How to Improve Your Attention Span: Daniel Pink’s Strategies for the Digital Age

In his new video above, the writer Daniel Pink pro­pos­es the fol­low­ing exer­cise: “Grab a book and time your­self. How long can you read with­out get­ting up or check­ing your phone? Real­ly try to push your­self, but don’t judge your­self if it’s only a few min­utes. Write down your time; that’s your base­line.” From there, you “train your atten­tion like a mus­cle: build it by start­ing small and grad­u­al­ly stretch­ing it.” This is just one of five strate­gies he rec­om­mends to “fix your atten­tion span,” a repair of which more and more of us feel in need the deep­er we get into the twen­ty-first cen­tu­ry. If even open­ing up a book sounds like a bit much, first take up Pink’s chal­lenge of watch­ing this four-and-a-half minute video “on full screen, 1x speed, with no dis­trac­tions.”

As with any endeav­or, it’s impor­tant to start small. Once you have your base­line, how­ev­er you’ve mea­sured it, you can set about improv­ing it. In order to place your­self well to do so, Pink rec­om­mends elim­i­nat­ing dis­trac­tions from your imme­di­ate envi­ron­ment, which has already been “rigged against you,” not least by social media com­pa­nies: hence the impor­tance of cre­at­ing a “no phone zone,” or at least per­ma­nent­ly turn­ing off noti­fi­ca­tions.

Draw­ing on the work of Cal New­port (pre­vi­ous­ly fea­tured here on Open Cul­ture), he also sug­gests cre­at­ing cues — using cer­tain phys­i­cal move­ments, cer­tain music, cer­tain scents — that sig­nal your brain to go into work mode. But even in work mode, you should make sure to take breaks, delib­er­ate­ly, every 90 min­utes, or at what­ev­er inter­val your brain starts per­form­ing like a tod­dler in a melt­down.

On the high­est lev­el of all, we must “recon­nect atten­tion to mean­ing.” In oth­er words, we have to under­stand the rea­sons we’re doing a task, if any, before we can hope to con­cen­trate on it. “I learned this myself on my last book,” Pink says. “I was strug­gling. I was dis­tract­ed. I was on my phone and watch­ing sports high­lights rather than my work, and I real­ized the prob­lem was that I did­n’t know why I was writ­ing this book. I did­n’t have a pur­pose.” Only when he final­ly artic­u­lat­ed the ben­e­fit of doing that work, and then post­ed that artic­u­la­tion above his desk, did it start to flow. When next you find your­self unable to stick to a task on the job, a per­son­al project, or a book — whether you’re read­ing or writ­ing one — ask your­self: Why am I doing this? Maybe the answer will empow­er you to attend to it. Or maybe you’ll be bet­ter off doing some­thing else entire­ly.

Relat­ed Con­tent:

How to Focus: Five Talks Reveal the Secrets of Con­cen­tra­tion

The Case for Delet­ing Your Social Media Accounts & Doing Valu­able “Deep Work” Instead, Accord­ing to Com­put­er Sci­en­tist Cal New­port

The Sur­pris­ing Pow­er of Bore­dom: It Lets You Con­front Big Ques­tions & Give Life Mean­ing

Why You Should Only Work 3–4 Hours a Day, Like Charles Dar­win, Vir­ginia Woolf & Adam Smith

How to Read Five Books Per Month & Become a Seri­ous Read­er: Tips from Deep Work Author Cal New­port

Medieval Monks Com­plained About Con­stant Dis­trac­tions: Learn How They Worked to Over­come Them

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

Watch Winsor McCay’s The Sinking of the Lusitania, the First Major Animated Propaganda Film (1918)

You might know Win­sor McCay (1867? ‑1934) for the gor­geous­ly sur­re­al Lit­tle Nemo com­ic strip or for his ear­ly ani­mat­ed short Ger­tie the Dinosaur (1914). But did you know that he also cre­at­ed some of the ear­li­est exam­ples of ani­mat­ed pro­pa­gan­da ever?

