George Orwell’s Rules for Making the Perfect Cup of Tea: A Short Animation

Sev­er­al years back, Col­in Mar­shall high­light­ed George Orwell’s essay, “A Nice Cup of Tea,” which first ran in the Evening Stan­dard on Jan­u­ary 12, 1946. In that arti­cle, Orwell weighed in on a sub­ject the Eng­lish take seriously–how to make the per­fect cup of tea. And he pro­ceed­ed to offer 11 rules for achiev­ing that result. Above, Luís Sá con­dens­es Orwell’s sug­ges­tions into a short ani­ma­tion, made with kinet­ic typog­ra­phy. Below, you can read the first three of Orwell’s 11 rules, and find the remain­ing eight here.

  • First of all, one should use Indi­an or Cey­lonese tea. Chi­na tea has virtues which are not to be despised nowa­days — it is eco­nom­i­cal, and one can drink it with­out milk — but there is not much stim­u­la­tion in it.…
  • Sec­ond­ly, tea should be made in small quan­ti­ties — that is, in a teapot.… The teapot should be made of chi­na or earth­en­ware. Sil­ver or Bri­tan­ni­aware teapots pro­duce infe­ri­or tea and enam­el pots are worse.…
  • Third­ly, the pot should be warmed before­hand. This is bet­ter done by plac­ing it on the hob than by the usu­al method of swill­ing it out with hot water.

Relat­ed Con­tent:

George Orwell and Christo­pher Hitchens’ Iron­clad Rules for Mak­ing a Good Cup of Tea

An Ani­mat­ed His­to­ry of Tea

10 Gold­en Rules for Mak­ing the Per­fect Cup of Tea (1941)

“The Virtues of Cof­fee” Explained in 1690 Ad: The Cure for Lethar­gy, Scurvy, Drop­sy, Gout & More

The Art of the Japan­ese Teapot: Watch a Mas­ter Crafts­man at Work, from the Begin­ning Until the Star­tling End

Hear a Complete Reading of the Newly-Discovered Kurt Vonnegut Story, “The Drone King”

Twen­ty some years before a young engi­neer named Ray Tom­lin­son invent­ed email, writer Kurt Von­negut invent­ed bee-mail in “The Drone King,” a sto­ry that didn’t see the light of day until his friend and fel­low author Dan Wake­field unearthed it while going through old papers for a new Von­negut col­lec­tion.

The col­lec­tion’s co-edi­tor, Von­negut schol­ar Jerome Klinkowitz, esti­mates that it was writ­ten in the ear­ly 50s, like­ly before the pub­li­ca­tion of his first nov­el, Play­er Piano, in 1952.

This ear­ly work, recent­ly pub­lished in The Atlantic as well as Wake­field and Klinkow­itz’s col­lec­tion, shows an author whose gal­lows humor is already firm­ly in place.

Sev­er­al of his favorite themes crop up, too: the enthu­si­asm of the mis­guid­ed entre­pre­neur, the bat­tle of the sex­es, and tech­nol­o­gy tak­en to absurd extremes (i.e. bees deliv­er­ing scraps of mes­sages in soda straws tied to their tho­rax­es).

If we’re not mis­tak­en Indi­anapo­lis, Vonnegut’s boy­hood home, now host to his Memo­r­i­al Library, puts in an unbilled appear­ance, as well. The story’s Mil­len­ni­um Club bears an uncan­ny resem­blance to that city’s Ath­let­ic Club, now defunct.

The self-pity­ing male hap­less­ness Von­negut spoofs so ably feels just as skew­er-able in the post-Wein­stein era, though the dod­der­ing black waiter’s dialect is rather queasy-mak­ing, espe­cial­ly in the mouth of the white nar­ra­tor read­ing the sto­ry, above.

You can buy “The Drone King” as part of Kurt Von­negut Com­plete Sto­ries col­lec­tion or read it free online here. The Atlantic was also good enough to cre­ate an audio ver­sion. It’s excerpt­ed up top. And it appears in its entire­ty right above.

