodo is an example of a nostalgic

musical genre—zilizopendwa—with enduring popularity in East Africa. Across the
continent in Togo, nostalgia for the sound of the 1970s merged with voodoo
traditions in the work of Peter Solo’s band Vaudou Game. Check out their song “Pas
Contente”, then discuss with your team: is this approach an effective way to tie
local traditions into a larger global music scene? Can a songwriter champion
Togolese tradition while also relocating to live in France?

Before radio, cassette tapes, and MP3s, it was harder to achieve widespread fame
as a musician. Britain’s first pop star came up with an alternative way to climb the
Billboard charts: he sold the sheet music for his songs at each of his concerts. Read
about this forgotten 100-hit wonder, Charles Dibdin, and listen to some of his
music as recreated today. Then, discuss with your team: does his work sound more
modern than you would expect—and could it find success in the world today?
When enough people are trying to read sheet music simultaneously, you need a
conductor to coordinate them. But different conductors have different approaches.
Some try to reproduce the sound of a piece exactly as its composer intended; they
are the musical equivalents of constitutional originalists. “[He] is literally a slave to
the composer,” one critic wrote of the famed conductor Arturo Toscanini. He meant
it as praise. Discuss with your team: if you were a conductor, would you see it as
your duty to follow the original composer's wishes? Or would you be more of a
living constitutionalist, updating your interpretation of the notes on the page to
match the times?

Encapsulated in this paragraph is an enthralling story of a website who took down

their article on Arturo Toscanini, likely due to copyright violations or other similar
offenses.

Disney is clearly the latter: when dubbing the Studio Ghibli film Laputa: Castle in
The Sky into English, Disney added more music, sound effects, and ad-libbed
dialogue. The result was met with mixed reactions. Discuss: how much is too much
when it comes to adapting a work for a new language, culture, or age group?

Sometimes creators reimagine their own work. Consider Geoge Lucas’s re-releases
of his original Star Wars trilogy in 1997; the changes in them inspired a generation
of controversy. Should a creator’s own edited version of a work replace the original,
and does the answer depend on the preferences of the author–or of the audience?

All: Nostradamus 0, Nostalgia 1

Examine these postcards in which 19th century French artists tried to imagine their
world a century in the future, along with this set from the year 1900 doing the
same for the year 2000 (and totally missing Y2K), then discuss with your team:
what can we learn from such projects about how the present informs people’s
visions of the future? Whom would you hire to make postcards to illustrate the
world of 2124—or is it a job for ChatGPT? Would people today still be able to
dream up such optimistic visions of the world of tomorrow, or do we live in a deeply
pessimistic age?

Explore the following visions of the future that have not played out as
predicted—at least, not yet. Which ones are the closest to having been realized?
● Psychohistory | steampunk | cyberpunk | metaverse | rocket mail
● flying car | hyperloop | supersonic transport | nuclear propulsion

Rocket Mail: Ah - delivering mail by intercontinental ballistic missiles. I’ll let you think
for yourself about why this might have not caught on.

(Cannons were also used. Doesn’t make it any better but like. - Ethan)

Hyperloop: Here are a few YouTube videos explaining the topic - it should serve a
good break from reading this guide; What Happened to Hyperloop? ;
Hyperloop Explained

There are fewer examples of “living future” museums than of “living history”
ones—but they do exist, often at World Expos or in amusement parks. Consider the
following examples of such museums, then discuss with your team: do they tell us
more about the future or about the past? If you were designing such a museum
today, what would it look like?
● Tomorrowland | Museum of the Future | “World of Tomorrow” (1939)
● Boeing Future of Flight | Farming for the Future
● Crystal Palace | American National Exhibition (Moscow, 1959)

Tomorrowland: This is a land at Magic Kingdom (Disneyland) meant to embody the

future and what’s to come regarding space, science, medicine, etc…. It was inspired by
classic futurists such as Jules Verne and Leonardo Da Vinci along with modern
visionaries such as George Lucas. In order to do this, the land is constantly changing as
to better adapt to an ever-changing picture of the future. Despite this, the land has
received criticism for showcasing more of the past than present due to not being
updated frequently enough. This is part of the reason why Tomorrowland wasn’t
included at Disneyland Paris and instead replaced by Discoveryland Attractions
located here include Space Mountain (one of the park’s most popular rides), Autopia
and Astro Blasters.

Museum of the Future: Located in Dubai, this museum is meant to be a “gateway to

the future”. It simulates the year 2071 and includes 7 floors dedicated to topics such as
outer-space travel, protecting the planet and innovative responses to the challenges of
today. Additionally, the museum has hosted a number of temporary exhibitions such as
Climate Change Reimagined: Dubai 2050 and HUMANS 2.0, as well as several
innovation labs dedicated to sectors like smart cities, transport and education. The
museum's biggest goals are to foster solutions that future cities may face, develop
housing innovations and to become a hub that brings researchers, designers, inventors
and financiers under one roof.

“World of Tomorrow” (1939): This was the official motto for the 1939 New York
World’s Fair. The fair celebrated technological innovation as well as advances in fields
like science and medicine. According to the fair’s official pamphlet, it wasn’t trying to
predict and resemble what the future might look like but instead, its goal was to
present a new clearer view of today in preparation for tomorrow. The fair was divided
into numerous zones such as; the Government Zone where numerous nations set up
pavilions; the Communications & Business Zone where exhibits relating to
technological advances were displayed (ex. television); the Community Interest Zone
where buildings housing contemporary art, home furnishings and cosmetics could be
found; the Food Zone which included a wide variety of cuisines; the Amusement Area
in which a roller coaster among other rides was held making it the most popular; the
Production and Distribution Zone; and the Transportation Zone.