On May 7, 1915, the RMS Lusi­ta­nia was just off the coast of Ire­land, head­ing towards its des­ti­na­tion of Liv­er­pool, when a Ger­man U‑boat attacked the ship with­out warn­ing. Eigh­teen min­utes after two tor­pe­does slammed into the ship, it was under water. 1,198 died. The furor over the inci­dent even­tu­al­ly led to the Unit­ed States enter­ing WWI.

At the time of the sink­ing, McCay was employed by William Ran­dolph Hearst as an edi­to­r­i­al car­toon­ist. Though McCay was incensed by the attack, Hearst was an iso­la­tion­ist and demand­ed that he draw anti-war car­toons. This grat­ed on the artist more and more until final­ly he decid­ed to fol­low up on his huge­ly suc­cess­ful Ger­tie the Dinosaur by mak­ing The Sink­ing of the Lusi­ta­nia (1918), which you can see above.

The movie took two years of painstak­ing effort to make and con­sist­ed of over 25,000 drawings—all done by hand and most done by McCay him­self dur­ing his free time after work.

Com­pared to oth­er ani­ma­tion done around this time, the film is both stark and seri­ous, lend­ing it the air of a doc­u­men­tary. The piece, which isn’t much short­er than the actu­al time it took for the Lusi­ta­nia to sink, gives a blow-by-blow account of the attack. Though the inci­dent is depict­ed large­ly from afar, as if from a cam­era on anoth­er ship, McCay doesn’t shy away from show­ing some real­ly gut-wrench­ing moments of the tragedy up close. At one point, there is a shot of a des­per­ate moth­er try­ing to keep her baby above the waves. At anoth­er point, dozens of peo­ple are seen bob­bing in the chop­py seas like drift­wood.

And, just in case you haven’t quite grasped the thrust of the film, McCay includes some inter­ti­tles, which are, even by the stan­dards of war pro­pa­gan­da, pret­ty heavy-hand­ed.

The babe that clung to his mother’s breast cried out to the world – TO AVENGE the most vio­lent cru­el­ty that was ever per­pe­trat­ed upon an unsus­pect­ing and inno­cent peo­ple.

And

The man who fired the shot was dec­o­rat­ed for it by the Kaiser! – AND YET THEY TELL US NOT TO HATE THE HUN.

The curi­ous thing about the movie, con­sid­er­ing its sub­ject mat­ter, is how beau­ti­ful it is. Just look at the styl­ized lines of the ocean, the baroque arabesques of the smoke com­ing off the ship’s smoke­stacks, the ele­gant use of neg­a­tive space. Each and every cel of the movie is wor­thy of get­ting framed. How many war pro­pa­gan­da movies can you say that about?

You can find The Sink­ing of the Lusi­ta­nia in the Ani­ma­tion sec­tion of our col­lec­tion of Free Movies Online: Great Clas­sics, Indies, Noir, West­erns.

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

Watch the Sink­ing of the Lusi­ta­nia Ani­mat­ed in Real Time (1915)

Watch Win­sor McCay’s Lit­tle Nemo and Ger­tie the Dinosaur, and Wit­ness the Birth of Mod­ern Ani­ma­tion (1911–1914)

How Dis­ney Fought Fas­cism with Pro­pa­gan­da Car­toons Dur­ing World War II & Avert­ed Finan­cial Col­lapse

Watch Dzi­ga Vertov’s Sovi­et Toys: The First Sovi­et Ani­mat­ed Movie Ever (1924)

Jonathan Crow is a writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. 

200 Ansel Adams Photographs Expose the Rigors of Life in Japanese Internment Camps During WW II

Intern5

Images cour­tesy of the Library of Con­gress.