“The Drone King” will be added to our Free Audio Books and Free eBooks col­lec­tions.

Relat­ed Con­tent:

Kurt Vonnegut’s 8 Tips on How to Write a Good Short Sto­ry

Hear Kurt Vonnegut’s Nov­el, Cat’s Cra­dle, Get Turned into Avant-Garde Music (Fea­tur­ing Kurt Him­self)

Kurt Von­negut Pon­ders Why “Poor Amer­i­cans Are Taught to Hate Them­selves” in a Time­ly Pas­sage from Slaugh­ter­house-Five

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

Hear The Rite of Spring Conducted by Igor Stravinsky Himself: A Vintage Recording from 1929

Though more than a cen­tu­ry of musi­cal change has passed since its infa­mous­ly near-riotous debut at the Théâtre des Champs-Élysées, The Rite of Spring remains a for­mi­da­ble chal­lenge for any con­duc­tor. “I remem­ber the first time I con­duct­ed the ‘Rite’ more than half a cen­tu­ry ago,” the late Rafael Früh­beck de Bur­gos told The Los Ange­les Times in 2013, the year of the pagan bal­let and orches­tral work’s cen­te­nary. “I need­ed two weeks to pre­pare it. This piece, no mat­ter how many times you have per­formed it, is a mon­ster who can eat you in one moment. There are so many places that are dan­ger­ous. This will nev­er be a nor­mal piece.”

Sei­ji Oza­wa, who has record­ed The Rite of Spring with the Chica­go and Boston Sym­pho­ny Orches­tras, knows that full well. In Absolute­ly on Music, his book of con­ver­sa­tions with nov­el­ist Haru­ki Muraka­mi, he address­es the “fias­co” of that very first per­for­mance: “The piece itself is part­ly to blame, but it could well be that the orches­tra was­n’t ful­ly pre­pared to per­form it. The piece is full of musi­cal acro­bat­ics. I wish I had asked Pierre Mon­teux about it direct­ly. We were very close for a while.” He means the con­duc­tor of The Rite of Spring’s debut, who went on to record it in 1929, just as soon as elec­tron­ic micro­phones made it pos­si­ble to do so.

So, how­ev­er, did Stravin­sky him­self, whose own 1929 record­ing with the Walther Straram Con­certs Orches­tra, per­form­ing again in the Théâtre des Champs-Élysées, you can hear at the top of the post. But this record, as Peter Gut­mann writes at Classicalnotes.net, is “not by the com­pos­er of the Rite. No, I haven’t uncov­ered a fraud. It’s indeed Stravin­sky who wields the baton, but in the 16 years since the pre­miere he had under­gone a vast change of artis­tic per­son­al­i­ty. No longer the wild fire­brand who had scan­dal­ized musi­cal soci­ety, he had con­vert­ed to neo­clas­si­cism, and that’s just the type of read­ing he leads here – dis­pas­sion­ate, man­i­cured and ret­i­cent, with the final sac­ri­fi­cial dance down­right labored.” You can com­pare Stravin­sky’s first record­ing to Mon­teux’s first record­ing, with the Grand Orchestre Sym­phonique, just below.

That 1929 record hard­ly marked the end of Mon­teux’s rela­tion­ship with the piece: “When Stravin­sky first played him the music for The Rite, Mon­teux had to go and sit down in anoth­er room, con­clud­ing that he would stick to con­duct­ing Brahms,” writes WQXR’s Phil Kline. But after first con­duct­ing it, he worked with the com­pos­er on score touch-ups and became the lead­ing pro­po­nent of The Rite as a con­cert work,” ulti­mate­ly record­ing it not just once but four times. Recent gen­er­a­tions, of course, have most­ly come to know The Rite of Spring through Leopold Stokowski’s ver­sion in Dis­ney’s Fan­ta­sia, a ren­di­tion Stravin­sky called “exe­crable.” But if the sheer, bru­tal-seem­ing uncon­ven­tion­al­i­ty of the piece shocked its Parisian audi­ence in 1913, we in the 21st cen­tu­ry, lis­ten­ing to the many inter­pre­ta­tions that have come out in the past 89 years, might well find our­selves star­tled at how many pos­si­bil­i­ties The Rite of Spring still con­tains.

