Constructing the Chrysler Building (1929-30)

6 minutes

Steve is undocumented

10 minutes

You and the thing that you love

12 minutes

Should computers run the world?

36 minutes

The artefact artist

23 minutes

‘Quite a height, ah?’ A tour of the Chrysler Building by those building it

The Chrysler Tower … stands by itself, something apart and alone. It is simply the realisation, the fulfilment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Architectural Forum, October, 1930

Today, it’s easy to mistake the Chrysler Building for just another skyscraper dotting the New York City skyline. But upon its completion in 1930, and until it was surpassed by the Empire State Building in 1931, it was the world’s tallest manmade structure. At the time, the tower was notable not just for its sheer mass, but for its polarisation of architecture critics, with detractors deriding the building as an unsightly novelty, and a monument to the grand ego of its car magnate namesake, Walter Chrysler. But, as is clear in this footage filmed by Fox Movietone News, while the building might have originated as a ‘one-man dream’, it was built on the backs of fearless ironworkers – self-proclaimed ‘roughnecks’, who constructed it without harnesses or hard hats. This footage from 1929 and 1930 of the building’s construction – including the placement of an iconic 61st-floor Art Deco eagle – showcases how these workers were less comfortable delivering canned lines for the cameras than they were sitting atop beams hundreds of feet high.

This footage was accessed and published by Aeon with the permission of the University of South Carolina’s Moving Image Research Collections, an archive that ‘preserves films and videos produced outside the American feature film industry to make them available to present and future audiences’.

Meet the British bouncer in LA on an expired visa who has no time for immigrants

Steve is a former weightlifter who still keeps up with quite a few hobbies: fitness, heavy metal music, clay sculpture, bikes, motorcycles, and lots and lots of weapons. He works as a bouncer outside a Los Angeles nightclub, making small talk with the (often over-served) young patrons, and throwing out troublemakers. And, as he’ll tell anyone who’ll listen, he hates what immigration is doing to the country – despite being a Brit who’s overstayed his own US visa by 25 years. Steve Is Undocumented captures him at a moment of transition, preparing for a move back to England with his wife, who is pregnant with twins. With their stylish and often wry profile, the directors Michael Barth and Kauai Moliterno build a complex portrait in just 10 minutes, capturing the many intricacies and blaring hypocrisies of Steve’s life and worldview.

Directors: Michael Barth, Kauai Moliterno

Producer: Nathan Truesdell

After losing his sight, a skateboarder takes an unexpected path to realising his dreams

Nick Mullins fell in love with skateboarding as a teenager and, rather quickly, became quite skilled. As one of the best young skateboarders in the Detroit area, he was putting together a video to catch the attention of sponsors, when, after taking a rough but mostly innocuous fall, he scraped the side of his body and contracted a staph infection. He would barely escape with his life, and after waking up from a medically induced coma, realised he had gone blind. Believing he had no prospects – in skating or in life – he fell into a deep depression. The short documentary You and the Thing That You Love retells how Mullins would eventually realise his dreams, albeit by taking a very much unanticipated path. Capturing Mullins’s story with kinetic style, the US filmmaker Nicholas Maher avoids cliché to create a standout portrait of perseverance and love of craft – and one that can be savoured even if you don’t know your ‘blunts’ from your ‘fakies’.

Director: Nicholas Maher

Algorithms are sensitive. People are specific. We should exploit their respective strengths

The capabilities of algorithms and human brainpower overlap, intersect and contrast in a multitude of ways, argues Hannah Fry, an associate professor in the mathematics of cities at University College London, in this lecture at the Royal Institution from 2018. And, says Fry, planning for an efficient, ethical future demands that we carefully consider the respective strengths of each without stereotyping either as inherently good or bad, while always keeping their real-world consequences in mind. Borrowing from her book Hello World: Being Human in the Age of Algorithms (2018), Fry’s presentation synthesises fascinating studies, entertaining anecdotes and her own personal experiences to build a compelling argument for how we ought to think about algorithms if we’d like them to amplify – and not erode – our humanity.

New York’s 300-year-old trash becomes treasure in the hands of an urban archaeologist

Scott Jordan’s two-bedroom apartment in Queens, New York is filled with thousands of local artefacts, many of which date back centuries. Populating his shelves and drawers are glass bottles, porcelain dolls, pottery and even a gun from the Revolutionary War – all of them once buried far beneath New Yorkers’ feet, and many of which he’s repurposed to create original art. This small museum of recovered treasures comes from years of playing in the dirt and digging out landfills, cisterns and privies by hand. In The Artefact Artist, the US director Russ Kendall explores the buried history of cities, and how Jordan finds meaning and community in the process of searching for, discovering, and transforming objects others have left for trash.

Director: Russ Kendall

Website: The Artefact Artist

‘Quite a height, ah?’ A tour of the Chrysler Building by those building it

The Chrysler Tower … stands by itself, something apart and alone. It is simply the realisation, the fulfilment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Architectural Forum, October, 1930

Today, it’s easy to mistake the Chrysler Building for just another skyscraper dotting the New York City skyline. But upon its completion in 1930, and until it was surpassed by the Empire State Building in 1931, it was the world’s tallest manmade structure. At the time, the tower was notable not just for its sheer mass, but for its polarisation of architecture critics, with detractors deriding the building as an unsightly novelty, and a monument to the grand ego of its car magnate namesake, Walter Chrysler. But, as is clear in this footage filmed by Fox Movietone News, while the building might have originated as a ‘one-man dream’, it was built on the backs of fearless ironworkers – self-proclaimed ‘roughnecks’, who constructed it without harnesses or hard hats. This footage from 1929 and 1930 of the building’s construction – including the placement of an iconic 61st-floor Art Deco eagle – showcases how these workers were less comfortable delivering canned lines for the cameras than they were sitting atop beams hundreds of feet high.

This footage was accessed and published by Aeon with the permission of the University of South Carolina’s Moving Image Research Collections, an archive that ‘preserves films and videos produced outside the American feature film industry to make them available to present and future audiences’.

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