1,000 Recordings to Hear Before You Die: Stream a Huge Playlist of Songs Based on the Bestselling Book

love supreme list of 1000 recordings

Image by Hayeur­JF, via Flickr Com­mons

Though the buri­als of ancient Egypt­ian rulers offer at least one notable excep­tion, near­ly all the world’s reli­gions have agreed on one thing—if one thing only: you can’t take your stuff with you. You can leave it to the local church, mosque, or syn­a­gogue, your heirs, a char­i­ty of your choice, your dog; but your mate­r­i­al pos­ses­sions will not go wher­ev­er you might when it’s over.



How­ev­er, should con­scious­ness some­how sur­vive the body, or get uploaded to a new one in some sci-fi future, per­haps you can take with you the expe­ri­ences, mem­o­ries, sen­sa­tions, and ideas you’ve accu­mu­lat­ed over a life­time. And if that’s the case, we should all be greedy for knowl­edge and expe­ri­ence rather than prop­er­ty and con­sumer goods. And the “1,000… Before You Die” series of books, might be con­sid­ered guides to curat­ing your after­life.

The series has rec­om­mend­ed 1,000 places to see, 1,000 foods to eat, and, in 2012, 1,000 record­ings to hear before you dent the buck­et. Musi­cian and crit­ic Tom Moon, author of 1,000 Record­ings to Hear Before You Die, has cre­at­ed a list that ranges far and wide, leav­ing seem­ing­ly no genre, region, or peri­od out: from gang­ster rap, to opera, to krautrock, to coun­try, to met­al, to blues, to Zim­bab­wean folk, to… well, you name it, it’s prob­a­bly in there some­where.

For all the songs, artists, and albums I might have added to my own ver­sion of such a list, I was pleas­ant­ly sur­prised to find on Moon’s such indie clas­sics as Bon­nie “Prince” Billy’s haunt­ing I See a Dark­ness, hard­core mas­ter­pieces as Bad Brains’ i against i, and sem­i­nal elec­tron­i­ca as Aphex Twin’s Select­ed Ambi­ent Works. These less well-known record­ings sit next to those of John Coltrane (see A Love Supreme fea­tured above), Mar­i­an Ander­son, Son House, Pat­sy Cline, The Bea­t­les, Bach, Brahms, and vir­tu­al­ly any­one else you might think of, and dozens more you would­n’t.

One would have a very hard time mak­ing a case that Moon has any par­tic­u­lar bias against one form of music or anoth­er. (See the com­plete list here, and browse by genre, title, or artist at the 1,000 Record­ings web­site, where you can read Moon’s com­men­tary on each selec­tion.) When it came to select­ing songs or albums from artists with embar­rass­ing­ly rich cat­a­logs, Moon told NPR that he went with his gut. “I didn’t want to have a stan­dard cri­te­ria,” he said, “With­in any giv­en artist, you could go 10 dif­fer­ent direc­tions.” Agree or dis­agree with his choic­es, but mar­vel at his breadth and inclu­sive­ness.

In the past, it would have tak­en you a life­time just to track down all of these record­ings, much less find time to lis­ten to all of them. Now, you can hear 793 tracks from Moon’s 1,000 picks in the Spo­ti­fy playlist above. (Brought to us by Ulysses Clas­si­cal; down­load Spo­ti­fy here if you need it). Spend the rest of your life not only mulling them over, but dis­cov­er­ing 1,000s more. Despite the title’s ref­er­ence to mor­tal­i­ty, and my some­what face­tious intro­duc­tion, Moon real­ly means his “Listener’s Life List,” as he calls it, to be a guide for living—and for becom­ing immersed in music in a pro­found­ly expan­sive way. (For this same pur­pose, I also thor­ough­ly endorse The Guardian’s series “1,000 Albums to Hear Before You Die,” and its read­er-sourced adden­da. If any­one cares to turn the Guardian list into a Spo­ti­fy playlist, we’ll fea­ture it here too.)

As Moon sum­ma­rizes his intent, “the more you love music, the more music you love.”

