The Joy of Making Artistic Homemade Guitars

We’ve shown you the Art of Mak­ing a Fla­men­co Gui­tar, how Fend­er elec­tric gui­tars were made way back in 1959, and what goes into build­ing the Hofn­er bass gui­tar made famous by Paul McCart­ney. Next up: a mini doc­u­men­tary on Mark Nilsen and his artis­tic, home­made gui­tars. Much like Dan Philips, an artist who builds sus­tain­able homes out of every­day mate­ri­als (see our post from yes­ter­day), Nilsen makes instru­ments with mate­ri­als found in our local envi­ron­ment. It is all part of his belief that if you make your own gui­tars, you’ll make your­self a bet­ter musi­cian.

This video comes from Gui­tarka­di­a’s mini doc­u­men­tary series avail­able here.

via The Atlantic

Relat­ed Con­tent:

The Sto­ry of the Gui­tar

 

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‘The Right of the People to Rule’: Listen to Theodore Roosevelt Speaking 100 Years Ago Today

On this day 100 years ago, Theodore Roo­sevelt record­ed his great speech, “The Right of the Peo­ple to Rule.” The polit­i­cal cir­cum­stances sur­round­ing the speech bear some resem­blance to those of today: 1912 was a pres­i­den­tial elec­tion year, and the coun­try was divid­ed.

The Repub­li­can Par­ty, though, was espe­cial­ly divid­ed. Roo­sevelt had already served two terms as pres­i­dent under the Repub­li­can ban­ner, but by 1912 he had become deeply dis­ap­point­ed in what he saw as the reac­tionary drift of his suc­ces­sor and one-time friend, William Howard Taft. He decid­ed to chal­lenge Taft for the Repub­li­can nom­i­na­tion. When Roo­sevelt lost at the con­ven­tion he pressed ahead any­way, form­ing the Pro­gres­sive (“Bull Moose”) Par­ty.

Taft knew he was no match for the charis­mat­ic Roo­sevelt in a pop­u­lar elec­tion, but he saw his role in the sit­u­a­tion as being the guardian of the con­ser­v­a­tive char­ac­ter of the Repub­li­can Par­ty. With only 24% of the vote, Taft came in third place in the Novem­ber elec­tion, behind the Demo­c­rat Woodrow Wil­son (41%) and Roo­sevelt (27%). It was an embar­rass­ing out­come for a sit­ting pres­i­dent, but in one sense Taft won: The Repub­li­can par­ty took a con­ser­v­a­tive turn, and stayed on that course.

Roo­sevelt’s speech was record­ed on an Edi­son cylin­der at his Sag­amore Hill Estate in Oys­ter Bay, New York on August 16, 1912, dur­ing a brief lull in the cam­paign fol­low­ing the Pro­gres­sive Par­ty Con­ven­tion. It was one of sev­er­al cam­paign speech­es that were record­ed and then dis­trib­uted around the coun­try before the gen­er­al elec­tion. It’s based part­ly on a speech he gave on March 20, 1912 at Carnegie Hall.

In the record­ed ver­sion, Roo­sevelt speaks for the need to find a polit­i­cal mid­dle ground, warn­ing against the dan­ger of ultra-con­ser­vatism. “It would be well,” he says, “if our peo­ple would study the his­to­ry of a sis­ter repub­lic. All the woes of France for a cen­tu­ry and a quar­ter have been due to the fol­ly of her peo­ple in split­ting into the two camps of unrea­son­able con­ser­vatism and unrea­son­able rad­i­cal­ism. Had pre-Rev­o­lu­tion­ary France lis­tened to men like Tur­got, and backed them up, all would have gone well. But the ben­e­fi­cia­ries of priv­i­lege, the Bour­bon reac­tionar­ies, the short­sight­ed ultra-con­ser­v­a­tives, turned down Tur­got; and found that instead of him they had obtained Robe­spierre.”