Relat­ed Con­tent:

Watch 82-Year-Old Igor Stravin­sky Con­duct The Fire­bird, the Bal­let Mas­ter­piece That First Made Him Famous (1965)

Hear 46 Ver­sions of Stravinsky’s Rite of Spring in 3 Min­utes: A Clas­sic Mashup

Stravinsky’s “Ille­gal” Arrange­ment of “The Star Span­gled Ban­ner” (1944)

Stravinsky’s The Rite of Spring, Visu­al­ized in a Com­put­er Ani­ma­tion for Its 100th Anniver­sary

Hear Igor Stravinsky’s Sym­phonies & Bal­lets in a Com­plete, 32-Hour, Chrono­log­i­cal Playlist

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Andy Warhol’s Seven Hand-Illustrated Books: Charming, Little-Known, and Now Available to the World (1952–1959)

Got a knack for draw­ing, paint­ing, sculpt­ing, cre­at­ing hand­made objects of any kind? You’re maybe more like­ly to mon­e­tize your skill—with an Etsy or Pin­ter­est account, for example—than move to New York and try to make a go of it. Were such con­ve­nient means of set­ting up shop avail­able in the late 40’s, when Andy Warhol stud­ied art edu­ca­tion and com­mer­cial art at the Uni­ver­si­ty of Pitts­burgh and Carnegie Mel­lon Uni­ver­si­ty, respec­tive­ly, one won­ders whether the often bedrid­den, intro­vert­ed artist might have found it more appeal­ing to work from home in Pitts­burgh, and stay there.

Instead, he moved to New York and became a suc­cess­ful com­mer­cial artist by using his illus­tra­tion skills to mar­ket him­self. Before he was a “bell­wether of post-war and con­tem­po­rary art” with those famous silkscreen paint­ings in the 60s; before he made those famous films, dis­cov­ered (and invent­ed the con­cept of) art stars, and man­aged the Vel­vet Under­ground, Warhol cre­at­ed sev­en hand­made books “as part of his strat­e­gy to woo clients and forge friend­ships.” So writes Taschen books, who have col­lect­ed and reprint­ed Warhol’s art books in a sin­gle edi­tion. (Five of the sev­en have nev­er before been repub­lished.)

Warhol reserved the sig­na­ture books for “his most val­ued con­tacts. These fea­tured per­son­al, unique draw­ings and quirky texts reveal­ing his fond­ness for—among oth­er subjects—cats, food, myths, shoes, beau­ti­ful boys, and gor­geous girls.”

They are inti­mate and charm­ing, show­ing a side of the artist we don’t often see—but one we do see of so many con­tem­po­rary illus­tra­tors. His hand-drawn illus­tra­tions have a very 21st cen­tu­ry feel to them in their obses­sion with cats, cakes, fash­ion, and hap­py, nude zaftig beau­ties. Cre­at­ed between 1952 and 59, they could have come from any num­ber of illus­tra­tion or design sites. It’s easy to imag­ine a cur­rent-day Warhol mak­ing a liv­ing sell­ing work like this online.

Had he been able to do so, might he have become a dif­fer­ent kind of artist entire­ly? It’s impos­si­ble to say. I can imag­ine a num­ber of peo­ple for whom I might buy copies of Love Is a Pink Cake, 25 Cats Named Sam, or À la Recherche du Shoe Per­du, as a hol­i­day gift. But Warhol didn’t make copies of these books. He saved the mass pro­duc­tion for his lat­er gallery work. Instead the hand­made call­ing cards remain “lit­tle-known, much-cov­et­ed jew­els in the Warhol crown,” ear­ly exam­ples of “the artists’ off-the-wall char­ac­ter as well as his accom­plished drafts­man­ship, bound­less cre­ativ­i­ty, and innu­en­do-laced humor.”