Relat­ed Con­tent:

Down­load Free Music from 150+ Clas­si­cal Com­posers, Cour­tesy of Musopen.org

1200 Years of Women Com­posers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

Music from Star Wars, Kubrick, Scors­ese & Tim Bur­ton Films Played by the Prague Phil­har­mon­ic Orches­tra: Stream Full Albums

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

The Princeton Bitcoin Textbook Is Now Free Online

free princeton bitcoin textbook

Image by Jason Ben­jamin, via Flickr Com­mons

On the Free­dom to Tin­ker blog, Arvind Narayanan, a com­put­er sci­ence pro­fes­sor at Prince­ton, announced yes­ter­day:

The first com­plete draft of the Prince­ton Bit­coin text­book is now freely avail­able. We’re very hap­py with how the book turned out: it’s com­pre­hen­sive, at over 300 pages, but has a con­ver­sa­tion­al style that keeps it read­able.

If you’re look­ing to tru­ly under­stand how Bit­coin works at a tech­ni­cal lev­el and have a basic famil­iar­i­ty with com­put­er sci­ence and pro­gram­ming, this book is for you. Researchers and advanced stu­dents will find the book use­ful as well — start­ing around Chap­ter 5, most chap­ters have nov­el intel­lec­tu­al con­tri­bu­tions.

Prince­ton Uni­ver­si­ty Press is pub­lish­ing the offi­cial, peer-reviewed, pol­ished, and pro­fes­sion­al­ly done ver­sion of this book. It will be out this sum­mer. If you’d like to be noti­fied when it comes out, you should sign up here.

The Prince­ton Bit­coin text­book is already being used in Amer­i­can uni­ver­si­ty class­rooms (includ­ing at Stan­ford) and it’s also the text that sup­ports a Prince­ton Bit­coin course being taught on Cours­era.

You can now find it added to our col­lec­tion of Free Text­books.

via Boing­Bo­ing

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!

Relat­ed Con­tent:

Bit­coin, the New Decen­tral­ized Dig­i­tal Cur­ren­cy, Demys­ti­fied in a Three Minute Video

Harvard’s Free Com­put­er Sci­ence Course Teach­es You to Code in 12 Weeks

Cal­cu­lus Life­saver: A Free Online Course from Prince­ton

Russian Superheroes: Artist Draws Traditional Russian Folk Heroes in a Modern Fantasy Style

A pho­to post­ed by amokrus (@amokrus) on

Where do super­heroes come from? The con­cept did­n’t just emerge ful­ly formed into the world when, say, Super­man showed up on the cov­er of Action Comics in 1938. Human­i­ty has enjoyed sto­ries of super­hu­man hero fig­ures since time immemo­r­i­al; you can find prece­dents for the super­hero deep in the mytholo­gies of a vari­ety of cul­tures. When the Russ­ian illus­tra­tor Roman Pap­suev looked deep into the mythol­o­gy of his own cul­ture, he found plen­ty of mate­r­i­al he could car­ry right over into a mod­ern visu­al idiom. And what with the cur­rent Game of Thrones-dri­ven wave of swords and sor­cery in the glob­al pop-cul­ture zeit­geist, he picked the right time indeed to pub­lish his elab­o­rate draw­ings of Russ­ian folk­lore heroes in the style of today’s high-fan­ta­sy com­ic books, movies, TV shows, and video games.

A pho­to post­ed by amokrus (@amokrus) on

“The first char­ac­ters were based on the author’s feel­ings and fan­tasies,” writes Daria Don­ina at Rus­sia Beyond the Head­lines. “He began, of course, with Ilya Muromets — the main Russ­ian epic hero and the strongest bogatyr or war­rior.” Then, “the more the author got immersed in the sub­ject, the more accu­rate his pic­tures became.

A pho­to post­ed by amokrus (@amokrus) on

He began to reread the tales and study the works of famous folk­lorists.” Don­ina quotes Pap­suev him­self: “ ‘What I like most is when peo­ple look at my pic­tures and then begin to read the tales and under­stand why, for instance, Vasil­isa the Beau­ti­ful has a doll in her bag or why Vodyanoy rides a giant cat­fish. This grass­roots revival of ancient folk­lore through my hum­ble project gives me great plea­sure.’ ”

A pho­to post­ed by amokrus (@amokrus) on

You can browse all of these illus­tra­tions and more at Pap­suev’s Insta­gram page, which includes not just fin­ished pieces but works in progress as well, so you can get an idea of just what sort of process it takes to ren­der a Russ­ian hero for the 21st cen­tu­ry. To a non-Russ­ian, this all may seem like sim­ply a neat art project, but any Russ­ian will rec­og­nize these char­ac­ters as cen­tral to a set of sto­ries them­selves cen­tral to the cul­ture. “The tales are stamped in the sub­con­scious from child­hood,” Pap­suev says in the Rus­sia Beyond the Head­line arti­cle, and as with any mate­r­i­al with which peo­ple grew up, any rein­ter­preter takes them into his own hands at his per­il.

