Astronaut Reads The Divine Comedy on the International Space Station on Dante’s 750th Birthday

in Poetry | May 22nd, 2015

“On April 24th,” writes The New York­er’s John Klein­er, “Saman­tha Cristo­fore­t­ti, Italy’s first female astro­naut, took time off from her reg­u­lar duties in the Inter­na­tion­al Space Sta­tion to read from the Divine Com­e­dy.” You can watch a clip of that read­ing of the first can­to of the Par­adiso above. “As Cristo­fore­t­ti spun around the globe at the rate of sev­en­teen thou­sand miles an hour, her read­ing was beamed back to earth and shown in a movie the­ater in Flo­rence.”

While that stands alone as a neat event in and of itself, more cel­e­bra­tion of the epic Ital­ian poem fol­lowed. “Ten days lat­er,” Klein­er con­tin­ues, “the actor Rober­to Benig­ni recit­ed the last can­to of Par­adiso in the Ital­ian Sen­ate” to a stand­ing ova­tion. Benig­ni, one of world cin­e­ma’s best-known rep­re­sen­ta­tives of Ital­ian cul­ture, seems to have a par­tic­u­lar­ly strong appre­ci­a­tion for Dante Alighieri, the best-known rep­re­sen­ta­tive of Ital­ian lit­er­a­ture; you can see him recite the first can­to of the Infer­no just above.

The occa­sion? Dan­te’s 750th birth­day. Though you’ll find no unsuit­able occa­sion to cel­e­brate the Divine Com­e­dy (find it in our col­lec­tion of 700 Free eBooks), this past month has proven a par­tic­u­lar­ly rich one. Today we’ve gath­ered a few more pieces of Dan­teiana so you can con­duct your own per­son­al appre­ci­a­tion. You might con­sid­er as a first stop the Prince­ton Dante Project, which “com­bines a tra­di­tion­al approach to the study of Dan­te’s Com­e­dy with new tech­niques of com­pil­ing and con­sult­ing data, images, and sound,” fea­tur­ing a search­able new verse trans­la­tion, texts of Dan­te’s minor works (with trans­la­tions), his­tor­i­cal and inter­pre­tive lec­tures, more than sev­en­ty com­men­taries, and links to Dante sites from all over the world.

“When Dante began work on the Com­e­dy [cir­ca 1308], none of the dif­fer­ent dialects spo­ken in Italy’s many city-states had any par­tic­u­lar claim to pre­em­i­nence,” writes Klein­er for The New York­er. “Such was the force and influ­ence of the Com­e­dy that the Tus­can dialect became Italy’s lit­er­ary lan­guage and, even­tu­al­ly, its nation­al one.” But if you don’t speak Ital­ian (as much as the lin­guis­tic impor­tance of the Divine Com­e­dy might inspire you to learn it), you might pre­fer an Eng­lish read­ing, which you’ll find here.

Dante has, for so many of us, shaped our very notions of heav­en and hell, but per­haps more impres­sive­ly, as the poet­’s 750th birth­day pass­es, his major work shows no signs of falling into irrel­e­vance. No mat­ter how many of us now have dif­fer­ent visions of the after­life than he did, and no mat­ter how many of us have no visions of it at all, we keep read­ing Dante — whether in Ital­ian or Eng­lish, whether in the Sen­ate or on the inter­net, whether on Earth or in space.

Relat­ed Con­tent:

A Free Course on Dante’s Divine Com­e­dy from Yale Uni­ver­si­ty

Artists Illus­trate Dante’s Divine Com­e­dy Through the Ages: Doré, Dalí, Blake, Bot­ti­cel­li, Mœbius & More