You might not know it from can­vas­es like Eight Elvis­es, the Mar­i­lyn Mon­roe series, or Campbell’s Soup Cans, but Warhol had a par­tic­u­lar tal­ent for light, whim­si­cal hand-drawn illus­tra­tion. It’s a side of him­self he showed few peo­ple once he became the Andy Warhol most of us know. Thanks to Taschen’s new book, a recent gallery show­ing of Warhol’s draw­ings, a 2012 Chron­i­cle col­lec­tion of his quirky illus­tra­tions from the 50s, and, well, Pin­ter­est, it’s a side of him that can now belong to every­one.

You can now get your own copy of Andy Warhol: Sev­en Illus­trat­ed Books 1952–1959.

Relat­ed Con­tent:

The Big Ideas Behind Andy Warhol’s Art, and How They Can Help Us Build a Bet­ter World

Short Film Takes You Inside the Recov­ery of Andy Warhol’s Lost Com­put­er Art

Miyaza­ki Meets Warhol in Campbell’s Soup Cans Reimag­ined by Design­er Hyo Taek Kim

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

The “Humans of New York” Photo Project Becomes a 13-Part Video Documentary Series: Watch It Free Online


New York, New York—there are many ways of assess­ing whether or not you’ve “made” it here—these days it includes an appear­ance on pho­tog­ra­ph­er Bran­don Stan­ton’s wild­ly pop­u­lar blog, Humans of New York, in which a spon­ta­neous street por­trait is anchored by a per­son­al quote or longer anec­dote.

Fol­low­ing sev­er­al books and a UN-spon­sored world tour to doc­u­ment humans in over twen­ty coun­tries, the project has mor­phed into a 13-episode docu-series as part of Facebook’s orig­i­nal video con­tent plat­form.

Aid­ed by cin­e­matog­ra­ph­er Michael Crom­mett, Stan­ton elic­its his cus­tom­ary blend of uni­ver­sal and spe­cif­ic truths from his inter­view sub­jects. Extend­ing the moment into the video realm affords view­ers a larg­er win­dow onto the com­plex­i­ties of each human’s sit­u­a­tion.

Take episode four, “Rela­tion­ships,” above:

An ample, unadorned woman in late-mid­dle age recalls being swept off her feet by a pas­sion that still burns bright…

An NYU grad stares uncom­fort­ably in her pur­ple cap and gown as her divorced par­ents air var­i­ous regrets…

A cou­ple with mis­matched views on mar­riage are upstaged by a spon­ta­neous pro­pos­al unfold­ing a few feet away…

La Vie en Rose holds deep mean­ing for two cou­ples, despite rad­i­cal­ly dif­fer­ent loca­tions, pre­sen­ta­tions, and ori­en­ta­tions.

A lit­tle girl has no prob­lem call­ing the shots around her spe­cial fel­la…

I love you, New York!!!

Oth­er themes include Mon­ey, Time, Pur­pose, and Par­ent­ing.

One of the great plea­sures of both series and blog is Stanton’s open-mind­ed­ness as to what con­sti­tutes New York and New York­ers.

Some inter­views take place near such tourist-friend­ly locales as Bethes­da Foun­tain and the Wash­ing­ton Square Arch, but just as many tran­spire along­side notice­ably Out­er Bor­ough archi­tec­ture or the blast­ed cement heaths apron­ing its less sought after pub­lic schools.

Those who live here will nod with recog­ni­tion at the cher­ry blos­som self­ies, “show­time” in the sub­way, and the Bush­wick vibe of the groom who pro­posed to his bride at Coney Island, under the Nathan’s Famous Hot Dog Eat­ing Con­test Wall of Fame.

Dit­to the appear­ance of such local celebri­ties as Jim­my Webb, emer­i­tus man­ag­er of the punk bou­tique, Trash and Vaude­ville and Black­wolf the Drag­on­mas­ter, the city’s unof­fi­cial wiz­ard.