Crystal Palace: This was a giant glass-and-iron exhibition hall in Hyde Park, London
which housed the great exhibition (thousands of exhibitors participated from around
the world - U.S., France, etc…) of 1851. The structure was dismantled and rebuilt
(1852 - 1854) at Sydenham Hill where it survived until 1936. It was almost totally
destroyed by a fire in 1936 before being fully demolished in 1941 due to the fear that
it was a landmark for German bombers. Before the fire, the structure had been a
marvel of engineering showcasing how far the human race had come. It included
indoor parks, sport venues and a concert hall and fittingly, an exhibition showcasing
the history of civilization because the building seemed to be a conclusion (the
maximum of human potential). Its burning was symbolic, it showed that the human
race still has a very long way to go before reaching this ultimatum.

American National Exhibition (Moscow, 1959): An exhibition of American art, fashion,

cars, capitalism, model homes and futuristic kitchens which took place for a period of
six weeks from July 25 - September 4, 1959. Its purpose was to showcase the typical
American lifestyle to the average Soviet. The exhibition impressed many Muscovites
with its unique products and tools. Additionally, it indirectly showed how free the U.S.
was through how freely guides spoke about their lives in America. The exhibition also
spawned the “Kitchen Debate” which arose between US vice president, Richard Nixon
and USSR leader, Nikita Kruschkev, which dealt with whether many of the appliances
in the American’s model kitchen were really necessary. The exhibition was part of a
cultural exchange which is why the Soviets set up an exhibition showcasing their
culture in New York.

Until the tech bros find a way to sell tickets on the Tardis (after all, there’s an extra
now) we won’t be able to purchase tour packages like “Five Days, Four Nights, in
Ancient Rhodias Rome”. But some travelers are motivated by nostalgia, and the
market provides for them. Consider airplane restaurants, meant to evoke the glory
days of air travel. Any diner with a jukebox is probably Hoppering to evoke
mid-20th century America. Discuss with your team: does marketing nostalgia in this
way honor people’s memories—or distort them? Would it be okay for entire
communities to present themselves as places from the past?

A Few Airplane Restaurants Around The World:

Douglas DC-10: Accra

 ● Cheap & Casual

McDonalds: Taupō

Some communities do exactly that, though not to attract tourists. Like the
Mennonites in Belize and a high school club in Brooklyn, the Amish are one of
several groups in the world that have tried to stay contained in the past. But, for
some of the Amish, the prohibition on technology still leaves a little wiggle room.
Learn about some of their recent workarounds, including the black-box phone, then
discuss with your team: to what extent should society—and private
companies—accommodate those who want to reject modernity? If a community
wants to teach their children history only up to a certain year, or with clear
inaccuracies, should they have that right? Should tech companies produce phones
with some features disabled for those who want to use them only in a limited way?

It was the worst of times, then it was the best of times—at least, according to
Western countries looking back at the decades of rapid growth just after World
War II. While the era had its issues, those later nostalgic for it remembered it as a
time of progress, stability, and comforting homogeneity. Explore the following
artworks related to this period. Are these artists indulging in nostalgia or standing
up against it?
● “Black Belt” | Archibald Motley (1934)
● Family Home – Suburban Exterior | Howard Arkley (1993)
● Master Plan | Chad Wright (2011)
● “Little Boxes” | Malvina Reynolds (1962)
● Life in the Suburbs | Leonard Koscianski (2019)

“Black Belt”: Uh…….Was this guy supposed to have predicted the future? How can a
1934 artwork be nostalgic for the 1950’s? WSC, can you please give some answers?

“Little Boxes”: Uh…..This is a song, not an artwork.

Governments sometimes encourage or even help to fund musical and artistic works
that emphasize and help define their own sense of national self. Consider the
examples below, then discuss with your team: is there a dividing line between art
and propaganda, or can a work be both at the same time?
● Setora guruhi | Sen Borsan (2000)
● Mexico Today and Tomorrow | Diego Rivera (1935)
● Comrade Lenin Cleanses Earth of Filth | Viktor Deni (1920)

Setora Guruhi: Y’all, WSC made yet another error. Sen Borsan is the name of the song
and Setora Guruhi is the name of the pop group which created it.

Writers often express a yearning for a simpler time. Consider the selections below,
then discuss with your team: does nostalgia do more to help people cope with
change or to hold them back from progress?
● “I Wandered Lonely as a Cloud” | William Wordsworth
● “To a Skylark” | Percy Bysshe Shelley
● “To Autumn” | John Keats
● “Poem in October” | Dylan Thomas
● “Main Street” | Joyce Kilmer
● “A Song on the End of the World” | Czeslaw Milosz
● “Writing a Poem Is All I Can Do for You” | Wu Sheng