A pho­to post­ed by amokrus (@amokrus) on

“This project has no rela­tion to real his­to­ry or real life,” says the artist. “These are just tales, trapped in a world of games. It’s a fun project. Don’t take it too seri­ous­ly.” But which enter­pris­ing Russ­ian devel­op­er, I won­der, will take it seri­ous­ly enough to go ahead and make an actu­al video game based on Pap­suev’s too-hero­ic-to-waste folk­loric char­ac­ters?

A pho­to post­ed by amokrus (@amokrus) on

Find more draw­ings at at Pap­suev’s Insta­gram page.

Relat­ed Con­tent:

Down­load 650 Sovi­et Book Cov­ers, Many Sport­ing Won­der­ful Avant-Garde Designs (1917–1942)

Bat­man & Oth­er Super Friends Sit for 17th Cen­tu­ry Flem­ish Style Por­traits

The 1982 DC Comics Style Guide Is Online: A Blue­print for Super­man, Bat­man & Your Oth­er Favorite Super­heroes

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

 

New App Lets You Explore Hieronymus Bosch’s “The Garden of Earthly Delights” in Virtual Reality

Yes­ter­day, Col­in Mar­shall told you how you could take a Vir­tu­al Inter­ac­tive Tour Through Hierony­mus Bosch’s Mas­ter­piece “The Gar­den of Earth­ly Delights,” thanks to this web­site.

Today, we dis­cov­ered that there’s also an app (designed for iPhoneiPad and Android) that lets you take a vir­tu­al real­i­ty trip through the very same paint­ing. Cre­at­ed as part of the 500th anniver­sary cel­e­bra­tion of Bosch’s life, the app–previewed in the trail­er above–lets you “ride on a fly­ing fish into a Gar­den of Eden, be tempt­ed by strange fruit and even stranger rit­u­als in the Gar­den of Earth­ly Delights. And vis­it hell and hear the devil’s music.”

The app is free. And you can explore parts of Bosch’s famous trip­tych at no cost. It will cost you a small fee–$3.99–to unlock the remain­ing part.

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!



via The Cre­ator’s Project

Relat­ed Con­tent:

Take a Vir­tu­al Tour of Hierony­mus Bosch’s Bewil­der­ing Mas­ter­piece The Gar­den of Earth­ly Delights

Walk Inside a Sur­re­al­ist Sal­vador Dalí Paint­ing with This 360º Vir­tu­al Real­i­ty Video

Free Course: An Intro­duc­tion to the Art of the Ital­ian Renais­sance

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Iggy Pop Reads Walt Whitman in Collaborations With Electronic Artists Alva Noto and Tarwater

whitman pop

Image of Iggy Pop by Patrick McAlpine, via Wiki­me­dia Com­mons

I don’t know why no one thought of this ages ago: an album of Walt Whitman’s poet­ry, set to moody, atmos­pher­ic elec­tron­ic music and read by for­mer Stooge and cur­rent Amer­i­can badass Iggy Pop. It makes per­fect sense. Though Pop may lack Whitman’s ver­bal excess­es, pre­fer­ring more Spar­tan punk rock state­ments, he per­fect­ly embodies—in a very lit­er­al way—Whitman’s fear­less, sex­u­al­ly-charged “bar­bar­ic yawp.” And both artists are very much Amer­i­can orig­i­nals: large­ly self-taught Whit­man cast aside 19th-cen­tu­ry deco­rum and for­mal con­straints to write wild­ly expres­sive verse that cel­e­brat­ed the body, the indi­vid­ual, and Amer­i­can indus­tri­al noise; self-taught Pop cast aside 20th cen­tu­ry rock for­mal­ism to cre­ate dan­ger­ous­ly expres­sive music that cel­e­brat­ed… well, you get the idea.

I don’t know if he would have writ­ten “Now I wan­na be your dog,” but in con­trast to “the pop­u­lar, well-edu­cat­ed poets of the time, those sen­si­tive noble­men,” Whit­man wrote—says Pop in his own dis­tinc­tive paraphrase—“Fuc% as$.” 

