Beer Archaeology: Yes, It’s a Thing

Travis Rupp is a clas­sics instruc­tor at The Uni­ver­si­ty of Col­orado. He’s also a “beer archae­ol­o­gist” who works on a spe­cial projects team at the Avery Brew­ing Com­pa­ny (in Boul­der) where they “brew beers the way that ancient Egyp­tians, Peru­vians and Vikings did.” If you can under­stand the beer an ancient peo­ple drank, you can bet­ter under­stand their over­all cul­ture.  That’s assump­tion at the heart of beer archae­ol­o­gy.

Above, watch a three minute intro­duc­tion to Rup­p’s work. Below, find infor­ma­tion on some of the world’s old­est beer recipes from Ancient Egypt and Chi­na.

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:

5,000-Year-Old Chi­nese Beer Recipe Gets Recre­at­ed by Stan­ford Stu­dents

Dis­cov­er the Old­est Beer Recipe in His­to­ry From Ancient Sume­ria, 1800 B.C.

 

Rare Recordings of Burroughs, Bukowski, Ginsberg & More Now Available in a Digital Archive Created by the Maryland Institute College of Art (MICA)

Image via Chris­ti­aan Ton­nis

Amer­i­cans can be quite igno­rant of the rich­ness of our coun­try’s cul­tur­al his­to­ry. Part of this igno­rance, I sus­pect, comes down to prej­u­dice. Inno­v­a­tive Amer­i­can artists through­out his­to­ry have come from groups often demo­nized and mar­gin­al­ized by the wider soci­ety. The dom­i­nance of cor­po­rate com­merce also impov­er­ish­es the cul­tur­al land­scape. Poet­ry and exper­i­men­tal art don’t sell much, so some peo­ple think they have lit­tle val­ue.

Imag­ine if we were to invert these atti­tudes in pub­lic opin­ion: Amer­i­can poet­ry and art allow us to gain new per­spec­tives from peo­ple and parts of the coun­try we don’t know well; to enlarge and chal­lenge our reli­gious and polit­i­cal under­stand­ing; to expe­ri­ence a very dif­fer­ent kind of econ­o­my, built on aes­thet­ic inven­tion and free intel­lec­tu­al enter­prise rather than sup­ply, demand, and prof­it. Cre­ativ­i­ty and finance are not, of course, mutu­al­ly exclu­sive. But to con­sis­tent­ly favor one at the expense of the oth­er seems to me a great loss to every­one.

We find our­selves now in such a sit­u­a­tion, as pub­lic uni­ver­si­ties, the Nation­al Endow­ment for the Arts, the Nation­al Endow­ment for the Human­i­ties, and the Cor­po­ra­tion for Pub­lic Broad­cast­ing face severe cuts or pos­si­ble de-fund­ing.

Such a polit­i­cal move would dev­as­tate many of the insti­tu­tions that fos­ter and pre­serve the country’s art and cul­ture, and rel­e­gate the arts to the pri­vate sphere, where only sums of pri­vate mon­ey deter­mine whose voic­es get heard. We can, how­ev­er, be very appre­cia­tive of pri­vate insti­tu­tions who make their col­lec­tions pub­lic through open access libraries like the Inter­net Archive.

One such col­lec­tion comes from the Dig­i­tal Ini­tia­tives Unit of Deck­er Library at the Mary­land Insti­tute Col­lege of Art (MICA), one of the old­est art col­leges in the U.S., and one of the most high­ly regard­ed. They have dig­i­tal­ly donat­ed to Archive.org “a num­ber of rare and pre­vi­ous­ly unre­leased audio record­ings,” they write in a press release, “span­ning the 1960s through the late 1990s” and con­sist­ing of “over 700 audio­cas­sette tapes” doc­u­ment­ing “lit­er­a­ture and poet­ry read­ings, fine art and design lec­tures, race and cul­ture dis­cus­sions” and col­lege events.

These include (enter the archive here) a two hour poet­ry read­ing from Allen Gins­berg in 1978, at the top, with sev­er­al oth­er read­ings and talks from Gins­berg in the archive, the read­ing below it from Eileen Myles in 1992, and read­ings and talks above and below from Amiri Bara­ka, Anne Wald­man, and William S. Bur­roughs. The col­lec­tion rep­re­sents a “strong focus on lit­er­a­ture and poet­ry,” and fea­tures “a sym­po­sium on the Black Moun­tain poets.” Giv­en the school’s mis­sion, you’ll also find in the archive “a large selec­tion of talks and lec­tures by visu­al artists, such as Elaine de Koon­ing, Alice Neel, Gor­don Parks, Ad Rhine­hart and Ben Shahn.”