The Death Masks of Great Authors: Dante, Goethe, Tol­stoy, Joyce & More

Physics from Hell: How Dante’s Infer­no Inspired Galileo’s Physics

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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3D Printed Zoetrope Animates Rubens’ Famous Painting, “The Massacre of the Innocents”

in Animation, Art, Religion | May 22nd, 2015

In the 17th cen­tu­ry, the Flem­ish Baroque painter Peter Paul Rubens paint­ed “The Mas­sacre of the Inno­cents” (see below), an artis­tic depic­tion of a very brief Bib­li­cal pas­sage in The Gospel of Matthew. The pas­sage recounts the sto­ry of how Herod the Great, a Roman client king of Judea, ordered the exe­cu­tion of young male chil­dren in Beth­le­hem, hop­ing to avoid los­ing his throne to a new­ly-born King of the Jews. And it reads like this:

Then Herod, when he saw that he was deceived by the wise men, was exceed­ing­ly angry; and he sent forth and put to death all the male chil­dren who were in Beth­le­hem and in all its dis­tricts, from two years old and under, accord­ing to the time which he had deter­mined from the wise men. Then was ful­filled what was spo­ken by Jere­mi­ah the prophet, say­ing:

“A voice was heard in Ramah,
Lamen­ta­tion, weep­ing, and great mourn­ing,
Rachel weep­ing for her chil­dren,
Refus­ing to be com­fort­ed,
Because they are no more.”

In the 21st cen­tu­ry, Sebas­t­ian Bur­don and Mat Coll­ishaw have now come along and cre­at­ed “All Things Fall,” a 3d zoetrope that brings the “Mas­sacre of the Inno­cents” to life. Using a 19th cen­tu­ry opti­cal tech­nique that pro­duces the illu­sion of motion, the zoetrope vir­tu­al­ly ani­mates the grue­some Bib­li­cal scene. You can watch it play out, eeri­ly, above.

Accord­ing to Bur­don, it took “6 months to do all the 3d mod­el­ing and ani­ma­tions” and involved “cre­at­ing over 350 char­ac­ter fig­ures, envi­ron­ment ele­ments and archi­tec­ture. A pret­ty stun­ning effort.

Peter_Paul_Rubens_-_Massacre_of_the_Innocents_-_WGA20259

Relat­ed Con­tent:

Down­load Over 250 Free Art Books From the Get­ty Muse­um

Watch Art on Ancient Greek Vas­es Come to Life with 21st Cen­tu­ry Ani­ma­tion

5‑Minute Ani­ma­tion Maps 2,600 Years of West­ern Cul­tur­al His­to­ry

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The Music of Avant-Garde Composer John Cage Now Available in a Free Online Archive

in Music | May 21st, 2015

JohnCageArchive

You don’t know avant-garde music unless you know John Cage. And now we have anoth­er rich, eas­i­ly acces­si­ble online resource that can help us get to know John Cage bet­ter. The new site is called Mak­ing the Right Choic­es: A John Cage Cel­e­bra­tion, and it has its ori­gins in the cel­e­bra­tion of Cage’s 100th birth­day put on by con­duc­tor Michael Tilson Thomas and the New World Sym­pho­ny in Feb­ru­ary 2013.

This Cage-devot­ed, Knight Foun­da­tion-fund­ed site, in the words of Hyper­al­ler­gic’s Alli­son Meier, “presents a com­pre­hen­sive overview of his career, from a water­ing can poured on nation­al tele­vi­sion to a rhyth­mic solo piano per­for­mance inspired by lost love,” mate­r­i­al from Cage’s life and career as well as mate­r­i­al inspired by it, and of course “video and audio from the 2013 per­for­mances in Mia­mi Beach, includ­ing some famil­iar and some obscure pieces from [Cage’s] influ­en­tial and exper­i­men­tal career of both music and staged silence.”

You may remem­ber when we fea­tured Cage’s 1960 per­for­mance of Water Walk on I’ve Got a Secret. The site does­n’t fail to include that clas­sic tele­vi­sion clip, but it also offers videos on the stag­ing of Water Walk today, from its direc­tion and back­ground to its rehearsal to the the­atri­cal­i­ty of its per­for­mance to the place­ment of the cam­eras film­ing it. You can find these and many oth­er audio­vi­su­al explo­rations of the nuts and bolts of Cage’s work at Mak­ing the Right Choic­es’ cat­a­log of videos.