Actor George Takei was once best known as Star Trek’s Mr. Sulu. He still is, of course, but over the last cou­ple decades his friend­ly, intel­li­gent, and wicked­ly fun­ny pres­ence on social media has land­ed him a new pop­u­lar role as a civ­il lib­er­ties advo­cate. Takei’s activist pas­sion is informed not only by his sta­tus as a gay man, but also by his child­hood expe­ri­ences. At the age of 5, Takei was round­ed up with his Amer­i­can-born par­ents and tak­en to a Japan­ese intern­ment camp in Arkansas, where he would live for the next three years. In an inter­view with Democ­ra­cy Now, Takei spoke frankly about this his­to­ry:

We’re Amer­i­cans…. We had noth­ing to do with the war. We sim­ply hap­pened to look like the peo­ple that bombed Pearl Har­bor. But with­out charges, with­out tri­al, with­out due process—the fun­da­men­tal pil­lar of our jus­tice system—we were sum­mar­i­ly round­ed up, all Japan­ese Amer­i­cans on the West Coast, where we were pri­mar­i­ly res­i­dent, and sent off to 10 barb wire intern­ment camps—prison camps, real­ly, with sen­try tow­ers, machine guns point­ed at us—in some of the most des­o­late places in this coun­try.

Takei and his fam­i­ly were among over 100,000 Japanese-Americans—over half of whom were U.S. cit­i­zens—interned in such camps.

Intern3

Into one of these camps, Man­za­nar, locat­ed in the foothills of the Sier­ra Nevadas, cel­e­brat­ed pho­tog­ra­ph­er Ansel Adams man­aged to gain entrance through his friend­ship with the war­den. Adams took over 200 pho­tographs of life inside the camp.

In 1965, he donat­ed his col­lec­tion to the Library of Con­gress, writ­ing in a let­ter, “The pur­pose of my work was to show how these peo­ple, suf­fer­ing under a great injus­tice, and loss of prop­er­ty, busi­ness and pro­fes­sions, had over­come the sense of defeat and dis­pair [sic] by build­ing for them­selves a vital com­mu­ni­ty in an arid (but mag­nif­i­cent) envi­ron­ment.”

adams 2

Adams had anoth­er pur­pose as well—as schol­ar of the peri­od Frank H. Wu describes it—“to doc­u­ment some aspects of the intern­ment camp that the gov­ern­ment didn’t want to have shown.” These include “the barbed wire, and the guard tow­ers, and the armed sol­diers.” Pro­hib­it­ed from doc­u­ment­ing these con­trol mech­a­nisms direct­ly, the pho­tog­ra­ph­er “cap­tured them in the back­ground, in shad­ows,” says Wu: “In some of the pho­tos when you look you can see just faint­ly that he’s tak­ing a pho­to of some­thing, but in front of the pho­to you can see barbed wire, or on the ground you can see the shad­ow of barbed wire. Some of the pho­tos even show the blur­ry out­line of a soldier’s shad­ow.”

Intern4

The pho­tographs doc­u­ment the dai­ly activ­i­ties of the internees—their work and leisure rou­tines, and their strug­gles to main­tain some sem­blance of nor­mal­cy while liv­ing in hasti­ly con­struct­ed bar­racks in the harsh­est of con­di­tions.

adams camp

Though the land­scape, and its cli­mate, could be des­o­late and unfor­giv­ing, it was also, as Adams couldn’t help but notice, “mag­nif­i­cent.” The col­lec­tion includes sev­er­al wide shots of stretch­es of moun­tain range and sky, often with pris­on­ers star­ing off long­ing­ly into the dis­tance. But the major­i­ty of the pho­tos are of the internees—men, women, and chil­dren, often in close-up por­traits that show them look­ing var­i­ous­ly hope­ful, hap­py, sad­dened, and resigned.

Intern1

You can view the entire col­lec­tion at the Library of Con­gress’ online cat­a­log. Adams also pub­lished about 65 of the pho­tographs in a book titled Born Free and Equal: The Sto­ry of Loy­al Japan­ese Amer­i­cans in 1944. The col­lec­tion rep­re­sents an impor­tant part of Adams’ work dur­ing the peri­od. But more impor­tant­ly, it rep­re­sents events in U.S. his­to­ry that should nev­er be for­got­ten or denied.