Col­lec­tions like this one from MICA and the Inter­net Archive allow any­one with inter­net access to expe­ri­ence in some part the breadth and range of Amer­i­can art and poet­ry, no mat­ter their lev­el of access to pri­vate insti­tu­tions and sources of wealth. But the inter­net can­not ful­ly replace or sup­plant the need for pub­licly fund­ed arts ini­tia­tives in com­mu­ni­ties nation­wide.

Relat­ed Con­tent:

An 18-Hour Playlist of Read­ings by the Beats: Ker­ouac, Gins­berg & Even Bukows­ki Too

13 Lec­tures from Allen Ginsberg’s “His­to­ry of Poet­ry” Course (1975)

Hear Allen Gins­berg Teach “Lit­er­ary His­to­ry of the Beats”: Audio Lec­tures from His 1977 & 1981 Naropa Cours­es

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

Alexis De Tocqueville’s Democracy in America: An Animated Introduction to the Most Insightful Study of American Democracy

We can­not right­ly see our­selves with­out hon­est feed­back. Those who sur­round them­selves with syco­phants and peo­ple just like them only hear what they want to hear, and nev­er get an accu­rate sense of their capa­bil­i­ties and short­com­ings. And so the best feed­back often comes from peo­ple out­side our in-groups. This can be as true of nations as it can be of indi­vid­u­als, pro­vid­ed our crit­ics are char­i­ta­ble, even when unspar­ing­ly hon­est, and that they take a gen­uine inter­est in our well-being.

These qual­i­ties well describe one of the sharpest crit­ics of the Unit­ed States in the past two cen­turies. Alex­is de Toc­queville, aris­to­crat­ic French lawyer, his­to­ri­an, and polit­i­cal philoso­pher, who trav­eled to the fledg­ling coun­try in 1831 to observe a nation then in the grip of a pop­ulist fever under Andrew Jack­son, a pres­i­dent who became noto­ri­ous for his expro­pri­a­tion of indige­nous land, ruth­less relo­ca­tion poli­cies, and embrace of South­ern slav­ery. But the groups who flour­ished under Jackson’s rule did so with a tremen­dous enthu­si­asm that the French thinker admired but also viewed with a very skep­ti­cal eye.

De Toc­queville pub­lished his obser­va­tions and analy­ses of the Unit­ed States in a now-famous book, Democ­ra­cy in Amer­i­ca. Though we’ve come to take the idea of democ­ra­cy for grant­ed, for the young French­man, a child of Napoleon­ic Europe, it was “a high­ly exot­ic and new polit­i­cal option,” as Alain de Bot­ton tells us in his ani­mat­ed video intro­duc­tion above. De Toc­queville “pre­scient­ly believed that democ­ra­cy was going to be the future all over the world, and so he want­ed to know, ‘what would that be like?’”

With a grant from the French gov­ern­ment, De Toc­queville trav­eled the coun­try (then less than half its cur­rent size) for nine months, get­ting to know its peo­ple and cus­toms as best he could, and mak­ing a series of gen­er­al obser­va­tions that would form the vignettes and argu­ments in his book. He was “par­tic­u­lar­ly alive to the prob­lem­at­ic and dark­er sides of democ­ra­cy.” De Bot­ton dis­cuss­es five crit­i­cal insights from Democ­ra­cy in Amer­i­ca. See three of them below, with quotes from De Toc­queville him­self.

1. Democ­ra­cy Breeds Mate­ri­al­ism.

For De Toc­queville one kind of materialism—the exces­sive pur­suit of wealth—disposed the coun­try to anoth­er, “a dan­ger­ous sick­ness of the human mind”—the denial of a spir­i­tu­al or intel­lec­tu­al life. “While man takes plea­sure in this hon­est and legit­i­mate pur­suit of well-being,” he wrote, “it is to be feared that in the end he may lose the use of his most sub­lime fac­ul­ties, and that by want­i­ng to improve every­thing around him, he may in the end degrade him­self.”

De Toc­queville, says De Bot­ton, observed that “mon­ey seemed to be quite sim­ply the only achieve­ment that Amer­i­cans respect­ed” and that “the only test of good­ness for any item was how much mon­ey it hap­pens to make.”

2. Democ­ra­cy Breeds Envy & Shame

“When all the pre­rog­a­tives of birth and for­tune have been abol­ished,” wrote De Toc­queville, “when every pro­fes­sion is open to every­one, an ambi­tious man may think it is easy to launch him­self on a great career and feel that he has been called to no com­mon des­tiny. But this is a delu­sion which expe­ri­ence quick­ly cor­rects.” Unable to rise above his cir­cum­stances, and yet believ­ing that he should be equal to his neigh­bors in achieve­ments, such a per­son may blame him­self and feel ashamed, or suc­cumb to envy and ill will.