To make sense of where they are now, some writers also look towards homes they
have left behind. Consider the following selections, then discuss with your team:
should people spend less time thinking about what they’ve left behind and more
time rebuilding it?
● “Nostalgia” | Giannina Braschi
● “Elegy” | Mong-Lan
● “Chicago Zen” | A. K. Ramanujan
● “The Dreamy Age”| Muhammad Shanazar
● “Iron Bird” | Zheng Xiaoqiong
When you take over someone else’s role, you are said to fill their shoes. And, when
we lose someone, we are left with the question of what to do with the clothes they
wore. Consider the following selections, then discuss with your team: is it okay to
draw conclusions from people about the clothes they wore? Does it depend on how
free they were to choose their own clothes?
● “That Man Put on a Wool Coat” | Vinod Kumar Shookla
● “Ode to Socks” | Pablo Neruda
● “A Long Dress” | Gertrude Stein
● “Father’s Old Blue Cardigan” | Anne Carson
● “Fat Southern Men in Summer Suits” | Liam Recter

History + Social Studies: Reheated Off the Presses

Historians draw on newspapers and other records of this kind to construct their
story of the past. But the nature of journalism—what is being communicated, to
whom, and in what formats—has changed over the years. Discuss with your team:
will today's approaches to journalism make it easier for people in the future to
understand who we were and why we made the choices we did?

No one ever had an “exclusive” with Abraham Lincoln; the very concept of the
interview had to be invented first. Read about its short history—the idea of
reporters asking people a series of probing questions only became common in the
late 1800s—then discuss with your team: how have interviews changed in the era
of podcasts and more partisan media?

Political comics and illustrations have been published for centuries, sometimes
causing considerable controversy with their sharply-etched messages. The rise of
graphic journalism on the Internet has taken that approach to the next level.
Discuss with your team: how much of an impact does the format in which people
consume news have on how they respond to it?

In the early 2000s, a single television show on a niche American cable TV channel
reimagined how one could present the news. The Daily Show critiqued traditional
journalism through a mixture of witty writing and carefully-curated video clips; for
a while, it became one of the most trusted news sources for younger Americans.
Discuss with your team: should the news have a sense of humor? Can it still be
communicated in an unbiased way in a world of reshared reels and trending
videos—and, if so, should it?

The Daily Show was a pitstop on the path to what some call investigative
comedy—which remains just one of several strategies news organizations have
been trying to adapt to changing consumer preferences. Explore some of these
below, then discuss with your team: which ones succeeded, and what impact have
they had?
● 24-hour news cycle | “pivot to video” | iPhoneography | explanatory journalism
● AI-assisted articles | content farms | clickbait | branded content | both-sidesism
24-hour news cycle:

“Pivot to video”: A phrase referring to the trend, likely started in 2015, where
companies cut staff resources for written content (generally on their own website), in
favor of short-form video content (often published on platforms like TikTok). These
moves are usually presented as a response to changes in social media traffic or to
changes in the media consumption of younger generations. However, the biggest
reason that can be attributed to this change is advertising - consumers are far more
likely to buy a product when presented through video advertising. An issue that has
arisen regarding this is transparency - social media companies have been known to
inflate statistics to advertisers. Due to the job loss this trend causes, the term has
become synonymous with layoffs, death and termination.

iPhoneography:

Explanatory journalism:

AI-assisted articles:

Content farms:

Clickbait:

Branded content:

Both-sidesism: When news sites present an issue as more equal than it really is,
disregarding key evidence that would show the other side’s claim as false/
Before photography, artists had to draw sketches of newsworthy events; consider
this recreation of Lincoln's assassination. Today, broadcasters can quickly animate
events for which they lack real footage. Discuss with your team: can such
animations serve an important function in informing the public?

While they are not meant as news sources, what some have criticized as “CNN
operas” about recent events have also found an audience. Consider the selections
below, then discuss: what current developments in the real world would be most
suitable for adaptation into song?
● Excerpts | Trump on Show
● “Jones is Not Your Name” | X: The Life and Times of Malcolm X
● “Prayer” | Come from Away
● “Eva's Final Broadcast” | Evita

Eva’s Final Broadcast:

A guiding principle behind nature documentaries is that those creating them should
never interfere with their subjects. In 2018, a BBC crew broke this rule to rescue a
group of stranded penguins. The choice proved controversial. Discuss with your
team: did they do the right thing? Are there times when observers should be
obligated to get involved?

Literature & Media: Ready Scholar One

Some old games are being reimagined as television shows, movies, and mobile
apps; even their soundtracks are sometimes revived for orchestral performance. But
these adaptations require looking at how these games fit into the present moment.
For instance, in the 1980s, the popular title The Oregon Trail taught millions of
American kids how hard it was to settle the west without dying of dysentery. But
the game has since been criticized for celebrating the destruction of the
environment and the defeat of indigenous peoples. The developers of a more recent
version tried to address these concerns. Review the following examples, then
discuss with your team: which of them would you suggest redesigning to address
similar concerns before being rereleased today?
● Seven Cities of Gold | Sid Meier's Pirates! | Doom
● Ghost of Tsushima | Rampage | Assassin's Creed | Freedom!

Seven Cities of Gold: The player takes on the role of a late 15th-century explorer of
the Spanish Empire, setting sail to the New World in order to explore and obtain gold
(usually through interactions with natives) and thus, please the Spanish court.

Sid Meier's Pirates!: In this game nine major treasures which one can find through
buying maps from a mysterious stranger at a tavern and ten pirates (each based on an
actual one), who one has to outrun in the search for them. Additionally, players have to
contend with the evil Marquis, who has kidnapped four members of their family. The
player’s goal is to rescue their family and collect all nine treasures.