You know, I think he had some­thing like Elvis. Like Elvis ahead of his time, one of the first man­ic Amer­i­can pop­ulists. You know you’re look­ing at pic­tures of him, and he was obvi­ous­ly some­one who was very much involved with his own phys­i­cal appear­ance. His poet­ry is always about motion and rush­ing ahead, and crazy love and blood push­ing through the body. He would have been the per­fect gang­ster rap­per. Whit­man says, even the most beau­ti­ful face is not as beau­ti­ful as the body. And to say that in the mid­dle of the 19th cen­tu­ry is out­ra­geous. It’s a slap in the face. 

Of the many rock and roll inter­preters of lit­er­ary greats we’ve fea­tured on this site, I’d say Iggy Pop’s read­ing of, and com­men­tary on, Whit­man may be my favorite.

Unfor­tu­nate­ly, we can only bring you a short excerpt, above, from Pop’s col­lab­o­ra­tion with instru­men­tal duo Tar­wa­ter and Ger­man elec­tron­ic artist Alva Noto (who recent­ly scored Ale­jan­dro Iñárritu’s The Revenant with Yel­low Mag­ic Orchestra’s Ryuichi Sakamo­to). This two-minute sam­ple comes from a 2014 album these artists made togeth­er called Kinder Adams—Children of Adam, which fea­tures sev­er­al abridged ren­di­tions in Ger­man of Whitman’s most famous book, Leaves of Grass by var­i­ous voice actors, then a com­plete read­ing by Pop, set to a throb­bing, haunt­ing score.

Now, Pop, Alva Noto, and Tar­wa­ter have come togeth­er again to revis­it Whit­man with a sev­en-track EP sim­ply titled Leaves of Grass. Like the ear­ly, self-pub­lished first edi­tion of Whitman’s book, this work will only reach a few hands. “Released on Morr Music with no dig­i­tal ver­sion planned,” reports Fact Mag, “Leaves of Grass is only avail­able in a lim­it­ed vinyl edi­tion of just 500 copies, com­plete with embossed art­work.” You can pur­chase a copy of this arti­fact here (act fast), or—if you pre­fer your more tra­di­tion­al Iggy Pop with­out the lit­er­a­ture, moody, post-rock sound­scapes, and rar­efied formats—wait for his new album in March with Queens of the Stone Age’s Josh Homme, sure to hit dig­i­tal out­lets near you. Whether or not he’s read­ing Whit­man, he’s always chan­nel­ing the poet­’s ener­gy.

Relat­ed Con­tent:

Iggy Pop Reads Edgar Allan Poe’s Clas­sic Hor­ror Sto­ry, “The Tell-Tale Heart”

Tom Waits Reads Two Charles Bukows­ki Poems, “The Laugh­ing Heart” and “Nir­vana”

Walt Whitman’s Poem “A Noise­less Patient Spi­der” Brought to Life in Three Ani­ma­tions

Orson Welles Reads From America’s Great­est Poem, Walt Whitman’s “Song of Myself” (1953)

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

Claymation Film Recreates Historic Chess Match Immortalized in Kubrick’s 2001: A Space Odyssey

Fans of Stan­ley Kubrick­’s 2001: A Space Odyssey will remem­ber the scene: On a long jour­ney through space, astro­naut Frank Poole plays a casu­al game of chess with the HAL 9000 super­com­put­er … and los­es deci­sive­ly. No doubt about it. Watch it down below.

Pas­sion­ate about chess and noto­ri­ous­ly obsessed with detail, Kubrick based the scene on a chess match that took place in 1910, pit­ting the Ger­man chess­mas­ter Willi Schlage against a fel­low named A. Roesch. Whether Kubrick was per­son­al­ly famil­iar with the match, or sim­ply found it by perus­ing Irv­ing Chernev’s book The 1000 Best Short Games of Chess (p. 148), it’s not entire­ly clear. But what we do know is that Kubrick­’s scene immor­tal­ized the Schlage — Roesch match played all of those years ago. And it inspired ani­ma­tor Ric­car­do Cro­cetta to recre­ate that 1910 match in the fine clay­ma­tion above. The notes accom­pa­ny­ing Cro­cetta’s film on YouTube record all of the orig­i­nal moves. Appar­ent­ly the ones fea­tured in 2001 come after black­’s 13th move.