Near the end, Roo­sevelt sounds an impas­sioned call:

Friends, our task as Amer­i­cans is to strive for social and indus­tri­al jus­tice, achieved through the gen­uine rule of the peo­ple. This is our end, our pur­pose. The meth­ods for achiev­ing the end are mere­ly expe­di­ents, to be final­ly accept­ed or reject­ed accord­ing as actu­al expe­ri­ence shows that they work well or ill. But in our hearts we must have this lofty pur­pose, and we must strive for it in all earnest­ness and sin­cer­i­ty, or our work will come to noth­ing. In order to suc­ceed we need lead­ers of inspired ide­al­ism, lead­ers to whom are grant­ed great visions, who dream great­ly and strive to make their dreams come true; who can kin­dle the peo­ple with the fire from their own burn­ing souls.

If you would like to read along as you lis­ten to Roo­sevelt’s voice, click here to open the full text in a new win­dow.

 

“Glitch” Artists Compose with Software Crashes and Corrupted Files

A the­o­ry: one of the dri­vers of our cur­rent wave of nostalgia—lo-fi ana­log hiss and pop in music and ready­made vin­tage fil­ters in dig­i­tal photography—is the loss of imper­fec­tion. Increas­ing­ly pow­er­ful tech­nolo­gies ren­der sound and vision too slick­ly pris­tine, glossy, hyper­re­al, and thus imper­son­al and alien. The lat­est episode of PBS Arts’ “Off Book” series (above) fea­tures a trend toward dis­rupt­ing dig­i­tal over­pro­duc­tion by delib­er­ate­ly exploit­ing the weak­ness­es in new tech­nolo­gies. Glitch artists makes use of “nat­u­ral­ly occur­ring” (so to speak) cor­rup­tions of soft­ware, or cre­ate their own cor­rup­tions in a process called “data­bend­ing”—open­ing images as text files, for exam­ple, and adding and/or delet­ing infor­ma­tion from the image.

Unlike punk rock, to which glitch is com­pared by one of the artists above, some glitch art requires a fair­ly sophis­ti­cat­ed under­stand­ing of dig­i­tal tech­nolo­gies. For exam­ple, video artist Anton Mari­ni describes how he writes his own soft­ware to pro­duce glitch effects. But since vir­tu­al­ly any­one can access a pc and stan­dard text and image-edit­ing soft­ware, it remains a fair­ly demo­c­ra­t­ic aes­thet­ic, sim­i­lar to the bed­room tech­nolo­gies that enable almost any­one to pro­duce and dis­trib­ute their own musi­cal com­po­si­tions. There are sites offer­ing tuto­ri­als on how to cre­ate your own glitch art and even a Flickr account called Glitch­bot that will auto­mat­i­cal­ly gen­er­ate glitch images for you, like Hip­sta­mat­ic or Insta­gram will con­vert your care­less snap­shots into intrigu­ing vin­tage arti­facts. Sound too easy? Maybe, but so was Duchamp’s uri­nal. Con­text, as always, mat­ters, and whether glitch art is “art” may ulti­mate­ly become a his­tor­i­cal ques­tion. At the moment, glitch images, video and music offer a way to human­ize all-too-inhu­man cor­po­rate prod­ucts and tech­nolo­gies.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

The Making of Apocalypse Now Remixed/Revisited

In an inter­view aired on San Fran­cis­co radio last week, Fran­cis Ford Cop­po­la acknowl­edged that he could no longer com­pete with him­self — that he could­n’t make the kind of films that made him famous dur­ing the 1970s. The God­fa­ther (1972), The God­fa­ther II (1974), and Apoc­a­lypse Now (1979) — they were big, sprawl­ing, mas­ter­ful films. And they some­times pushed a young Cop­po­la to the phys­i­cal and finan­cial brink.

