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Russia’s Retro Lenin Museum Still Runs on Decades-Old Apple II Computers

The same machine that popularized “The Oregon Trail” was secretly imported
just a few years before the USSR collapsed.

by [82]Yuri Litvinenko October 7, 2019

Russia's Retro Lenin Museum Still Runs on Decades-Old Apple II
Computers
Copy Link [83]Facebook [84]Twitter [85]Reddit [86]Flipboard [87]Pocket
The Lenin Museum opened in 1987, just a few years before the Soviet
Union collapsed.
The Lenin Museum opened in 1987, just a few years before the Soviet
Union collapsed. Yuri Litvinenko
In This Story
Place

Lenin Museum

One of the last examples of Soviet architectural propaganda has a few
technological tricks up its sleeve.
Destination Guide

Moscow, Russia

7 Articles
47 Places

The versatility of the Apple II made it one of the most widespread
personal computers of the 1970s and 80s. In schools, labs, and even
command centers, these classic American computers kept a foothold even
after the advent of more advanced machines. But of all the places you’d
expect to find the computer that popularized The Oregon Trail, the
mournful museum of a Communist leader is one of the most unlikely.

Lenin Museum in Gorki Leninskiye, located 20 miles south of Moscow,
doesn’t look hi-tech even by 1980s standards. But among black marble
interiors, gilded display cases, and Soviet historical documents, there
is an elaborate audiovisual show about the last years of Vladimir
Lenin’s life. Opened in 1987, it’s still powered by vintage Apple
technology.
An Apple II computer on display at the Musée Bolo in Lausanne,
Switzerland. An Apple II computer on display at the Musée Bolo in
Lausanne, Switzerland. [88]Rama/CC BY-SA 2.0 FR

“Originally, they were called ‘ideologico-emotional centers,’” says
Boris Vlasov, Deputy Director of Research at Gorki Leninskiye
Museum-Reserve, standing in front of a large cube of cranberry-red
glass. As he presses a button on a bulky remote, the cube lights up
from the inside, revealing moving images surrounded by elaborate props
and scenery. Each of the museum’s five cubes, which look almost like
monoliths from 2001: Space Odyssey, houses a short three-dimensional
presentation. Moving mirrors and Pepper’s ghost projectors—the same
technology that helped Tupac perform a posthumous concert—make them
look like a theatrical play.

There was a reason for the spectacle. By 1972, when the idea of the
museum was outlined by a Soviet government, the public image of
Vladimir Lenin was in decline. “There was nothing new to be said about
Lenin: his course of life was documented minute by minute, and it was
impossible to find any new material,” Vlasov says. “It wasn’t enough to
tell about the life of Lenin—one had to impress and surprise.” Lenin
was known for his revolutionary politics and massive infrastructure
projects, but also for authoritarian policies, mass executions, and
concentration camps that he oversaw as the leader of the USSR.
Some of the “cubes” are as tall as a person and show life-sized
historical reenactments. Some of the “cubes” are as tall as a person
and show life-sized historical reenactments. Yuri Litvinenko

The Soviets were well-versed in the construction of impressive
buildings, and the museum was designed by Leonid Pavlov, a
constructivist architect who had already built several research and
computing centers in a similar cuboid fashion. But creating machinery
for a smaller-scale visual spectacle turned out to be a challenge.
Lights, motors, and reel-to-reel players had to be synced to each
other, each following a script to the second.

Fortunately, there was worldwide demand for equipment that could
control such devices. In 1981, the British audiovisual company
Electrosonic launched the ES4000. It was a set of computer accessories
and software that helped technicians program the building blocks of
multimedia exhibitions. The system was built into a computer
Electrosonic was already using internally—the Apple II. (A 1987 copy of
[89]Apple User magazine spotlighted the ES4000.) The choice of an Apple
machine simplified the distribution in many parts of the world. By
sticking to a popular, off-the-shelf computer, the company could buy
Apple computers locally and extend them with the ES4000 hardware later.

But the creators of the Lenin Museum had a problem. Soviet law barred
them from trading directly with foreign companies, and Agat-7, a Soviet
Apple II clone, was unlikely to do the job. It required an external
card to run software made in the West, and its 60-pin slots would not
fit the 50-pin cards used by the ES4000. “All our programs depend on
these add-on cards to provide the time code and high-speed
communications facilities,” Bob Simmons, Electrosonic’s Managing
Director, told Apple User at the time. That meant the company would
need to bring their own Apple computers to the Soviet Union.
Vladimir Ilyich Lenin (1870-1924) gives a speech from the back of a
vehicle in a Russian street. Vladimir Ilyich Lenin (1870-1924) gives a
speech from the back of a vehicle in a Russian street. Hulton
Archive/Getty Images

To get around Soviet regulations, the deal was signed with a
specialized economic body, Technointorg, and carried over through Beech
Compix, [90]a British front for the Soviet Chamber of Commerce and
Industry. Foreign staff traveled to the USSR, too—but Cascade, a
Russian company, took credit for their job, seemingly to preserve the
impression that Soviet technology could not be beat.