Game: 1. e4 e5 2. Nf3 Nc6 3. Bb5 a6 4. Ba4 Nf6 5. Qe2 b5 6. Bb3 Be7 7. c3 O‑O 8. O‑O d5 9. exd5 Nxd5 10. Nxe5 Nf4 11. Qe4 Nxe5 12. Qxa8 Qd3 13. Bd1 Bh3 14. Qxa6 Bxg2 15. Re1 Qf3 16. Bxf3 Nxf3#

Relat­ed Con­tent:

The Wis­dom & Advice of Mau­rice Ash­ley, the First African-Amer­i­can Chess Grand­mas­ter

Vladimir Nabokov’s Hand-Drawn Sketch­es of Mind-Bend­ing Chess Prob­lems

Watch Bill Gates Lose a Chess Match in 79 Sec­onds to the New World Chess Cham­pi­on Mag­nus Carlsen

Mar­cel Duchamp, Chess Enthu­si­ast, Cre­at­ed an Art Deco Chess Set That’s Now Avail­able via 3D Print­er

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Priceless 145-Year-Old Martin Guitar Accidentally Gets Smashed to Smithereens in Tarantino’s The Hateful Eight

Quentin Taran­ti­no has always had a way of get­ting on the wrong side of var­i­ous groups. Most recent­ly he angered the gui­tar-heads of the world when, to their shock and dis­may, it came out that, under the auteur’s watch on the set of his lat­est pic­ture, the post-Civ­il War inten­si­fied West­ern The Hate­ful Eight, a price­less 145-year-old six-string met its bru­tal end. “In the scene in ques­tion,” writes Van­i­ty Fair’s Rachel Han­dler, Kurt Rus­sell, “as boun­ty hunter John ‘The Hang­man’ Ruth, snatch­es the gui­tar from the hands of Jen­nifer Jason Leigh’s Daisy Domer­gue and hurls it against the wall, as one does.” That gui­tar — “an invalu­able his­tor­i­cal arti­fact,” Han­dler explains — came on loan from Pennsylvania’s Mar­tin Gui­tar Muse­um (and its like­ly irked direc­tor Dick Boak).

Even if you don’t play the gui­tar your­self, you’ve prob­a­bly heard of the Mar­tin brand name. Estab­lished in 1833 in New York as the cab­i­net-mak­ing C.F. Mar­tin & Com­pa­ny, they went on to intro­duce some of the inno­va­tions that have come to define the acoustic gui­tar as we know it today, from X‑bracing in the 1850s to met­al strings, replac­ing tra­di­tion­al catgut, in the ear­ly 1900s. The ill-fat­ed spec­i­men lost to the hands of Kurt Rus­sell — who, accord­ing to the pro­duc­tion’s offi­cial sto­ry, nev­er got the memo about cut­ting and swap­ping out a repli­ca before the smash — which the Mar­tin Gui­tar Muse­um orig­i­nal­ly acquired (and insured) for about $40,000, came out of the Mar­tin work­shop in the 1870s.

Nat­u­ral­ly, the far­ther back you go in gui­tar-mak­ing his­to­ry, the few­er gui­tars made at the time still exist. You can still go out and buy a ser­vice­able gui­tar from the end of the 19th cen­tu­ry with­out com­plete­ly wip­ing out your sav­ings, but you’d be hard pressed to find a Mar­tin made a few decades ear­li­er — such as the one smashed in The Hate­ful Eight — at any price at all; less than ten may exist any­where. But Mar­t­in’s sol­id stan­dard of crafts­man­ship ensured that their instru­ment would hold up over the 140 or so years until a film­mak­er want­ed to use it as a prop in his peri­od piece, where it still, aes­thet­i­cal­ly as well as son­i­cal­ly, fit right in. Still, no gui­tar could hold up against the vicious­ness of a char­ac­ter like The Hang­man as envi­sioned by Taran­ti­no — nor against the ded­i­ca­tion of a direc­tor like Taran­ti­no who, always in search of a per­fect­ly vis­cer­al moment, sim­ply can’t bear to cut.