The mak­ing of Apoc­a­lypse Now is a leg­endary tale. Shot in the Philip­pines in 1976, the pro­duc­tion ran into imme­di­ate prob­lems. After only two weeks, Cop­po­la fired Har­vey Kei­t­el, the lead actor, and replaced him with Mar­tin Sheen, who stum­bled into chaos upon his arrival. As biog­ra­ph­er Robert Sell­ers not­ed in The Inde­pen­dent, “Cop­po­la was writ­ing the movie as he went along and fir­ing per­son­nel, peo­ple were com­ing down with var­i­ous­trop­i­cal dis­eases and the heli­copters used in the com­bat sequences were con­stant­ly recalled by Pres­i­dent Mar­cos to fight his own war against anti-gov­ern­ment rebels.” And things only got worse from there. Mar­lon Bran­do showed up enor­mous­ly over­weight and not know­ing his lines. Then, dur­ing the dif­fi­cult film­ing, Sheen suf­fered a heart attack, and Cop­po­la him­self had a seizure and even­tu­al­ly a ner­vous break­down, appar­ent­ly threat­en­ing to com­mit sui­cide on sev­er­al occa­sions. Speak­ing about the whole expe­ri­ence years lat­er, Cop­po­la’s wife, Eleanor, said:

It was a jour­ney for him up the riv­er I always felt. He went deep­er and deep­er into him­self and deep­er and deep­er and deep­er into the pro­duc­tion. It just got out of con­trol.… The script was evolv­ing and the scenes were chang­ing — it just got larg­er and more com­plex. And lit­tle by lit­tle he got out there as far as his char­ac­ters. That was­n’t the inten­tion at all at the begin­ning.

Yes, it’s no won­der that Cop­po­la, now 73 years old, might not have anoth­er epic film in him.

Apoc­a­lypse Now hit the­aters exact­ly 33 years ago this week. And to com­mem­o­rate that occa­sion, we’re serv­ing up a short remix film, Heart of Cop­po­la, that weaves togeth­er scenes from the film, footage from behind the scenes, and audio of the great Orson Welles read­ing from Heart of Dark­ness, the Joseph Con­rad novel­la upon which Apoc­a­lypse Now was loose­ly based. (Find it in our col­lec­tion of Free Audio Books and Free eBooks.)

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Dan Philips Presents Sustainable Housing with Wildly Creative Designs

“Unique” is an overused word, so much so that it appears in overqual­i­fied redun­dan­cies like “com­plete­ly” or “very unique.” But, what the hell, I’m going to go ahead and call Dan Philips very unique. Philips, who has worked in army intel­li­gence, and as a dance instruc­tor and antiques deal­er, seems to have final­ly found his call­ing at age 64: build­ing cus­tom hous­es out of up to 80 per­cent sal­vaged and recy­cled materials—from con­struc­tion castoffs like old doors and odd-shaped beams to cat­tle bones, wine bot­tles, and license plates. In the TED talk above, Philips, a very wit­ty and engag­ing speak­er with a slight build and bushy han­dle­bar mus­tache, walks an audi­ence through some of his idio­syn­crat­ic designs, remark­ing on details like eggshells as dec­o­ra­tive but­tons, sal­vaged vin­tage appli­ances, his own low-tech solu­tions for laun­dry chutes and bath­tubs, and a sur­pris­ing­ly taste­ful “Bud­weis­er House.”