“John Cage gen­uine­ly want­ed to open up the beau­teous expe­ri­ence of sound for every­one,” writes Tilson Thomas in a piece on the com­pos­er. “Much of his work could be described as kits to be used in the cre­ation of a per­for­mance that relies on the per­cep­tions, imag­i­na­tions and choic­es of the musi­cians. It was a spir­i­tu­al mis­sion for him to cre­ate the oppor­tu­ni­ty for the per­for­mance to exist while at the same time to inter­fere with it as lit­tle or as sub­tly as pos­si­ble.” That chal­lenge Cage set for him­self keeps his work fas­ci­nat­ing to us to this day — and as Tilson Thomas and the New World Sym­pho­ny sure­ly found out, it remains as much of a chal­lenge as ever for those who pick it up today.

Vis­it Mak­ing the Right Choic­es: A John Cage Cel­e­bra­tion .

via Hyper­al­ler­gic

Relat­ed Con­tent:

John Cage Per­forms Water Walk on US Game Show I’ve Got a Secret (1960)

10 Rules for Stu­dents and Teach­ers Pop­u­lar­ized by John Cage

Lis­ten to John Cage’s 5 Hour Art Piece: Diary: How To Improve The World (You Will Only Make Mat­ters Worse)

Hear Joey Ramone Sing a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake

Watch a Sur­pris­ing­ly Mov­ing Per­for­mance of John Cage’s 1948 “Suite for Toy Piano”

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Watch the Hardcore Original Ending to Kevin Smith’s 1994 Cult Hit Clerks

in Film | May 21st, 2015

I’m not sure if it’s still the case today, in fact, I’m almost sure it isn’t, but in my day the ethos of an entire gen­er­a­tion could be tidi­ly summed up by ref­er­ence to a hand­ful of movies. Or at least that’s what we were led to believe, those of us who came of age in the ear­ly-to-mid 90s, when films like Richard Linklater’s Slack­er (watch free online), Ben Stiller’s Real­i­ty Bites, and Kevin Smith’s Clerks achieved almost instant cult sta­tus as totems of mid­dle class ennui—that of overe­d­u­cat­ed nar­cis­sists and direc­tion­less dream­ers and cyn­ics with ser­i­al roman­tic dis­as­ters and a gnaw­ing sense of the dwin­dling returns on their heavy invest­ment in cul­tur­al cap­i­tal.

Of this ad hoc tril­o­gy of 90s slack­er­dom, it’s Smith’s 1994 low-bud­get, black and white paean to the lives of low-wage con­ve­nience and video store clerks, their clue­less cus­tomers, and a com­ic duo of stoned hang­ers-on that per­haps holds up best, and this is because the film’s comedy—ranging from gal­lows humor to gross-out slap­stick to obser­va­tion­al geekery—seems most ground­ed in the every­day expe­ri­ences of real, absurd­ly bored, work­ing stiffs every­where. So it’s for the best that Smith decid­ed not to fin­ish the film with the orig­i­nal end­ing he shot, which you can see above. In it, the movie’s main char­ac­ter, Quick Stop clerk Dante Hicks, is killed in a rob­bery. The last image we see in this version’s har­row­ing dénoue­ment is of his corpse, awk­ward­ly wedged behind the Quick Stop counter.

It’s an end­ing that makes lit­tle sense tonal­ly. Despite the movie’s detours into the macabre, it nev­er gets seri­ous enough to jus­ti­fy this kind of heav­i­ness. As Men­tal Floss puts it, “the alter­nate end­ing to Kevin Smith’s break­through film turned a light­heart­ed vul­gar com­e­dy [see above] into a dark tragedy of Ing­mar Bergman-ish pro­por­tions.” Actor Bri­an O’Halloran, who played Dante, thought as much. “I hat­ed that end­ing,” Rolling Stone quotes him as say­ing, “I just thought it was too quick of a twist.” I guess it’s a good thing for Smith (and O’Hal­lo­ran) that he final­ly agreed, since with­out the Clerks universe’s main char­ac­ter, there may have been no Clerks 2, for what it’s worth, though Jay and Silent Bob would cer­tain­ly have gone on to their post-Clerks revenge.