Well, at least he was­n’t using the last playable Stradi­var­ius gui­tar in the world. The Mar­tin Muse­um retained the pres­ence of mind to ask for their gui­tar’s pieces back, and though they could­n’t put the his­tor­i­cal instru­ment back togeth­er again, maybe they’ll find a place to dis­play the frag­ments them­selves. That way, both gui­tar-heads and cinephiles could pay their respects.

via Geek.com

Relat­ed Con­tent:

Musi­cian Plays the Last Stradi­var­ius Gui­tar in the World, the “Sabionari” Made in 1679

Dave Grohl Shows How He Plays the Gui­tar As If It Were a Drum Kit

How Fend­er Gui­tars Are Made, Then (1959) and Nowa­days (2012)

The Sto­ry of the Gui­tar: The Com­plete Three-Part Doc­u­men­tary

The Real Val­ue of a Gui­tar

Eric Clap­ton Tries Out Gui­tars at Home and Talks About the Bea­t­les, Cream, and His Musi­cal Roots

Gui­tar Sto­ries: Mark Knopfler on the Six Gui­tars That Shaped His Career

Bri­an May’s Home­made Gui­tar, Made From Old Tables, Bike and Motor­cy­cle Parts & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Take a Virtual Tour of Hieronymus Bosch’s Bewildering Masterpiece The Garden of Earthly Delights

Bosch 1

Art his­to­ri­ans have argued about the mean­ing of The Gar­den of Earth­ly DelightsHierony­mus Bosch’s enor­mous­ly sized, lav­ish­ly detailed, and com­pelling­ly grotesque late 14th- or ear­ly 15th-cen­tu­ry triptych—more or less since the painter’s death. What does it real­ly say about the appear­ance and fall of man on Earth that it seems to depict? How seri­ous­ly or iron­i­cal­ly does it say it? Does it offer us a warn­ing against temp­ta­tion, or a cel­e­bra­tion of temp­ta­tion? Does it take a reli­gious or anti-reli­gious stance? And what’s with all those creepy ani­mals and bizarre pseu­do-sex acts? “In spite of all the inge­nious, eru­dite and in part extreme­ly use­ful research devot­ed to the task,” said schol­ar Erwin Panof­sky, “I can­not help feel­ing that the real secret of his mag­nif­i­cent night­mares and day­dreams has still to be dis­closed.”

Bosch 2

Panof­sky said that in the 1950s, by which era he summed up the accu­mu­lat­ed efforts to decode Bosch as hav­ing “bored a few holes through the door of the locked room; but some­how we do not seem to have dis­cov­ered the key.” Now you can at least try your own hand at knock­ing on the door with this “inter­ac­tive doc­u­men­tary” of The Gar­den of Ear­ly Delights, which allows you to explore the paint­ing in depth, read­ing and hear­ing what sto­ries we know of the many images night­mar­ish­ly and often hilar­i­ous­ly pre­sent­ed with­in, while you zoom far clos­er than you could while even stand­ing before the real thing at the Pra­do.

(Assum­ing you could suc­cess­ful­ly elbow your way past all the tour groups.)  “The vis­i­tor of the inter­ac­tive doc­u­men­tary will get a bet­ter under­stand­ing of what it was like to live in the Late Mid­dle Ages,” says the offi­cial descrip­tion, which also assures us we can “come back after a vis­it and pick up the book again from the shelf to fur­ther explore.”

Bosch 3

The project comes as part of a larg­er “trans­me­dia tryp­tich,” which also con­sists of the tra­di­tion­al doc­u­men­tary film Hierony­mus Bosch, Touched by the Dev­il (whose trail­er you can see below) and a “vir­tu­al real­i­ty doc­u­men­tary” called Hierony­mus Bosch, the Eyes of the Owl. I find that last title espe­cial­ly appro­pri­ate, since I’ve long enjoyed Bosch’s recur­ring owls and appre­ci­ate the abil­i­ty this high­ly zoomable Gar­den of Earth­ly Delights offers me to count them one by one. Spend some time roam­ing Bosch’s vision’s par­adise, bac­cha­nal, and damna­tion and, whether you take the guid­ed tour through them or not, you’ll find much to stare at in sheer fas­ci­na­tion — and, as often as not, dis­be­lief.

via Metafil­ter

Relat­ed Con­tent:

Dutch Book From 1692 Doc­u­ments Every Col­or Under the Sun: A Pre-Pan­tone Guide to Col­ors

300+ Etch­ings by Rem­brandt Now Free Online, Thanks to the Mor­gan Library & Muse­um

Rijksmu­se­um Dig­i­tizes & Makes Free Online 210,000 Works of Art, Mas­ter­pieces Includ­ed!

16th-Cen­tu­ry Ams­ter­dam Stun­ning­ly Visu­al­ized with 3D Ani­ma­tion

Mas­ter of Light: A Close Look at the Paint­ings of Johannes Ver­meer Nar­rat­ed by Meryl Streep

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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