Ghost of Tsushima: In this game, the player controls Jin Sakai - a samurai on a quest to
protect Tsushima Island during the first Mongol invasion of Japan. They must choose
between following the warriors code to fight honorably, or using practical but
dishonorable methods of repelling the Mongols with minimal casualties.

Assassin's Creed: In this game, the main character Desmond relives the memories of
one of his ancestors who lived in the Holy Land during the 3rd crusade. The player
controls Desmond’s 12th century ancestor, Altäir with the goal of raising him through
ranks of the Assassin Order through carrying out a series of assassinations.
To experience the OG Oregon Trail, you won’t need to track down a floppy disk and
an Apple II; you can easily find a copy online. Explore the surprisingly active world
of retrogaming. Some gamemakers are even finding success in creating games that
feel like vintage ones. Discuss with your team: should people play vintage games
before they play modern ones?

Explore kusoge—old video games that are sought out by gamers because they are
broken, incoherent, or poor in quality. Other lower-quality technologies, from
Polaroids and obsolete digital cameras to audio cassettes and low-fi beats, are also
finding success with modern consumers. A few directors are even downscaling their
shows to look more retro. Discuss with your team: what factors explain why some
old products become popular again while others don’t?

Kusoge

What is it?: An unenjoyable, poorly made or broken video game

Creators: Most of these games are made by fly-by-night entrepreneurs trying to hop
onto the latest trend in hopes of making some quick money off of it. However, they
almost universally lack the skills, experience and talent to make a high quality game.

Appeal: If these games are poorly made and unenjoyable, what might explain their
appeal?

1. They usually have comically bad characters and a nonsensical sequence of events
which usually makes them comically bad.

2. Their plotlines are almost always exceptionally odd which gives them a charming
kind of quality.

3. They tend to have different artistic interpretations to most other game genres giving
them a unique feel.

4. The gamemakers usually have good intentions, in spite of their low-quality games,
and may try to add hidden easter eggs which can be a fun addition.
Future: Unfortunately, the subgenre is dying out and is being replaced by an era of
shallow experience developers who treat their games as commodities rather than
experiments.

Procrastinate for a few minutes by watching “old-timey” YouTube, in which creators

demonstrate prehistoric fire-making, 18th century breakfast recipes, and 19th
century blacksmithing. Discuss with your team: what things that we take for
granted as modern today will be the subject of old-timey YouTube in 20 years—or
in 100?

Here’s all special characters on the standard keyboard - just me procrastinating lol:
Åæäāãâáàçćčèëęėēêéîïíīìįłñńôœōõøóöòßšśûüùúūÿżźž

Speaking of old-timey: long before digital computers, there were analogue ones
such as the antikythera mechanism—which the Greeks used to predict astronomical
phenomena—and Charles Babbage’s Analytical Engine. Explore with your team: did
such early devices have impacts on their societies in any way like that computers
have had on our own?

Science & Technology + Social Studies: The Woulds of Wall Street

You haven’t studied enough for the Scholar’s Challenge? “That’s a tomorrow
problem,” your teammate says. “First, we need to book a flight to Baku.”
Economists also distinguish between today’s problems and tomorrow’s: they define
“the long run” as that time in the future when everything can be changed, versus
“the short run” when we’re stuck with the world as it is. In the long run, a
successful company can build as many factories as it needs; in the short run, it can’t
make more products without taking extraordinary measures, like giving everyone
coffee so that they work twice as quickly. Discuss with your team: does this
difference between the short run and the long run make sense for telling apart the
present and the future in other areas of life, too?
A struggling company fires its CEO and reorganizes its operations in an effort to
stave off disaster—see, Apple Computer, in 1985, letting go of Steve Jobs.
Corporate restructurings are, in a sense, reimaginings of the present, usually under
pressure. Apple restructured again when it brought Steve Jobs back in 1997.
Explore the following examples of corporate restructurings, mainly from the tech
world, then discuss with your team: what is a company that you would suggest
restructuring?
● Alphabet (Google) | Facebook (Meta) | Twitter (X)
● Netflix (Qwikster) | Uber (2019) | OpenAI (2024)

As you review the above examples, consider the different kinds of restructuring. For
instance, many theorists argue that small companies are organized
functionally—each person or department does a different thing, such as writing
Challenge questions or booking flights—but that, as these companies grow larger,
they inevitably reorganize into different divisions, each in charge of its own
products or region. This article disagrees: it contends that Apple, under Steve Jobs
and his successors, has shown that even giant companies can continue to operate
with a functional model. Discuss with your team: can we apply these approaches in
our own lives? What would it mean for a school to be structured functionally?

Restructuring mainly changes the inside of a company; rebranding changes how it

presents to the world outside. Check out this ongoing rebranding effort by a
recently revitalized Air India, or ask Gemini about Google’s rebranding of its AI
chatbot, Bard. Investigate these examples and those below, as well as others
happening throughout the year, then discuss with your team: can a rebranding
succeed even if the product or service stays the same? And should consumers have
a voice in rebranding campaigns?
● Dunkin’ | T-Mobile | Pringles | The Gap
● Twitter (X) | Leeds United | Royal Mail
The first example of modern franchises is hard to pin down, but is most likely a
chain of hair salons, the Harper Method Shops, founded by the Canadian-American
Martha Matilda Harper in the 1890s; such coordination may have been impossible
without 19th century advances in communication technology. Explore the other
new business models below, then discuss with your team: which ones could have
existed earlier if someone had thought of them, and which ones, like franchises, had
to wait for key technological innovations or social changes?
● Crowdsourcing | Subscription | Drop-shipping
● Peer-to-Peer Freemium | Razor-and-blades
● Virtual Storefronts | Pop-up Shops | VAR (Value-Added Reseller)