If any of this sounds a bit quirk-for-quirk’s sake, it’s not (entire­ly). Philips is a man with a seri­ous pur­pose. As a New York Times pro­file put it, he is “fer­vent­ly com­mit­ted to his vision of build­ing for low-income peo­ple,” espe­cial­ly poor, sin­gle moth­ers (Philips’ father aban­doned his fam­i­ly when he was 17). A self-taught plumber, car­pen­ter, and elec­tri­cian, his vision—articulated through his Huntsville, TX com­pa­ny Phoenix Com­mo­tion—includes hous­ing that is not only struc­tural­ly sound, but also archi­tec­tural­ly beau­ti­ful. “I think mobile homes are a blight on the plan­et,” he says. “Attrac­tive, afford­able hous­ing is pos­si­ble and I’m out to prove it.” While many of his buy­ers default­ed on their mort­gages dur­ing the recent crises, and some of his hous­es have been “gentrified”—sold to upper mid­dle-class fam­i­lies attract­ed by the design fea­tures and ener­gy efficiency—Philips is still pleased that his con­struc­tion rep­re­sents the real­i­ty of sus­tain­able design with recy­cled mate­ri­als and a build­ing phi­los­o­phy that tran­scends the end­less vis­tas of bland nou­veau colo­nials, ranch homes, and shod­dy tract hous­ing that seems to stretch across every sub­ur­ban land­scape.

Click here for a slideshow of sev­er­al of Philips’ cre­ations.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Julia Child Shows David Letterman How to Cook Meat with a Blow Torch

Julia Child would have turned 100 years old today. As an author and tele­vi­sion per­son­al­i­ty, Child intro­duced French cui­sine to the main­stream Amer­i­can pub­lic and turned cook­ing into a dai­ly adven­ture.

Child became fas­ci­nat­ed with French food after mov­ing to Paris in 1948. She stud­ied cook­ing at the renowned Cor­don Bleu school, and in 1961 co-authored the two-vol­ume Mas­ter­ing the Art of French Cook­ing. More than 2 mil­lion copies of the book have been sold, but Child is best known for her tele­vi­sion appear­ances on a suc­ces­sion of pro­grams, start­ing with The French Chef in 1962 and end­ing with Juli­a’s Casu­al Din­ners in 1999, just three years before her death in 2002 at the age of 92.

In 2009 she was the sub­ject of the film Julie & Julia, star­ring Meryl Streep. The movie is based on the real-life adven­tures of Julie Pow­ell, who was great­ly inspired by Child. “Some­thing came out of Julia on tele­vi­sion that was unex­pect­ed,” says Pow­ell in a video at Biography.com. “She’s not a beau­ti­ful woman, but her voice and her atti­tude and her playfulness–it’s just mag­i­cal. You can’t fake that. You can’t take class­es to learn how to be won­der­ful. She just want­ed to enter­tain and edu­cate peo­ple at the same time. Our food cul­ture is bet­ter for it.”

For a quick reminder of Child’s voice, atti­tude and playfulness–not to men­tion her con­sid­er­able skill with a blowtorch–we bring you her mem­o­rable late-1980s appear­ance on Late Night with David Let­ter­man, in which the resource­ful Child adjusts to time con­straints by chang­ing a sim­ple Amer­i­can ham­burg­er into beef tartare grat­iné.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Bukowski: Born Into This — The Definitive Documentary on the Hard-Living American Poet (2003)

Neglect­ed to mark the occa­sion of poet and nov­el­ist Charles Bukows­ki’s birth­day yes­ter­day? Then observe it today with a view­ing of the doc­u­men­tary Bukows­ki: Born Into This (avail­able for pur­chase here). The most in-depth explo­ration of Bukowski’s life yet com­mit­ted to film, the movie “is valu­able because it pro­vides a face and a voice to go with the work,” wrote Roger Ebert in 2004. “Ten years have passed since Bukowski’s death, and he seems like­ly to last, if not for­ev­er, then longer than many of his con­tem­po­raries. He out­sells Ker­ouac and Kesey, and his poems, it almost goes with say­ing, out­sell any oth­er mod­ern poet on the shelf.” A wide range of Bukows­ki enthu­si­asts both expect­ed and unex­pect­ed appear onscreen: Sean Penn, Tom Waits, Har­ry Dean Stan­ton, Black Spar­row Press pub­lish­er John Mar­tin, film­mak­er Tay­lor Hack­ford (direc­tor of the ear­li­er doc­u­men­tary titled sim­ply Bukows­ki), and Bono, to name but a few. “Excerpts are skill­ful­ly woven with the rem­i­nis­cences of for­mer drink­ing bud­dies, fel­low writ­ers and Bukowski’s sec­ond wife, Lin­da, the keep­er of the flame, whom he mar­ried in 1985,” wrote Stephen Hold­en in the New York Times. “With­out strain­ing, the film makes a strong case for Bukows­ki as a major Amer­i­can poet whose work was a slash­ing rebuke to polite aca­d­e­m­ic for­mal­ism.”