De Toc­queville was far too opti­mistic about the abol­ish­ment of “pre­rog­a­tives of birth and for­tune,” but many Amer­i­cans might rec­og­nize them­selves still in his gen­er­al pic­ture, in which “the sense of unlim­it­ed oppor­tu­ni­ty could ini­tial­ly encour­age a sur­face cheer­ful­ness.” And yet, De Bot­ton notes, “as time passed and the major­i­ty failed to raise them­selves, Toc­queville not­ed that their mood dark­ened, that bit­ter­ness took hold and choked their spir­its, and that their hatred of them­selves and their mas­ters grew fierce.”

3. Tyran­ny of the Major­i­ty

De Toc­queville, De Bot­ton says, thought that “demo­c­ra­t­ic cul­ture… often ends up demo­niz­ing any asser­tion of dif­fer­ence, and espe­cial­ly cul­tur­al supe­ri­or­i­ty, even though such atti­tudes might be con­nect­ed with real mer­it.” In such a state, “soci­ety has an aggres­sive lev­el­ing instinct.”

It wasn’t only attacks on high cul­ture that De Toc­queville feared, but what he called the “Omnipo­tence of the Major­i­ty,” a phrase he used to denote the pow­er of pub­lic opin­ion as an almost total­i­tar­i­an means of social con­trol. In vol­ume two of his study, pub­lished in 1840, De Toc­queville devot­ed par­tic­u­lar atten­tion to “the pow­er which that major­i­ty nat­u­ral­ly exer­cis­es over the mind…. By what­ev­er polit­i­cal laws men are gov­erned in the ages of equal­i­ty, it may be fore­seen that faith in pub­lic opin­ion will become for them a species of reli­gion, and the major­i­ty its min­is­ter­ing prophet.”

From this pre­dic­tion, De Toc­queville fore­saw “two ten­den­cies; one lead­ing the mind of every man to untried thoughts, the oth­er pro­hibit­ing him from think­ing at all.”

De Bot­ton goes on to dis­cuss two close­ly relat­ed cri­tiques: democracy’s sus­pi­cion of all author­i­ty and its under­min­ing of free thought. Rather than encoun­ter­ing the kind of mar­ket­place of ideas the coun­try prides itself on fos­ter­ing, he found in few places “less inde­pen­dence of mind, and true free­dom of dis­cus­sion, than in Amer­i­ca.” The crit­i­cism is harsh, and De Toc­queville did not flat­ter his hosts often, and yet for all of its “inher­ent draw­backs,” De Bot­ton writes at the School of Life, the French­man “isn’t anti-demo­c­ra­t­ic.”

His aim is “to get us to be real­is­tic” about demo­c­ra­t­ic soci­ety and its ten­den­cies to inhib­it rather than enlarge many free­doms. As Arthur Gold­ham­mer observes at The Nation, De Toc­queville believed that “True free­dom lay not in the pur­suit of indi­vid­u­al­is­tic aims, but “in ‘slow and tran­quil’ action in con­cert with oth­ers shar­ing some col­lec­tive pur­pose.”

Relat­ed Con­tent:

Why Socrates Hat­ed Democ­ra­cies: An Ani­mat­ed Case for Why Self-Gov­ern­ment Requires Wis­dom & Edu­ca­tion

20 Lessons from the 20th Cen­tu­ry About How to Defend Democ­ra­cy from Author­i­tar­i­an­ism, Accord­ing to Yale His­to­ri­an Tim­o­thy Sny­der

Bertrand Russell’s Ten Com­mand­ments for Liv­ing in a Healthy Democ­ra­cy

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

Slavoj Žižek Expounds on His Hatred of Teaching, Grading Papers, and Particularly Holding Office Hours

“Those who can, do,” so we often used to hear, “and those who can’t, teach.” Nowa­days the sit­u­a­tion seems to have trans­formed into some­thing more like, “Those who can, do, at least in the occa­sion­al free moments when they don’t have to teach.” At first you just take a teach­ing gig on the side to sup­ple­ment your real career, and before you know it teach­ing has usurped that real career almost entire­ly. We’ve all heard com­plaints from aca­d­e­m­ic friends about the seem­ing­ly unbreak­able cycle of lec­tur­ing, grad­ing, and hold­ing office hours, but how many have put it in terms as stark as Slavoj Žižek does in the inter­view above?