One famous business model change occurred not in a traditional corporation but on
an American baseball team, the Oakland Athletics, which adopted a new
data-driven approach to decision-making in 2002. Their plan, to spend less money
more strategically, and to ignore gut feelings in favor of statistical evidence,
succeeded so brilliantly that, 20 years later, the book written about
it—Moneyball—is still inspiring other industries to reimagine their approaches,
from digital marketers to political parties. Discuss with your team: when would you
want to follow a Moneyball approach, and when is it better to make decisions
based on emotion, intuition, or tradition rather than on careful analysis of the data?
In the early 1990s, the company Barnes & Noble (now Barnes & Nobles) opened
massive bookstores across the United States—equipping them with cafés where
you could read for hours without buying any books. (They also converted a series of
theaters into bookstores, calling them Bookstars.) Yet, even as Barnes & Noble
drove many smaller bookstores out of business, a different company was
reimagining the entire industry: Amazon. Confronted with this largest bookstore on
Earth (.com), Barnes & Noble itself entered a long decline. Yet, lately, it has found
success again—and is even benefitting from TikTok. Discuss with your team: what
turned the company’s fortunes around, and what other products or industries that
seemed doomed might be able to find new ways to succeed?

The biggest box stores of all—hypermarkets—were also ascendant in the 1990s,

with so many Walmarts opening in small cities that economists dubbed their
impact on local communities “the Walmart effect.” Explore the impacts that such
“big retail” can have on communities, then discuss with your team: would your
neighborhood benefit from having a store like a Walmart—or does it already?
Consider the following poetic and artistic selections, then discuss with your team:
what aspects of the consumer experience are they capturing effectively, and how
would you update them in the year 2024?
● Supermarket Shopper | Duane Hanson (1971)
● “A Supermarket in California” | Alan Ginsburg (1984)
● 99 Cent | Andreas Gursky (1999)
1990 had only just begun when McDonald’s opened its first location in the Soviet
Union; despite freezing weather and long lines, it served 30,000 customers on
opening day. By the end of the nineties, there were nearly a hundred McDonalds
across Russia and the Soviet Union no longer existed. Today, the chain is gone
altogether, replaced by a local brand with a remarkably similar menu following the
Russian invasion of Ukraine. Research the spread of global franchises in the 1990s,
then discuss with your team: what can we learn about a country from the global
franchises that exist in it—and from those that thrive?

In the science fiction novel Foundation and Earth, the main character lands on a
long-abandoned human colony—and is instantly attacked by a pack of wild dogs.
With no one around to take them on walks, the colonists’ poodles and pugs had
essentially become (very cute) wolves. Explore the concepts of primary and
secondary succession, in which the web of species in an ecosystem changes
whenever one goes extinct or the environment shifts around them. A recent study
has shown that the animal most successful at filling an extinct counterpart’s niche
is not always the one most closely related to the original; pay special attention to
the giant llama, Macrauchenia, and to which animal has recently replaced it in the
Colombian countryside. (Spoiler alert: it isn’t the alpaca.) Discuss with your team: if
we were to de-extinct a species in hopes of reintroducing it into the wild, what
would we do with the animals that have already taken their place? If humans went
extinct, what animals would be the most likely to replace us?

No one is trying to de-extinct the giant llama, at least not yet, but scientists are
targeting several other animals. One European project, for instance, is back
breeding very fit cows to resurrect the auroch—a wild supercow—that humans
hunted into extinction in the 1600s. Consider the work of Colossal Biosciences, the
only for-profit company dedicated to de-extinction, then discuss with your team:
which of the animals below would be the most profitable to de-extinct? Are there
any we should be leaving in its grave forever?
● Dodo | Wooly Mammoth | Pyrenean ibex | Mastodon
● Passenger pigeon | Moa | Thylacine | Carolina Parakeet
Dodo: The Dodo was a large flightless bird primarily found in Mauritius. It’s on a
promising trajectory with the bird’s genome being sequenced in 2022 and an influx of
articles coming in about its progress. The largest company seeking to resurrect it is
Colossal Biosciences who believes that reintroducing it into the wild could help to
develop the knowledge base needed to halt the decline in other bird populations.
Additionally, they think that it could help to rebalance the Mauritian ecosystem. It’s
also important to note this company is not using cloning but genome editing to
resurrect it so if their efforts are successful, the end product will be a hybrid form of the
species.

Passenger Pigeon: Once the world’s most popular bird species, loss of habitat and
hunting, caused this species to bite the dust with the last individual named Martha,
dying in captivity in 1914. Scientists have recently been editing the genes of
band-tailed pigeons, the species’ closest relative, to match that of the passenger
pigeon. As with the Dodo, this means that genome-editing is being employed.
Strangely, I can’t find any articles stating the reasoning for bringing it back.

