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Jurassic Park, while beloved as a film, has been the subject of snarky memes for the infamous line in which one of the characters declares, “This is a Unix system, I know this!” while using a computer with an unusual 3D file manager interface.

Despite the memes, the film’s production team was meticulous in accurately sourcing the right PCs (and adjacent details) for the sets—not too much of a surprise, given writer Michael Crichton’s background with computing and his obsessive attention to detail in the book the film is based on.

This was made clear by a little hobbyist investigation from Google software engineer Fabien Sanglard. He scanned the film and picked out every specifically identifiable piece of hardware he could see, listed what they were, and shared context from other sources on their specs, costs, and how they ended up in the production.

https://fabiensanglard.net/jurrasic_park_computers/index.html //

For additional background, Sanglard shared this quote from Jurassic Park special effects coordinator Cory Faucher, as seen in the book The Making of Jurassic Park:

Everything in the set was real. We couldn’t fake any of it, because audiences are so sophisticated now in their knowledge of computers. All told, $875,000 worth of computer hardware loaned by Silicon Graphics, $350,000 worth from Apple and some $500,000 in additional hardware and software went into equipping both the set and off-stage control room.

Why is there such a clear, repetitive agenda serving us pornography, race issues, and kitsch at every important white-wall gallery across the world just as reliably as you can get the same frappé at any Starbucks from China to Alaska? Because while the modernist revolution of art aimed to overthrow the constricting chains of formal academism, all it did was give us the flipside of the same controlling coin, as a new power nexus was formed in the post-War world.

A new structure of governments and corporations (which have almost one and the same agenda), universities, foundations, financial elites, and academics, has coalesced into what is tantamount to a new academic system forbidding true creativity, free thinking, and most importantly of all, beauty, which is their greatest threat. The result is a rote, one-note art scene. //

Before the creation of the modern art Academy, the main patron of the arts was the Church, from their ascendancy (artistically speaking) in the time of Charlemagne to their height in the early 16th century. The art and architecture produced was radically genius, and trail-blazed what art even was–Giotto alone made the large leap from a somewhat primitive painting to what is still some of the finest painting we have. But the painting and architecture coming from those great innovators of the 12th, 13th, and 14th centuries was not at all created by rule or convention, but was channeled from a place of almost mystical vision. They were connected to God from their hearts, and their love for Him poured into their work. The result was a revolutionary and totally unaffected beauty; it was the real avant-garde before that term ever existed.

And then in the 15th century, Leonardo and Michelangelo took painting and sculpture to new heights that are to this day almost unbelievable. These Catholic artists were radical channels for God, and their work brought, and continues to bring, thousands of people to Him. //

The World Wars were, generally speaking, a clean break with the past. //

We were (and are) living in a post-civilized world, and as Walter Benjamin, quoted by art historian Hal Foster, said, “modernism teaches us how to survive civilization if need be” (Foster, 1).

Help us survive civilization…I am not sure if modernism does that. Yes, civilization was destroyed, but not in a void. There is a real force of power that perpetrated the destruction and came out on top afterward. Modernism was adopted as the official style and cultural building block of their new world. This world would be a sort of civilization, but it wouldn’t be civilized.

Thus, the hegemonic United States promoted abstraction, a CIA agent co-founded the Paris Review, the Rockefellers founded MoMA, and the major American universities hired all the modern architects away from Europe (which was no longer the cultural, corporate, or financial center). The new nexus of power, consisting of the elites, their money, their corporations, and the politicians they control, needed a new brand, and the ‘avant-garde’ perfectly fit their purposes. But as what happens, Boime notes, with any power, even the avant-garde, it “congeals into an absolute system reminiscent of the traditional academy” (Boime, 213).

This time, though, instead of each country having their own Academy, there would be one single global force pumping out the party line, and that’s how you get the same exhibits anywhere and everywhere with the same look and same themes. There is one global agenda of feminism, environmentalism, and anti-racism, anti-colonialism (insert any other ‘ism’) in politics, which is then propagated through the arts. Similarly to the academic system, there can be little artistic innovation because this system does not allow for free-thinking, true creativity, or expansive beauty.

Notice how the centers of art are also the capitals of corporations and finance–New York, London, and Basel. Notice the list of corporate sponsors at the entrance of museum exhibitions. //

In college Art History classes, the word beauty was explicitly not allowed as a valid word to apply to art, which cut me off from whatever instinct I had towards beauty and conform my thinking to the official beliefs of the classroom. From there, it became very easy to evaluate a work by Rubens on the same level as a Duchamp. Notably, thinking that a bicycle wheel hammered to a stool is a work of art is just the same as thinking a man can be a woman or any other absurdity.

They may have attempted to destroy civilization, and have done a pretty thorough job of it, but there is one thing that the gates of hell will never prevail against. It is the Rock which, when tapped in faith, contains the living water and well-spring of all creativity and beauty. //

There is nothing more radical, more challenging, more truly avant-garde than beauty, which is simply whatever reveals the truth of God. The ways that can manifest are as variegated as His own creation and cannot be limited by rules, except those He lovingly sets out for us, that, in practice, only further expand our freedom.

Art history barely began before it was hijacked by those who understood the unique power of art as a shaping force on the world, and they want us to believe it’s all over. But in reality, the greatest works of art are yet to be made in painting, sculpture, architecture, and music–but only if artists choose correctly between glorifying the kingdom of God or the kingdom of man.