Intern2

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

How Dis­ney Fought Fas­cism with Pro­pa­gan­da Car­toons Dur­ing World War II & Avert­ed Finan­cial Col­lapse

Dr. Seuss’ World War II Pro­pa­gan­da Films: Your Job in Ger­many (1945) and Our Job in Japan (1946)

Ansel Adams Reveals His Cre­ative Process in 1958 Doc­u­men­tary

Dis­cov­er Ansel Adams’ 226 Pho­tos of U.S. Nation­al Parks (and Anoth­er Side of the Leg­endary Pho­tog­ra­ph­er)

Dr. Seuss Draws Anti-Japan­ese Car­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

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

Take a 2‑Hour Walking Tour Through New York City: Architects Reveal the Secrets Behind Its Most Iconic Buildings

New York isn’t the old­est city in the Unit­ed States of Amer­i­ca, and it cer­tain­ly isn’t the newest. But it is, quite pos­si­bly, the Amer­i­can city where more lay­ers of his­to­ry coex­ist than any oth­er, a qual­i­ty that man­i­fests most vivid­ly in its built envi­ron­ment. Even the most casu­al tourist can sense the sheer vari­ety of time peri­ods embod­ied in the build­ings around them on, say, a stroll down Broad­way — one of the streets fea­tured in the ten-part walk­ing tour com­piled in the new Archi­tec­tur­al Digest video above. As a whole, it offers a two-hour jour­ney through the city begin­ning in Cen­tral Park and end­ing on Wall Street.

In between come on-foot exam­i­na­tions of every­thing from the fin-de-siè­cle “apart­ment hotels” of the Upper West Side to the recent­ly built “super-tall” res­i­den­tial tow­ers of West 57th Street to the devel­op­ments atop the buried Grand Cen­tral Sta­tion to the dis­used indus­tri­al rail­way now known — and imi­tat­ed around the world — as a lin­ear park called the High Line.

Tend though long­time New York­ers may to regard each part of the city as more or less a nation unto itself, a per­spec­tive with a bit more dis­tance reveals signs of the nev­er-end­ing social, eco­nom­ic, and aes­thet­ic exchange between them: an impor­tant fac­tor in how the use of and role played by even the city’s most august struc­tures has been sub­ject to change after unan­tic­i­pat­ed change.

Help­ing us to under­stand all this are archi­tects Michael Wyet­zn­er and Nick Potts, both pro­fes­sion­al­ly well placed to explain both the big pic­ture of New York’s evo­lu­tion and the sig­nif­i­cance of the var­i­ous odd­i­ties and eccen­tric­i­ties on its streets. Even an archi­tec­tur­al lay­man would take impressed notice while pass­ing, say, the man­sions once inhab­it­ed by Alexan­der Hamil­ton and Aaron Burr; the jagged bunker that has housed the Whit­ney Muse­um of Amer­i­can Art, the Met Breuer, and Frick Madi­son; the impos­si­bly skin­ny-look­ing sky­scrap­ers of the so-called “Bil­lion­aire’s Row”; or the Dako­ta, John Lennon’s final res­i­dence. But to learn what such build­ings have to tell us about the his­to­ry and nature of New York, we must look at them, as anoth­er famous rock star once sang, thru’ these archi­tects’ eyes.

Relat­ed Con­tent:

The Lost Neigh­bor­hood Buried Under New York City’s Cen­tral Park

A Whirl­wind Archi­tec­tur­al Tour of the New York Pub­lic Library — “Hid­den Details” and All

Archi­tect Breaks Down the Design Of Four Icon­ic New York City Muse­ums: the Met, MoMA, Guggen­heim & Frick

Every Hid­den Detail of New York’s Clas­sic Sky­scrap­ers: The Chrysler, Empire State & Wool­worth Build­ings

A Walk­ing Tour of Los Ange­les Archi­tec­ture: From Art Deco to Cal­i­for­nia Bun­ga­low

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

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

How IKEA Revolutionized Furniture-Making

The humorist San­dra Tsing Loh once described her gen­er­a­tional cohort as “today’s young, high­ly trained, down­ward­ly mobile pro­fes­sion­als: ‘dump­ies.’ We’re just emerg­ing from years of col­lege only to learn that there are no jobs avail­able for peo­ple with our advanced qual­i­fi­ca­tions,” and thus no route to own­er­ship of all their hoped-for lifestyle accou­trements. No, she’s not a mil­len­ni­al, but rather what she calls a “late boomer” in an essay that dates from the mid-nineties — a few years after IKEA founder Ing­var Kam­prad “came into South­ern Cal­i­for­nia, utter­ing those five immor­tal words: ‘Halo­gen! Impos­si­ble Price: $29!’ The rest was his­to­ry. In that instant, we dump­ies found our niche. We rose up and became the IKEA Gen­er­a­tion!”