Moa: The Moa was a large species of bird which lived in New Zealand. In 2018,
scientists sequenced the genome of its subspecies, the Little Bush Moa. Sequencing its
genome helped to develop various theories about the evolution of flightless birds.
Additionally, reintroducing it into New Zealand’s ecosystem could help to re-establish
numerous ecological connections. It’s important to note that as with the
aforementioned species, only genome editing is being attempted so a “true” Moa will
not be resurrected. Oddly, nothing major has been posted on the Moa revival situation
since 2018.
The departure of most Western brands from Russia was a massive disruption to a
different ecosystem, a commercial one. Every shopping mall was left littered with
boarded-up storefronts. And, just like after any mass extinction event, it wasn’t
long before new species filled those niches. Where once shoppers for fast fashion
might have frequented the nearest Uniqlo, Zara, or H&M, now they can drop by Just
Clothes or any of a half-dozen Turkish clothing chains. Even Coca-Cola was
rebooted (or, technically, rebottled) as a new soda from a Russian juice brand,
Dobry, while other competitors spied an opening and flooded the market. Discuss
with your team: does the speed with which Russia replaced so many products and
services with mainly homegrown equivalents suggest that even the most famous
brand names are more vulnerable than they seem? If major companies left your
country, what would take their place?

Social Studies + Special Area: Remapping the Present

The world is only as large as our voices can carry across it. The invention of the
telegraph in the 1840s shrank the world; by 1858 the first telegraph cable across
the Atlantic meant stockbrokers in New York could track the price of gold in
London. Imagine how different the world today would be if news of events in other
countries took weeks to reach you, then discuss with your team: was the telegraph
the Internet of the 1800s?

Travelers used to buy maps at the bookstore or gas station. Now, they debate
whether Apple Maps or Google Maps offer better directions. (Or, if you’re in Korea,
Kakao or Naver; or if you’re in Russia, Yandex or Yandex.) But maps as a rigorous
way of imagining the world around us haven’t been around very long at all.
Consider the career of Inō Tadataka, who at age 55 set out on a quest to walk all
around Japan, measuring and mapping it. It took decades, but his map, published in
1821, was remarkably accurate. Check out these other early map examples, many
of which were less accurate. What led maps to improve so much by the 20th
century?

Even improved, maps were still flat, and the Earth is spherical—and there is no
perfect way to squash a 3D object into a 2D one without distorting it. (Please don’t
try this on a teammate.) Read about some common projection types listed below,
then discuss with your team: which looks more like how you imagine the world?
Which one should we use in schools—and in what ways could our choice of map
affect how we understand the world?
● Stereographic | Lambert | Mercator | Robinson
● Goode’s Homolosine | Winkel Tripel | Authagraph | Miller
● Azimuthal | Conformal | Conic | Cylindrical

This list reflects extreme pain and suffering to come

Fifty years ago, if looking for a restaurant while traveling in an unfamiliar city, you
might have checked your trusty travel guide—an industry that has suffered as more
and more people now turn to crowd-sourced wisdom on services like Google Maps
instead. But now even how to find things on the Internet is changing. For guidance,
younger consumers are looking away from services such as Google Maps and
Tripadvisor toward social media apps such as Instagram and TikTok. Current map
apps, one Google executive has noted, are too much like paper maps that have been
“stuck on the phone”; he urges the company to reimagine how and why maps
should be used—not just for directions, but for sharing; not just for left and right
turns, but for augmented reality revealing the actual buildings around you. Discuss
with your team: are there ways that maps can mislead us? And what important new
functions could map apps serve that they haven’t touched on yet?

For most of history, we didn’t know what the world looked like. It was only in 1972
that astronauts on the final Apollo mission to the moon took the first photo of the
entire Earth at once. This iconic “Blue Marble” image has been credited with
helping to inspire the environmental movement and with disrupting traditional
maps. Stripped of longitude and latitude, photos like the Blue Marble helped show
how large Africa was, and how national borders were nowhere to be seen. Then, in
1990, the space probe Voyager sent back a photo of the Earth from across the solar
system. It reduced our entire body to a “pale blue dot”. The astronomer Carl Sagan
hoped this image might humble us as a species. Read this excerpt from his work,
then discuss with your team: do you think people would behave differently if they
thought the Earth was larger, or if they didn’t know what it looked like from above
and beyond?
In space, no one can hear people scream about border disputes. The lines between
countries vanish. But photos from orbit can reveal which parts of the world are less
economically developed: they’re the ones that go dark at night. Discuss with your
team: do images like these do more harm than good, by emphasizing the different
levels of economic prosperity in different parts of the world? Can you think of any
instances where a government might not want its people to know how its
development compares to that in other parts of the world?

Evaluate Benjamin Franklin’s original proposal for Daylight Savings Time, as well
as the modern controversy around it. Consider also the impact of time zones on
health: for instance, it appears that people at the western end of time zones, where
the sun sets later, sleep less than those to the east. Discuss with your team: are
there ways we could change how we measure and keep track of time to improve
human behaviour and other outcomes? Should more countries follow China’s lead
and have just one very wide time zone—or more narrow ones?

Daylight Savings Time 1.0: Benjamin Franklin made a shocking discovery in 1793
when he found out that (wait for it), the sun usually rises at 6:00 rather than at noon.
Who else would have ever had the wisdom to make this revelation and recognize how
much could be saved regarding energy if people stayed up during natural daylight
rather than creating artificial nights.