“I hate, I hate, I hate — okay, talks are okay, but I hate giv­ing class­es,” says the Sloven­ian philoso­pher-crit­ic-show­man at a 2014 Uni­ver­si­ty of Cincin­nati Col­lege of Design, Archi­tec­ture, Art and Plan­ning con­fer­ence devot­ed to his work. “I’m proud to say, I did teach a cou­ple of semes­ters here, and all the grad­ing was pure bluff. I even open­ly told the stu­dents. I told them, I remem­ber — at the New School, for exam­ple, in New York, ‘If you don’t give me any of your shit­ty papers, you’ll get an A. If you give me a paper, I may read it and not like it, you can get a low­er grade.’ And it worked — I got no papers.” And so he solves the prob­lem of grad­ing.

But what of office hours? These he calls “the main rea­son I don’t want to teach,” because “stu­dents, they’re like oth­er peo­ple; the major­i­ty are bor­ing idiots, so I can­not imag­ine a worse expe­ri­ence than some idiot comes and starts to ask you ques­tions.” In oth­er coun­tries one might find a way to endure it, but “the prob­lem is, here in Unit­ed States, stu­dents tend to be so open that if you’re kind to them, they even start to ask you per­son­al ques­tions, like pri­vate prob­lems, could you help them, and so on. What should I tell them? ‘I don’t care. Kill your­self. Not my prob­lem.’ ”

These teach­ing expe­ri­ences led Žižek’s to one con­clu­sion: “I like uni­ver­si­ties with­out stu­dents.” But not every­one cheers his pro­nounce­ment: “When­ev­er some­thing like this pops up, I wor­ry that some peo­ple will see it and say, ‘You see? That’s what I’ve been say­ing about those ivory tow­er types all along,’ ” writes one anony­mous aca­d­e­m­ic in response. “Žižek is an out­lier, in terms of both his stature and his atti­tude. Most work­ing aca­d­e­mics can’t get away with being dis­mis­sive of stu­dents, and even if we could, almost all of us would­n’t.”

Slate’s Rebec­ca Schu­man argues that the “real prob­lem with Žižek isn’t that he feels this way or that he says these things aloud. It’s that he does so and peo­ple think it’s hilar­i­ous. It’s that his view is, believe it or not, a com­mon ‘super­star’ view of stu­dents — so com­mon, in fact, that if you work at a research uni­ver­si­ty and actu­al­ly like teach­ing, you should maybe pre­tend you don’t, lest you appear not ‘seri­ous’ enough about your research.” A semi-fre­quent crit­ic of Žižek, most recent­ly of his endorse­ment of Don­ald Trump (“after all, the two thrice-mar­ried, out­spo­ken old­er gen­tle­men do have quite a bit in com­mon, a fact that would sure­ly hor­ri­fy them both”), Schu­man knows that the fault lies nev­er so much with the provo­ca­teur him­self as it does with our ten­den­cy to take his provo­ca­tions at face val­ue.

Relat­ed Con­tent:

Slavoj Žižek Answers the Ques­tion “Should We Teach Chil­dren to Believe in San­ta Claus?”

Slavoj Žižek Calls Polit­i­cal Cor­rect­ness a Form of “Mod­ern Total­i­tar­i­an­ism”

Philoso­phers (Includ­ing Slavoj Žižek) and Ethi­cists Answer the Ques­tion: Is It OK to Punch Nazis?

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.

Bach’s Most Famous Organ Piece Played on Wine Glasses

Robert Tiso takes stemmed wine glass­es and turns them into a mag­i­cal musi­cal instrument–or what he calls the “glass harp.” As his web­site explains, “each glass is tuned by adding a pre­cise amount of water (watch a tuto­r­i­al here), while the sound is pro­duced by rub­bing the fin­ger­tips around the rims, sim­u­lat­ing the fric­tion of a vio­lin bow.” Above you can watch him play Bach’s “Toc­ca­ta and Fugue in D minor” (BWV 565), the free sheet music for which you can find here. And if you head over to Tiso’s YouTube chan­nel, you can watch him tack­le Rav­el, Tchaikovsky, Beethoven, Pachel­bel, and much more. Enjoy.

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 @WFMU

Relat­ed Con­tent:

All of Bach is Putting Bach’s Com­plete Works Online: 150 Done, 930 to Come

Down­load the Com­plete Organ Works of J.S. Bach for Free

JS Bach’s The Well-Tem­pered Clavier Artis­ti­cal­ly Ani­mat­ed with Puls­ing Neon Lights

Down­load the Com­plete Organ Works of J.S. Bach for Free

Hamilton’s Lin-Manuel Miranda Creates a Playlist of Protest Music for Our Troubled Times

Pho­to by Steve Jurvet­son, via Flickr Com­mons

In 1992 Ice‑T’s met­al band Body Count mas­tered the art of shock pol­i­tics when the song “Cop Killer” put them “at the cen­tre of a nation­al out­rage.” But their polit­i­cal feroc­i­ty may have seemed much dimin­ished when, in 2015, they released a tongue-in-cheek update of Sui­ci­dal Ten­den­cies’ “Insti­tu­tion­al­ized” in which Ice‑T rails against his wife, bad tech sup­port, and an inter­rupt­ed ham sand­wich while on the set of Law & Order.