Below, Stan­ton explains his goal when con­duct­ing inter­views and demon­strates how a non-threat­en­ing approach can soft­en strangers to the point of can­dor.

It’s well know ’round these parts that cer­tain seg­ments of the local pop­u­lace would gnaw off limbs to be immor­tal­ized by Stan­ton, but he cleaves to the pure serendip­i­ty of his selec­tion process. Ask­ing to have your pic­ture tak­en ensures that it won’t be. Luck puts you in front of his lens. Shar­ing your truth is what makes you human.

Watch Humans of New York: The Series here.

Relat­ed Con­tent:

Humans of New York: Street Pho­tog­ra­phy as a Cel­e­bra­tion of Life

Inter­act with The New York Times Four-Part Doc­u­men­tary, “A Short His­to­ry of the High­rise”

New York City: A Social His­to­ry (A Free Online Course from N.Y.U.) 

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

What Are the Most Effective Strategies for Learning a Foreign Language?: Six TED Talks Provide the Answers

Ear­li­er this week we fea­tured the For­eign Ser­vice Insti­tute’s list of lan­guages ranked by how long they take to learn. Now that you have a sense of the rel­a­tive life invest­ment required to learn the tongue or tongues of your choice, how about a few words of advice on how to start? Or per­haps we’d do bet­ter, before the how, to con­sid­er the why. “A lot of us start with the wrong moti­va­tion to learn a lan­guage,” says Ben­ny Lewis in his TED Talk “Hack­ing Lan­guage Learn­ing.” Those moti­va­tions include “just to pass an exam, to improve our career prospects, or in my case for super­fi­cial rea­sons, to impress peo­ple.”

Real lan­guage learn­ing, on the oth­er hand, comes from pas­sion for a lan­guage, for “the lit­er­a­ture and the movies and being able to read in the lan­guage, and of course, to use it with peo­ple.” But Lewis, who now brands him­self as “The Irish Poly­glot,” says he got a late start on lan­guage-learn­ing, con­vinced up until his ear­ly twen­ties that he sim­ply could­n’t do it.

He cites five flim­sy defens­es he once used, and so many oth­ers still do, for their mono­lin­gual­ism: lack of a “lan­guage gene or tal­ent,” being “too old to learn a sec­ond lan­guage,” not hav­ing the resources to “trav­el to the coun­try right now,” and not want­i­ng to “frus­trate native speak­ers” by using the lan­guage before attain­ing flu­en­cy.

None of these, how­ev­er, seem to have occurred to Tim Don­er, who went viral at six­teen years with a video where­in he spoke twen­ty lan­guages that he taught him­self. He dis­cuss­es that expe­ri­ence, and the fas­ci­na­tions and tech­niques that got him to that point and now well past it, in his talk “Break­ing the Lan­guage Bar­ri­er.” At first put off by the drudgery of French class­es in school, he only began to grasp the nature of lan­guage itself, as a kind of sys­tem break­able into mas­ter­able rules, when he began study­ing Latin.

Want­i­ng to under­stand more about the con­flict between Israel and Pales­tine, Don­er decid­ed to find his way into the sub­ject through Hebrew, and specif­i­cal­ly through rap music record­ed in it. Using lan­guage study as a means of deal­ing with his insom­nia, he dis­cov­ered tech­niques to expand into oth­er lin­guis­tic realms, such as the method of loci (i.e., remem­ber­ing words by asso­ci­at­ing them with places), learn­ing vocab­u­lary in batch­es of sim­i­lar sounds rather than sim­i­lar mean­ings, and seek­ing out the for­eign-lan­guage learn­ers and speak­ers all around him — a rel­a­tive­ly easy task for a New York­er like Don­er, but applic­a­ble near­ly every­where.