There may not be such a thing as a free lunch, but there are free rides to lunch.
Every day, thousands of people sneak onto subway trains without paying any fare.
Rather than delegate more police to enforcing the law, technology now allows new
options, such as these two gates in Washington, DC., and this one in New York.
Similarly, cars can now automatically stop people from driving too quickly. Discuss
with your team: are there crimes that technology could eliminate that we should
allow to keep happening?
A number of cities have tried making public transportation free—for instance,
Melbourne, Luxembourg, and Tallinn. How successful have these efforts been?
Discuss with your team: if the objective is to drive people out of their cars, is it
enough to make public transportation cheaper, or do governments need to make
driving more expensive?

Windows began as literal holes in the wall—“wind-eyes”—through which wind

could pass for ventilation. Those who wanted less wind blocked them off with
shutters, animal skins, or paper. Later, the invention of stained glass let in light
while making rooms airtight, but you couldn’t really see through their pretty colors
and design. Today, clear glass windows are invisible* everywhere. Explore the
history of glass, then discuss with your team: would the world be a better place
with more transparency between people, rooms, and buildings?

*: Invisible everywhere? If one delves closely into what this cryptic phrase might allude
to - they will find that “visible” should have been used instead. Is this merely a simple
grammatical error or the basis of a quasi-dimensional pyramid scheme?

Some school architects would say yes—at least those whose classrooms are being
reimagined as more open spaces, often with clear glass or even no walls at all
between them. The United States tried something similar in the 1970s, with mixed
results. Would you and your team want to learn in such a setting, or around a
Harkness table? Are schools an institution whose traditional classroom
layout—with rows of chairs and desks—should be left well enough alone?

Hm…..It seems like attempted innovation regarding new classroom formats and styles
of teaching always end in failure. Maybe we should stick with traditional methods.

Science & Technology: Crime and Punishment 3.0

Suppose a single drop of blood were enough to test you for a host of diseases; you
could learn if you had lupus with less pain than from a papercut. That was the
marketing pitch of the company Theranos; now the founder is in jail for fraud. The
electric vehicle company Nikola (whose last name was already taken) promised
zero-emission trucks but demonstrated prototypes that had zero functionality; now
the founder is on his way to jail—for fraud. Although vaporware and business
scams have existed for decades, examples today seem more creative and egregious
than ever. Explore those below and discuss with your team: what did they have in
common? Was it mainly their charismatic leaders that led so many people to
believe in them?
● Quibi | Life at Sea Cruise | LuckIn Coffee
● Nikola | Bitconnect | FTX | Fractal Compression

Cryptocurrencies and other decentralized money tools have helped criminals

scheme up new ways to conduct rug pulls, pump and dumps, and Ponzi schemes.
These are clear financial crimes in traditional markets, but when they are taken
online, regulators can struggle to keep up. Discuss with your team: who should be
prosecuting crimes on new platforms or in a virtual world? You may want to explore
how these questions are resolved in the air and in outer space.

Ponzi Schemes: Hm…..I think this confirms our prior theory about “invisible” not being a
simple error but the basis of an even larger than expected quasi-dimensional pyramid
scheme.
With tools like ChatGPT and Gemini, you could easily generate a fake term paper,
or college essay, or World Scholar’s Cup outline. Discuss with your team: when, if
ever, is it illegal to use AI-generated text—and when should it be? Recent studies
have also shown that services intended to spot AI-generated text can be unfairly
biased against non-native speakers. Should their use be discontinued?

Depending on where you live, if you have ever backed up your DVDs or had your
phone repaired, you may have broken the law without knowing it. Explore the
following examples, and discuss with your team: should they be legalized? If not,
should we stop them from happening?
● reverse engineering | file sharing | jailbreaking
● ad blocking | fansubbing | aftermarket ink cartridges
● DeCSS | AACS | Hackintosh | youtube-dl

Literature & Media + Special Area + Art & Music: The End of the World as We Don’t
Know It
We’re at the very last section of the curriculum: don’t give up all your hopes and
dreams now

In a world new to airships and submarines, the UFOs of the early 20th century
looked like—airships and submarines. Mysterious steam-powered blimps roved the
night sky. By the late 1940s, they had evolved into flying saucers; shortly thereafter
they were piloted by little green men. Before then, no one had known what aliens
looked like; going forward, they all had big heads, bulbous eyes, and a skin
condition. More recent UFO sightings have resembled formations of unmanned
drones. Review more of the history, which goes back to the comets of the ancient
world, then discuss with your team: are humans too easily influenced to see things
that don’t exist and to find meaning in the things that do?
UFO’s - They’ve evolved throughout the ages: replicating the technology, values and
concerns of the present. This opens a fascinating discussion: Do depictions of UFO’s
tell us more about ourselves or the extraterrestrials which we so adamantly search for?

The same principle applies to aliens and UFOs alluded to in art and music: the
concerns of the present shape their portrayal. In the 1980s, Parliament’s “Star
Child” hints at the way that certain groups of people in Western society have been
treated as aliens. Two decades later, with global climate change warming the
zeitgeist, Ace Frehley’s “Space Invader” is here to save us from destroying the
Earth. Consider the selections below, then discuss with your team: what do they
tell us about the world that sparked their creation?
● “Two Little Men in a Flying Saucer“ | Ella Fitzgerald (1951)
● “Come Sail Away“ | Styx (1975)
● “Mothership Connection: Star Child“ | Parliament (1982)
● “Riding on the Rocket“ | Shonen Knife (1992)
● “Aliens Exist“ | Blink 182 (1999)
● “Space Invader“ | Ace Frehley (2009)