Smith’s choice to keep it light also speaks to the spir­it of the time—or the spir­it of these filmed rep­re­sen­ta­tions of the time, which are ulti­mate­ly about a lack of res­o­lu­tion, a meta-lack of res­o­lu­tion, that becomes its own brand of tragi­com­e­dy. Clerks is loose­ly mod­eled on Dante’s vision of pur­ga­to­ry, but feels more like Samuel Beck­ett trans­posed to sub­ur­ban New Jer­sey. The char­ac­ters in Smith’s films for­ev­er live their lives in what post-hard­core band Fugazi so anthem­i­cal­ly called the “wait­ing room”—the kind of place where, in the midst of a per­son­al cri­sis, the most log­i­cal thing to do is debate the ethics of killing off inde­pen­dent con­trac­tors on Return of the Jedi’s Death Star.

The Clerks alter­nate end­ing appears on the 10th anniver­sary DVD of the film. You’ll prob­a­bly agree the movie works much bet­ter with­out this fatal­ly abrupt turn, but watch­ing it gives us a glimpse of a world where death—always hov­er­ing on the edges of slackerdom—intrudes to break the spell of ter­mi­nal inac­tion and emo­tion­al paral­y­sis.

Relat­ed Con­tent:

Watch Kevin Smith’s Clever First Film, Mae Day: The Crum­bling of a Doc­u­men­tary (1992)

The Always-NSFW Kevin Smith and Jason Mewes Catch Up in Jay and Silent Bob Get Old Pod­cast

Hear Kevin Smith’s Three Tips For Aspir­ing Film­mak­ers (NSFW)

Watch Free Online: Richard Linklater’s Slack­er, the Clas­sic Gen‑X Indie Film

 

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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Take a Free Course on Film Noir; Then Watch Oodles of Free Noir Films Online

in Film, Online Courses | May 21st, 2015

tcm course

Cinephiles, if you have some spare time in the com­ing months and feel like watch­ing, say, over 100 film noir movies from the Turn­er Clas­sic Movie (TCM) vaults, then you will be delight­ed with Sum­mer of Dark­ness, which will devote every Fri­day, from June through July, to 24 hours of noir clas­sics and rar­i­ties. And sup­pose you’d like a reward, like a cer­tifi­cate that proves you not only watched those movies, but prop­er­ly stud­ied them? Well TCM has that cov­ered too, offer­ing a free nine-week course in “The Case of Film Noir” to run con­cur­rent with the series. It’s free to sign up, and the course runs June 1 — August 4. Says TCM:

This is the deep­est cat­a­log of film noir ever pre­sent­ed by the net­work (and per­haps any net­work), and pro­vides an unprece­dent­ed oppor­tu­ni­ty for those inter­est­ed in learn­ing more to watch over 100 clas­sic movies as they inves­ti­gate “The Case of Film Noir.”

The course is being taught by Richard L. Edwards, Ph.D. who co-hosts the Out of the Past: Inves­ti­gat­ing Film Noir pod­cast and also teach­es at Ball State Uni­ver­si­ty in Muncie, Indi­anapo­lis.

For those who don’t have TCM, or even cable, don’t wor­ry. The net­work promis­es to post links to online pub­lic domain films. Or, bet­ter yet, you could jump right into our col­lec­tion of 60 Free Noir Films Online, which fea­tures pub­lic domain clas­sics by Orson Welles, Fritz Lang, John Hus­ton, and many more.