In “How to Learn Any Lan­guage in Six Months,” Chris Lons­dale deliv­ers, and with a pas­sion bor­der­ing on fury, a set of use­ful prin­ci­ples like “Focus on lan­guage con­tent that is rel­e­vant to you,” “Use your new lan­guage as a tool to com­mu­ni­cate from day one,” “When you first under­stand the mes­sage, you will uncon­scious­ly acquire the lan­guage.” This res­onates with the advice offered by the much more laid-back Sid Efro­movich in “Five Tech­niques to Speak any Lan­guage,” includ­ing an encour­age­ment to “get things wrong and make mis­takes,” a sug­ges­tion to “find a stick­ler” to help you iden­ti­fy and cor­rect those mis­takes, and a strat­e­gy for over­com­ing the pro­nun­ci­a­tion-hin­der­ing lim­i­ta­tions of the “data­base” of sounds long estab­lished in your brain by your native lan­guage.

Your native lan­guage, in fact, will play the role of your most aggres­sive and per­sis­tent ene­my in the strug­gle to learn a for­eign one — espe­cial­ly if your native lan­guage is as wide­ly used, to one degree or anoth­er, as Eng­lish. And so Scott Young and Vat Jaisw­al, in their talk “One Sim­ple Method to Learn Any Lan­guage,” pro­pose an absolute “no-Eng­lish rule.” You can get results using it with a con­ver­sa­tion part­ner in your home­land, while trav­el­ing for the pur­pose of lan­guage-learn­ing, and espe­cial­ly if you’ve relo­cat­ed to anoth­er coun­try per­ma­nent­ly.

With the rule in place, you’ll avoid the sor­ry fate of one fel­low Young and Jaisw­al know, “an Amer­i­can busi­ness­man who went to Korea, mar­ried a Kore­an women, had chil­dren in Korea, lived in Korea for twen­ty years, and still could­n’t have a decent con­ver­sa­tion in Kore­an.” As an Amer­i­can liv­ing in Korea myself, I had to laugh at that: I could name at least three dozen long-term West­ern expa­tri­ates I’ve met in that very same sit­u­a­tion. In my case, I spent a few years devel­op­ing self-study habits for Kore­an and a cou­ple oth­er lan­guages while still in Amer­i­ca, and so did­n’t have to imple­ment them on the fly after mov­ing here.

Even so, I still must con­stant­ly refine my lan­guage-learn­ing strat­e­gy, incor­po­rat­ing rou­tines like those laid out by Eng­lish poly­glot Matthew Youlden in “How to Speak any Lan­guage Eas­i­ly”: seek­ing out exploitable sim­i­lar­i­ties between the lan­guages I know and the ones I want to know bet­ter, say, or find­ing sources of con­stant “pas­sive” lin­guis­tic input. Per­son­al­ly, I like to lis­ten to pod­casts not just in for­eign lan­guages, but that teach one for­eign lan­guage through anoth­er. And just as Eng­lish-learn­ers get good lis­ten­ing prac­tice out of TED Talks like these, I seek them out in oth­er lan­guages: Kore­an, Japan­ese, Span­ish, or wher­ev­er good old lin­guis­tic pas­sion leads me next.

Relat­ed Con­tent:

A Map Show­ing How Much Time It Takes to Learn For­eign Lan­guages: From Eas­i­est to Hard­est

Learn 48 Lan­guages Online for Free: Span­ish, Chi­nese, Eng­lish & More

215 Hours of Free For­eign Lan­guage Lessons on Spo­ti­fy: French, Chi­nese, Ger­man, Russ­ian & More

The Tree of Lan­guages Illus­trat­ed in a Big, Beau­ti­ful Info­graph­ic

Where Did the Eng­lish Lan­guage Come From?: An Ani­mat­ed Intro­duc­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Codex Quetzalecatzin, an Extremely Rare Colored Mesoamerican Manuscript, Now Digitized and Put Online

To para­phrase Don­ald Rums­feld, there are known knowns in the art world, and there are unknown knowns. The Codex Quet­za­le­catzin, a rare col­ored Mesoamer­i­can man­u­script, recent­ly went from a unknown known (a French col­lec­tor owned it, and before them William Ran­dolph Hearst, and many oth­ers, for sev­er­al cen­turies) to a known known (the French col­lec­tor donat­ed it to the Library of Con­gress).