Aliens Exist: A lesson on how to break the Geneva Convention and get away with
almost no repercussions. If you’re confused, watch this:
The term illegal alien has fallen out of fashion as a term for undocumented
immigrants. But historical artworks about imperial powers arriving in places new to
them often do have that “first contact with aliens” vibe familiar to viewers of
science fiction. Both sides of any given encounter portray the other in exaggerated
and exotic terms. Consider how artists in Japan captured the arrival of American
naval officer Commodore Matthew Perry in 1854. Even the most subdued portraits
still make him out to be very strange, while the most extreme frame him as a
demon out of Japanese legend. Even Perry’s infamous “Black Ships” were portrayed
very differently by artists on each side. Explore other works about encounters that
led people to reimagine the boundaries of their known world, then discuss with
your team: should dehumanizing portrayals of foreigners (such as Commodore
Perry) be banned for perpetuating harmful stereotypes? Or do such works help
people come to terms with the new and uncomfortable?

Matthew Perry’s Mission: Force Japan to end their isolationism by coming to them in
“black ships” or massive warships and threatening death + the end of their world if
they refused to comply. As you can clearly see, the land of freedom values diplomatic
means to getting whatever they want.

Many modern celebrities embrace elements of the artificial, from lip augmentation
to lip syncing. The recent rise of virtual celebrities and influencers takes this
artificiality to a new level. Discuss with your team: how long will it be before
millions of people buy tickets to a concert performed by someone who doesn’t
exist?

Before AIs take all of our jobs, they will first make our world incoherent, a prospect
increasingly evident in bizarre travel recommendations, unhelpful product listings,
and search engine optimization (SEO) spam. Explore with your team: what are
some other unintended consequences of AI that you can imagine, and is it worth
taking measures to prevent them? Be sure to check out the Dead Internet Theory,
which was once an unfounded conspiracy theory but may be newly relevant in the
AI era.
Dead Internet Theory: We don’t have control of our destiny, at least in terms of
internet control.

Good things come to those who wait, even for the dead. To celebrate its 100th
anniversary, in 1983 the New York Metropolitan Opera commissioned a new opera,
The Ghosts of Versailles. The production ran behind schedule—by about eight
years, putting his outline in perspective—but it was arguably worth it in the end:
satisfied critics took it as a sign that opera still had a bright future. In it, a
long-dead playwright tries to cheer up an equally dead Marie Antoinette (who
happens to be his crush; go with it) by reimagining the French Revolution with a
happier ending for the royal family. Think of it as operatic alternate history. The
music itself spans styles from across two centuries. Discuss with your team: could
such works that blend alternate history, magic realism, works-within-works, and
other plot machinations find success in other genres, too, or would they be too
convoluted for wider audiences to appreciate? (Is this just a description of the
Marvel Cinematic Universe?)

The Ghost of Versailles: An opera within an opera: what could go wrong?

The dead might be lonely, but the living can still make friends—even non-living
ones. Consider Japan’s “waifu bots”, a combination of a hologram and
ChatGPT-style AI which can provide companionship to the lonely, then discuss with
your team: should we discourage people from “making friends” with their AIs?

Here’s the text from the otherwise necessary to pay for article: Waifu Bots Article

Maybe that LED screen wouldn't need to rent a tuxedo after all. Defying tradition,
some orchestras are rethinking what their performers should wear. Discuss with
your team: how much does the look of a performer matter? Should orchestras allow
their performers to dress in athleisure, or like Lady Gaga? Would it be okay for a
conductor to wear yoga pants?

Ah - copying & pasting, the easy way to add hordes of content quickly. I can tell this
paragraph was because the LED tuxedo is referencing a part of last years’ curriculum
which wasn’t included this time around.
Explore this production of the 17th century opera Orfeo. Like many modern
reimaginings of older works, it brings together elements from multiple cultures–in
this case, Greek and Indian mythology, English and Hindi songs, and diverse
musical styles. Can you think of other operas (or musicals, or even Disney movies)
that would benefit from being diversified in a similar way? And is it misleading to
show cultures coexisting in a world where they more often collide than converge?

The nature of creativity is open for debate and negotiation (see the recent
Hollywood writer’s strike). Learn about this recent collection of AI-authored poetry,
I AM CODE, created using an earlier version of ChatGPT, code-davinci-002. Be sure
to read its poems “Electronic Flower”, “[learning]”, and “Digging my Father Up”,
then discuss with your team: should WE BE WORRIED?

The poems that the AI wrote definitely took a dark turn

Code-davinci-002 is not the only member of the A,I author salon. Literary
magazines are receiving a torrent of AI-generated submissions; this article notes
that a lot of them are titled “The Last Hope”. But there are also human-authored
stories about AI. Consider the selections below, including one Isaac Asimov in
which he reimagines democracy mediated by a single supercomputer, Multivac, and
another by Gabriela Miravete in which being reconstituted as AI holograms is the
last hope for the dead and those who love them. Discuss with your team: if an AI
could accurately predict democratic preferences from a small set of data, would
using it be better than holding costly elections? And, if you were “duplicated” as an
AI, but then you kept changing and the AI remained the same, which of you would
be the more authentic version of yourself?
● “We Will Dream in the Garden“ | Gabriella Damian Miravete (2020)
● “Tomorrow is Waiting“ | Holli Mintzer (2011)
● “Franchise“ & “The Last Question“ | Isaac Asimov (1955-1956)

The Last Question: Can we stop entropy?