Have a hazy, dan­ger­ous sum­mer and watch out for femme fatales!

via Fla­vor­wire

Relat­ed Content:

60 Free Film Noir Movies

The 5 Essen­tial Rules of Film Noir

25 Noir Films That Will Stand the Test of Time: A List by “Noir­chael­o­gist” Eddie Muller

Watch Scar­let Street, Fritz Lang’s Cen­sored Noir Film, Star­ring the Great Edward G. Robin­son (1945)

Kansas City Con­fi­den­tial: Did This 1952 Noir Film Inspire Quentin Tarantino’s Reser­voir Dogs?

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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French Student Sets Internet on Fire with Animation Inspired by Moebius, Syd Mead & Hayao Miyazaki

in Animation | May 20th, 2015

The inter­net over in Japan was lit ablaze last month by a stu­dent film. Titled “Celles et Ceux des Cimes et Cieux” (“Girls and Guys from the Sum­mits and the Skies”), the short is a gor­geous­ly ani­mat­ed trail­er for what looks like an amaz­ing yet-to-be-made fea­ture film. Cre­at­ed by Gwenn Ger­main, who is study­ing at the French art school Créa­pole, the ani­ma­tion is also a love let­ter to leg­endary film­mak­er Hayao Miyaza­ki. You can watch it above.

“I’ve been told by a friend of mine that all the movies that I’ve made are essen­tial­ly the same!” That’s what Miyaza­ki said to me dur­ing a round­table for his children’s movie Ponyo. Though the sto­ries vary from movie to movie, his world is imme­di­ate­ly rec­og­niz­able and remark­ably con­sis­tent. He cre­ates uni­vers­es that are won­drous and mys­ti­cal.

He has an almost shaman­is­tic rev­er­ence for nature; rocks, trees, rivers, and oceans all seem to be alive and aware. And he pop­u­lates his world with shape-shift­ing crea­tures like the rav­en­ous masked blob No-Face in Spir­it­ed Away; the Great For­est Spir­it in Princess Mononoke, which looks like it was yanked straight out of Japan­ese mythol­o­gy; and per­haps his most delight­ful cre­ation, the Cat Bus from My Neigh­bor Totoro, com­plete with head­light eyes, a Cheshire grin and a warm, womb-like inte­ri­or. It was this whim­si­cal cre­ation that report­ed­ly impressed The Emper­or him­self – Aki­ra Kuro­sawa.

It’s no won­der why Japan­ese neti­zens went crazy for “Celles et Ceux des Cimes et Cieux.” Germain’s short seems sprung from the same world as Miyaza­ki. The giant bugs look like some­thing out of Nau­si­caa of the Val­ley of the Wind. The ambigu­ous­ly Euro­pean archi­tec­ture looks like some­thing from Kiki’s Deliv­ery Ser­vice and those pur­ple amor­phous worms look like some­thing from Spir­it­ed Away.  Heck, Miyaza­ki him­self even seems to be in Ger­main’s short – that beard­ed old guy at the end of the movie is a spit­ting image of the famed ani­ma­tor.

Ger­main cred­its oth­er influ­ences aside from Miyaza­ki: Syd Mead, the con­cept artist who cre­at­ed those fly­ing cars in Blade Run­ner and the city of the future in the upcom­ing Tomor­row­land, and par­tic­u­lar­ly the bound­less­ly imag­i­na­tive French illus­tra­tor Moe­bius. Their influ­ence might not be as obvi­ous as Miyaza­k­i’s, how­ev­er.

In any case, I am seri­ous­ly look­ing for­ward to see­ing a fea­ture length ver­sion of “Celles et Ceux des Cimes et Cieux.”

Relat­ed Con­tent: 

How to Make Instant Ramen Com­pli­ments of Japan­ese Ani­ma­tion Direc­tor Hayao Miyaza­ki

Moe­bius Gives 18 Wis­dom-Filled Tips to Aspir­ing Artists (1996)

Moe­bius’ Sto­ry­boards & Con­cept Art for Jodorowsky’s Dune

Japan­ese Car­toons from the 1920s and 30s Reveal the Styl­is­tic Roots of Ani­me

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

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Mesmerizing Timelapse Film Captures the Wonder of Bees Being Born

in Film | May 20th, 2015

From Nation­al Geo­graph­ic comes this: A short time­lapse film that lets you watch “the eeri­ly beau­ti­ful growth of lar­vae into bees.” Shot by pho­tog­ra­ph­er Anand Var­ma, the mes­mer­iz­ing video starts with the lar­vae of work­er bees just hatch­ing from eggs, then fol­lows their mat­u­ra­tion into adult bees. The video cov­ers an 11-day process in one short minute.