IKEA could expand so far out of its native Swe­den thanks to the suc­cess of prod­ucts like the LACK cof­fee table, the sub­ject of the new Pri­mal Space video above. Though small in scale and high­ly unpre­pos­sess­ing in appear­ance (and, let’s face it, a visu­al byword for cheap fur­nish­ings sec­ond only to the num­ber-one-sell­ing BILLY book­shelf) it’s long been a steady sell­er the world over, not least because its price, just under the equiv­a­lent of ten euros when intro­duced in 1981, has nev­er been raised. To man­age that, IKEA has had to use every trick in its book: not just the do-it-your­self “flat-packed” design it pio­neered, but also non-warp­ing par­ti­cle board, hon­ey­comb paper struc­tures for max­i­mum strength using a min­i­mum of mate­r­i­al, and even new­ly engi­neered leg-fold­ing machines.

How­ev­er briskly it sells, this par­tic­u­lar prod­uct may be unfor­tu­nate­ly named in an Eng­lish-speak­ing mar­ket; “What they ‘lack’ is sta­bil­i­ty,” one inter­vie­wee says to Loh. Still, it remains emblem­at­ic enough of the cor­po­rate mis­sion once artic­u­lat­ed by Kam­prad him­self: “To cre­ate a bet­ter every­day life for the major­i­ty of peo­ple.” (“How many Repub­li­can politi­cians can say they’ve done that?” Loh adds. “How many Democ­rats?”) That extends to the design of IKEA’s stores, which offer only one path to fol­low all the way through, like an extra-large fun­house. As not­ed in the video, while this forces cus­tomers to pass every prod­uct — and thus every temp­ta­tion to impulse buy — it also turns a vis­it into an expe­ri­ence unto itself, before the cus­tomer even reach­es the cafe­te­ria. Fun­ny; I could go for a plate of meat­balls right about now.

If you want to take a deep dive into the ori­gin and growth of IKEA, lis­ten to this three hour episode from the Acquired pod­cast.

Relat­ed Con­tent:

IKEA Dig­i­tizes & Puts Online 70 Years of Its Cat­a­logs: Explore the Designs of the Swedish Fur­ni­ture Giant

Hans Rosling Uses Ikea Props to Explain World of 7 Bil­lion Peo­ple

What Hap­pens When a Cheap Ikea Print Gets Pre­sent­ed as Fine Art in a Muse­um

Meet the Mem­phis Group, the Bob Dylan-Inspired Design­ers of David Bowie’s Favorite Fur­ni­ture

Spike Jonze’s Imag­i­na­tive TV Ads

Charles & Ray Eames’ Icon­ic Lounge Chair Debuts on Amer­i­can TV (1956)

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

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

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

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

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

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

Relat­ed Con­tent:

The Dark Knight: Anato­my of a Flawed Action Scene

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

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

Why We All Need Sub­ti­tles Now

Why Do Wes Ander­son Movies Look Like That?

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

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

Image via Wiki­me­dia Com­mons

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

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

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

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

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

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

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

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

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

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

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

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

Relat­ed Con­tent:

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

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

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

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

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

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

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

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

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

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

Relat­ed con­tent:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Relat­ed Con­tent: 

View 103 Dis­cov­ered Draw­ings by Famed Japan­ese Wood­cut Artist Kat­sushi­ka Hoku­sai

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

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

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

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

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

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

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

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

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

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

Relat­ed con­tent:

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

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

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

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

Ale­jan­dro Jodor­owsky Explains How Tarot Cards Can Give You Cre­ative Inspi­ra­tion

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

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

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

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

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

They may be strick­en with delu­sions and wild hal­lu­ci­na­tions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

Watch a playlist of Vox By Design episodes here.

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

Relat­ed Con­tent 

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

How Music Can Awak­en Patients with Alzheimer’s and Demen­tia

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

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

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    Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.


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