“Officially, Electrosonic did not bring any computer equipment, and the
software was formally developed by Cascade,” Vlasov says. But internal
documents tell a different story: “General control algorithms and local
programs are written by ES personnel.” Vlasov adds, “There were Russian
specialists overseeing them, but they were from Leningrad Pictorial and
Decoration Art Combine—producers of the exhibition.” The Electrosonic
logo is still visible on the museum’s bulky remote controls.
A remote control at the Lenin Museum still bears the Electrosonic logo.
A remote control at the Lenin Museum still bears the Electrosonic logo.
Yuri Litvinenko

Electrosonic supplied the equipment, but it was up to local engineers
to keep it working. This task was delegated to various state
enterprises, with most of them originally established for military
purposes. In the turbulent time after the dissolution of the USSR, many
Russian agencies changed their purpose or went defunct. This period was
not kind to the most technically impressive of the cubes, which
depicted a historic Soviet plan to electrify the nation. It used a
laser projector to beam Lenin’s signature onto a simulated waterfall,
and was even featured in [91]Electrosonic’s corporate publication. “The
humidity was too high for 1980s lasers,” Vlasov says.

Still, as if frozen in time, Lenin Museum outlived the fall of
state-enforced communism with virtually no changes. Nothing was
dismantled, altered, or even substantially upgraded, and the same piece
of technology installed in the 1980s is still serviced twice a year.
Repairing 40-year-old computers is no small task; according to Vlasov,
it falls to former staff, who come out of retirement just to provide
upkeep to the machines.
__________________________________________________________________

In 1985, while the museum was going to get its hands on 8-bit
computers, Apple itself was [92]trying to supply the USSR with more
powerful Macintoshes. The company sent none other than Steve Jobs to
sell Apple computers to the Soviet National Academy of Sciences—and
through it, to schools throughout the Soviet Union. (Just a year later,
US export restrictions would make such deals impossible.)

The deal never went through, reportedly because of Jobs’ eccentric
remarks and public support of Leon Trotsky. In Odyssey: Pepsi to Apple
by John Sculley, Al Eisenstat, who accompanied Jobs, recalled him
talking about creating AI simulations of Soviet revolutionaries: “The
one thing we can’t do is to ask them a question and get their current
thinking. Ahh, but in the future you are going to have artificial
intelligence and you’ll be able to ask Mr. Lenin a question or Mr.
Trotsky a question.”
Strict geometry is prominent in the museum, both in its architecture
and exhibits. Strict geometry is prominent in the museum, both in its
architecture and exhibits. Yuri Litvinenko

Just a few years later, Apple officially entered the country through
Intermicro, a Soviet-Austrian joint venture that adopted foreign
desktop publishing systems to Russian specifications. Anatoly
Karachinsky, head of Intermicro and a current president of IBS Group,
was also [93]at the forefront of the publications Burda Moden and
Kommersant, making Macs a de facto standard of the Russian publishing
industry.

Still, Apple technology made very few inroads into Russian government
institutions—with the notable exception of the Lenin Museum. Intermicro
and other Apple distributors had little luck in pushing Macs to schools
or agencies. “There was a major supply of Macintoshes to
Bashkortostan’s tax office,” says Andrey Antonov of the Moscow Apple
Museum. “It was arguably the most global effort.” More recently, Russia
has even tried to deter government workers from using iPhones, pushing
them to use a homegrown mobile OS instead. In this context, the Lenin
Museum is both a technological time capsule and a national outlier.
Presentations inside the “cubes” combine archival material with
theatrical scenery. Boris Vlasov, the deputy director of research at
the museum, is visible at left. Presentations inside the “cubes”
combine archival material with theatrical scenery. Boris Vlasov, the
deputy director of research at the museum, is visible at left. Yuri
Litvinenko

For the most part, the Lenin Museum was left untouched by the change
around it. Just as it did in the waning years of the USSR, it focuses
on Lenin’s achievements only, omitting stories about the violence of
his regime. The addition of information on the anti-communist White
movement, which fought the Bolsheviks in the Russian Civil War, did not
make it less biased.

There are no plans to update the museum. Instead, it aims to preserve
its technological attraction in the way it was first set up. “The cubes
were to be replaced in 10 to 15 years,” says Vlasov. They have now
lasted more than 30 years. His colleagues even hope to repair the
broken one without altering the original artistic work. “It’s going to
be the exact same presentation, recreated with modern technology,” he
says.
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