Bet­ter still, the Library has scanned the illus­trat­ed document–essentially a map of Mex­i­co City and Puebla, drawn up for both Span­ish col­o­niz­ers and indige­nous peo­ple to lay claim to the land–in super hi-res for the pub­lic and schol­ars world­wide to pore over. It dates from between 1570 and 1595.

Accord­ing to John Hessler of the Library’s Worlds Revealed blog, the map depicts the land owned by the de Leon fam­i­ly.

As is typ­i­cal for an Aztec, or Nahu­atl, codex of this ear­ly date, it relates the extent of land own­er­ship and prop­er­ties of a fam­i­ly line known as “de Leon,” most of the mem­bers of which are depict­ed on the man­u­script. With Nahu­atl styl­ized graph­ics and hiero­glyphs, it illus­trates the family’s geneal­o­gy and their descent from Lord-11 Quet­za­le­catzin, who in 1480, was the major polit­i­cal leader of the region. It is from him the Codex derives one of its many names.

The map is one of 450 sur­viv­ing pic­to­r­i­al man­u­scripts of the Mesoamer­i­can peri­od, and con­tains nat­ur­al pig­ments such as Maya blue and cochineal red (made from insects).

If it wasn’t so tied in to bloody Span­ish colo­nial­ism, you could say the Codex looks like a video game map, a la Leg­end of Zel­da. But instead it shows a region in tran­si­tion, between the old order and a new world pop­u­lat­ed by Catholic church­es, and is all the more fas­ci­nat­ing.

Click here to find the dig­i­tized ver­sion of the Codex Quet­za­le­catzin at the Library of Con­gress.

via LoC

Relat­ed Con­tent:

An Intro­duc­tion to the Codex Seraphini­anus, the Strangest Book Ever Pub­lished

Leonar­do da Vinci’s Vision­ary Note­books Now Online: Browse 570 Dig­i­tized Pages

Hear The Epic of Gil­gamesh Read in its Orig­i­nal Ancient Lan­guage, Akka­di­an

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

An Espresso Maker Made in Le Corbusier’s Brutalist Architectural Style: Raw Concrete on the Outside, High-End Parts on the Inside

From the 1950s through the 1970s, Bru­tal­ist archi­tec­ture flour­ished in North Amer­i­ca and Europe (both West and East) and many coun­tries beyond. Made out of raw con­crete, Bru­tal­ist buildings–usually munic­i­pal build­ings, cam­pus­es, and hous­ing projects–have an almost unfin­ished look to them. The first and most famous exam­ple of this archi­tec­tur­al style is the Unité d’habi­ta­tion, the hous­ing com­plex built by Le Cor­busier in Mar­seille between 1947 and 1952.

Though Bru­tal­ism has since fall­en out of fash­ion, it might be poised for a come­back, espe­cial­ly if this new espres­so machine is any indi­ca­tion. After a suc­cess­ful Kick­starter cam­paign this sum­mer (rais­ing $145k), the Nor­we­gian-Cal­i­forn­ian design firm Mon­taag Prod­ucts is putting the fin­ish­ing touch­es on a bru­tal­ist espres­so mak­er.

They want­ed to design a machine made out of “com­plete­ly hon­est mate­ri­als.” Hence the raw con­crete. Inside the espres­so mak­er, how­ev­er, they’ve used mate­ri­als typ­i­cal­ly found inside $1300 Ital­ian machines, accord­ing to Food & Wine. You can pre-order the machine at Indiegogo for $799. It should be ready in March (or there­abouts).

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Relat­ed Con­tent:

Wake Up & Smell the Cof­fee: The New All-in-One Cof­fee-Mak­er/Alarm Clock is Final­ly Here!

Cof­fee Entre­pre­neur Rena­to Bialet­ti Gets Buried in the Espres­so Mak­er He Made Famous

Life and Death of an Espres­so Shot: Choose Your Sound­track

Physics & Caf­feine: Stop Motion Film Uses a Cup of Cof­fee to Explain Key Con­cepts in Physics

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