Some might con­trar­i­ly con­sid­er Bukowski’s writ­ing glo­ri­fied wal­low­ing, a mere pro­fane exul­ta­tion of the low life, but Born Into This reveals that the man wrote as he lived and lived as he wrote, omit­ting nei­ther great embar­rass­ment nor minor tri­umph. Hold­en men­tions that Bukows­ki, “a pari­ah in high school, suf­fered from severe acne vul­garis, which cov­ered his face with run­ning sores that left his skin deeply pit­ted. He recalls stand­ing mis­er­ably in the dark out­side his senior prom, too humil­i­at­ed to show him­self,” and that for all his work deal­ing with late-life sex­u­al prowess, “he was a vir­gin until he was 24, the same age at which his first sto­ry was pub­lished. His descrip­tion of sex­u­al ini­ti­a­tion with an obese woman whom he wrong­ly accused of steal­ing his wal­let is a spec­tac­u­lar­ly unpromis­ing begin­ning to the pro­lif­ic sex­u­al activ­i­ty (described in his nov­el “Women”) that flow­ered after fame brought admir­ers.” Ebert asks the obvi­ous ques­tion: “How much was leg­end, how much was pose, how much was real?”  Then he answers it: “I think it was all real, and the doc­u­men­tary sug­gests as much. There were no shields sep­a­rat­ing the real Bukows­ki, the pub­lic Bukows­ki and the auto­bi­o­graph­i­cal hero of his work. They were all the same man. Maybe that’s why his work remains so imme­di­ate and affect­ing: The wound­ed man is the man who writes, and the wounds he writes about are his own.”

Relat­ed con­tent:

Charles Bukows­ki: Depres­sion and Three Days in Bed Can Restore Your Cre­ative Juices (NSFW)

The Last (Faxed) Poem of Charles Bukows­ki

Tom Waits Reads Charles Bukows­ki

Bono Reads Two Poems by Charles Bukows­ki, “Lau­re­ate of Amer­i­can Lowlife”

Charles Bukows­ki Reads His Poem “The Secret of My Endurance”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

What Would It Be Like to Fly Through the Universe?

Of course, the ques­tion has crossed your mind, at least once: What would it be like to fly through the uni­verse? Now you can find out.

Accord­ing to NASA’s Astron­o­my Pic­ture of the Day web­site, the clip above offers per­haps the best sim­u­la­tion yet. The ani­mat­ed flight takes you through 400,000 galax­ies (each spot rep­re­sents one galaxy) and brings you to a point 1.3 bil­lion light years from Earth. And that’s just a small slice of the larg­er uni­verse. Miguel Aragon-Cal­vo and Alex Sza­lay (both of Johns Hop­kins) pro­duced the video along with Mark Sub­barao of the Adler Plan­e­tar­i­um using images from the Sloan Dig­i­tal Sky Sur­vey.

On a relat­ed note, don’t miss What the f#ck has NASA done to make your life awe­some?. It will remind you what NASA’s doing with tax­pay­er fund­ing.

Plus we have great Astron­o­my cours­es in our col­lec­tion of 500 Free Online Cours­es.

via Metafil­ter

Let us deliv­er intel­li­gent media to you. Fol­low us on Face­bookTwit­ter and Google Plus.

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Open Culture was founded by Dan Colman.