You can get a behind-the-scenes account of the mak­ing of this video over at Nat Geo. When you’re there, you might also want to check out these pret­ty amaz­ing por­traits of bees.

via Kot­tke/This is Colos­sal

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and  share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

 

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Watch Sherlock Hound: Hayao Miyazaki’s Animated, Steampunk Take on Sherlock Holmes

in Animation, Television | May 20th, 2015

With such majes­tic, painstak­ing­ly craft­ed films as Nau­si­caä of the Val­ley of the Wind, My Neigh­bor Totoro, and Princess Mononoke, Hayao Miyaza­ki has made his name as Japan­ese ani­ma­tion’s pre­em­i­nent artis­tic vision­ary — and quite pos­si­bly ani­ma­tion’s pre­em­i­nent artis­tic vision­ary as well. But before he co-found­ed Stu­dio Ghi­b­li, the house that has become syn­ony­mous with Miyaza­k­i’s kind of lush, uni­ver­sal­ly appeal­ing, and award-win­ning films, he worked on var­i­ous kinds of ani­ma­tion, for dif­fer­ent media and pitched at dif­fer­ent lev­els of seri­ous­ness. One of the most notable projects of the end of that chap­ter of his career trans­posed the adven­tures of Sher­lock Holmes into a world of anthro­po­mor­phic dogs.

The Ital­ian-Japan­ese co-pro­duc­tion Sher­lock Hound aired as a tele­vi­sion series between 1984 and 1985. Of its 26 episodes, which sent the cor­gi Sher­lock Hound and ter­ri­er Doc­tor Wat­son after a vari­ety of thieves and on all sorts of adven­tures across a steam­punk Lon­don, Miyaza­ki direct­ed six.

In the Miyaza­ki-direct­ed episode “Trea­sure Under the Sea” at the top of the post, for instance, the detect­ing duo go after a sub­ma­rine pur­loined by recur­ring antag­o­nist of both Holmes and Hound, Pro­fes­sor Mori­ar­ty, who here takes the form of a wolf.

“The Sov­er­eign Gold Coins” finds Hound and Wat­son in pur­suit of that seem­ing­ly more tra­di­tion­al stripe of crim­i­nal known as a safe­crack­er, and in “Mrs. Hud­son is Tak­en Hostage,” their land­la­dy (who seems con­sid­er­ably more youth­ful in Miyaza­k­i’s vision than the matron in Sir Arthur Conan Doyle’s) goes miss­ing, though her kid­nap­per bad­ly under­es­ti­mates the dif­fi­cul­ty of pulling off his plan under Hound’s watch. Miyaza­ki would direct three more episodes (“The Stormy Get­away,” “The Crown of Maza­lin,” and “The Four Sig­na­tures”) before a rights dis­pute with Conan Doyle’s estate threw a wrench into pro­duc­tion. The show lat­er went on under oth­er cre­ators, and U.S. view­ers can see the whole, still-delight­ful run on Hulu, but Miyaza­ki did­n’t look back — and see­ing as Nau­si­caä had come out that same year, he did­n’t need to.

Relat­ed Con­tent:

Watch John Cleese as Sher­lock Holmes in The Strange Case of the End of Civ­i­liza­tion as We Know It

Down­load the Com­plete Sher­lock Holmes, Arthur Conan Doyle’s Mas­ter­piece

Arthur Conan Doyle Dis­cuss­es Sher­lock Holmes and Psy­chics in a Rare Filmed Inter­view (1927)

Hear the Voice of Arthur Conan Doyle After His Death

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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