Do We Need Yet More Films About Time Loops? A Pretty Much Pop Discussion (#80) of Groundhog Day and its Descendents
Tine looping, where a character is doomed to repeat the same day (or hour, or longer period) is a sci-fi trope dating back more than a century, but really entered American consciousness with the 1993 Bill Murray film Groundhog Day. Since then, and especially in the last five years, there have been numerous iterations of this idea in various genres from racial police-shooting drama to teen sex comedy. But do we need more of this? What are the philosophical ideas involved, and how do these change with tweaks to the scenario?
Mark, Erica, Brian, and returning guest Ken Gerber discuss not only the very recent and popular forays into this genre with Hulu’s Palm Springs and Netflix’s Russian Doll, but also touch on Edge of Tomorrow, Repeaters, 12:01 PM, Before I Fall, The Fare, and episodes of The Twilight Zone, Star Trek: Discovery, The X-Files, and Rick & Morty.
The Bauhaus Chess Set Where the Form of the Pieces Artfully Show Their Function (1922)
Learning to play chess first necessitates learning how each piece moves. This is hardly the labor of Hercules, to be sure, though it does come down to pure memorization, unaided by any verbal or visual cues. Does the name “pawn,” after all, sound particularly like something that can only step forward? And what about the shape of the knight suggests the shape of the knight’s move? The form of a chess piece, in other words, doesn’t follow its function — and under certain sets of aesthetic principles, there could be few greater crimes. Leave it to a member of the Bauhaus, the art school and movement that aimed to unify not just form and function but art, craft, and design — to bring them all into line.
Brought into the Bauhaus in 1921 by its founder Walter Gropius, the sculptor Josef Hartwig began work on his redesigned chess set the following year. In all its iterations, the pieces takes on forms made of simple shapes: “The sphere, double cube, and three sizes of block, singly or combined, yield pieces that, despite their highly geometric stylization, are strongly suggestive of their rank or power,” says the Metropolitan Museum of Art, owner of one of one of Hartwig’s original sets.
“The bishops are clearly implied by the cross outline, and the rooks by the simple stability of a cube. Most ingenious of all are the knights, formed of three double cubes joined in such a fashion that each face of the resulting form shows two cubes one above the other and a third on the side, an embodiment of the knight’s move.”
Like many Bauhaus works, Hartwig’s chess set found a dual existence as both a piece of art and a consumer good. The artist himself also “made a poster to talk about his product” and “a box to package it,” says cuator Anne Monier in the video above, “so we really are in a total creation around a game of chess.” In addition to making the game’s movements easier to learn, it also constitutes a visual demonstration of what it means for form to follow function. The idea, says Monier, is “to spread the ideas of the Bauhaus in people’s everyday life, to be able in fact to change the living environment, to take part in creating a new society.” The video comes from Bauhaus Movement, an online shop where you can invite the spread into your home by ordering a replica Hartwig chess set. It’ll set you back €495, but ideals, now as in the heyday of the Bauhaus, don’t come cheap.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletterBooks on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
In 1796, the British doctor Edward Jenner developed the first vaccine to fight a contagious disease–in this particular case, the smallpox virus. Since then vaccines have helped eradicate, or firmly control, a long list of diseases–everything from diphtheria and the measles, to rubella and polio. Designed by Leon Farrant in 2011, the infographic above reminds us of the miracles brought by vaccines, showing the degree to which they’ve tamed 14 crippling diseases. Before too long, we hope COVID-19 will be added to the list.
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As an Englishman of a certain age, George Martin could, realistically, choose only one means of conveyance in Los Angeles: a red Coupe de Ville convertible, and a genuine 1950s model at that. But whatever that era’s glories of automobile design, its music was still in the dark ages — at least according to the millions upon millions of Beatles fans around the world today. The pop-cultural revolution that band ignited in the early 1960s owes, by some reckonings, as much to Martin’s work as it does to that of the Fab Four themselves. In his capacity as a producer and arranger — not to mention as the man who signed them to Parlophone records — Martin arguably led the Beatles to discover their own musical potential. And once they’d become a phenomenon, they also felt pressure to surpass themselves from other sources.
One was a young American singing group called the Beach Boys, who in less than five years had gone from putting out simple, repetitive tunes about surfing and root beer to crafting the teenage-symphonic masterpiece Pet Sounds. That album, so pop-music history tells it, picked up the gauntlet thrown down by the Beatles’ Rubber Soul, and in response to it came Sgt. Pepper’s Lonely Hearts Club Band, an era-defining release since popularly thought to have won the bands’ friendly competition.
But with his ear for composition, Martin surely knew that Pet Sounds would never truly be defeated, thanks in large part to “God Only Knows,” which Martin describes as “one of my favorite Beach Boys songs.” He does so in the clip at the top of the post, of a 1997 visit to Los Angeles in which he pilots his Cadillac to the home of the group’s musical mastermind Brian Wilson.
The two then enter the studio and pull out the original master tapes of “Got Only Knows” to listen to its components one by one. You can see and hear more of what went into its recording sessions through this two–part video from Behind the Sounds that presents raw tracks from the studio with notes on the various techniques and players (including the famous “Wrecking Crew,” with bassist Carol Kaye) involved. “What Brian had done was to write a beautiful song full of unusual changes,” says Martin, “and then devise a tapestry of sounds to enhance it.” As Martin rebuilds the tracks on the console, Wilson says he’s “making a better mix of this than I did in the master.” It’s quite a compliment, considering the source — but then so is the declaration of “God Only Knows “as “the greatest song ever written,” issued as it was by a certain Paul McCartney.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletterBooks on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.