The past year’s events have jolt­ed Body Count back into fight­ing form. Their recent release “No Lives Mat­ter” com­bines top­i­cal social cri­tique with “Cop Killer”-style con­fronta­tion in a pum­mel­ing track rem­i­nis­cent of anoth­er 90s rap-met­al activist stal­wart. Ice‑T may have moved on from L.A. gang life to com­fort­able TV star­dom, but few would deny him his street cred or his con­tin­ued abil­i­ty to size up the sit­u­a­tion of the Amer­i­can under­class.

Anoth­er rap­per-slash-actor (slash-poet-slash-com­pos­er) has entered the world of protest music from a decid­ed­ly dif­fer­ent sphere. Now inter­na­tion­al­ly famous for his musi­cal Hamil­ton, Lin-Manuel Miranda’s work doesn’t speak truth to pow­er as much as it makes pow­er speak its truth. Hamil­ton, writes Mary Grace Garis at Bus­tle, “is a sear­ing reminder that Amer­i­ca is very much found­ed by immi­grants fac­ing per­se­cu­tion, and that our free­dom, like­wise, was fought for by immi­grants.”

Their musi­cal venues and polit­i­cal visions may span a wide Venn dia­gram, but like Body Count’s lat­est, Hamil­ton draws on both con­tem­po­rary polit­i­cal rhetoric and music from the hey­day of “con­scious” hip-hop and alter­na­tive. Miran­da has wide­ly shared his influ­ences in his HAMthol­o­gy Playlist, and he remade sev­er­al of the show’s songs with some of his idols on The Hamil­ton Mix­tape. Con­tin­u­ing his cura­to­r­i­al role, and hav­ing “learned how to use the Spo­ti­fy thingy on my day off,” Miran­da now brings his fans the playlist above, which he calls “Rise Up Eyes Up Wise Up.”

The new mix begins with The Hamil­ton Mix­tape’s “Immi­grants (We Get the Job Done)” and moves on to a thor­ough­ly eclec­tic but SFW mix of Green Day, Tal­ib Kweli, Regi­na Spek­tor, Bob Dylan, Ruben Blades, and many oth­ers. It’s down­tem­po protest music, overall—no Body Count or Rage Against the Machine. Even Green Day’s entry is a bal­lad, “Are We the Wait­ing” from Amer­i­can Idiot. But then again, Hamil­ton’s fans often tend toward the down­tem­po end of the spec­trum. Let a thou­sand protest songs bloom, I say.

Miran­da announced the playlist on a new Twit­ter account, where he’s received a cou­ple hun­dred replies, includ­ing one from a fan who put the mix on Google Play. For those so inspired to revis­it or hear for the first time Hamil­ton’s reimag­in­ing of the Amer­i­can exper­i­ment, find the orig­i­nal cast record­ing below. If you need Spo­ti­fy’s free soft­ware, down­load it here.

via Bus­tle

Relat­ed Con­tent:

A Whiskey-Fueled Lin-Manuel Miran­da Reimag­ines Hamil­ton as a Girl on Drunk His­to­ry

Alexan­der Hamil­ton: Hip-Hop Hero at the White House Poet­ry Evening

“Alexan­der Hamil­ton” Per­formed with Amer­i­can Sign Lan­guage

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

Pixar & Khan Academy Offer a Free Online Course on Storytelling

It doesn’t take much to spark a good sto­ry.

A tall man, a short woman, a set­ting that’s ster­ile to the point of soul­less, and a cou­ple dozen bananas…

It prac­ti­cal­ly writes itself!

If you’re slow to rec­og­nize the poten­tial in these extreme­ly potent ele­ments (culled from the above video’s open­ing shot), this free online course on sto­ry­telling, part of Khan Acad­e­my’s pop­u­lar Pixar In A Box series, might help strength­en those slack sto­ry­telling mus­cles.

The lessons will hold immense appeal for young Pixar fans, but adults stu­dents stand to gain too. Chil­dren are nat­u­ral­ly con­fi­dent sto­ry­tellers. Unfor­tu­nate­ly, time can do a num­ber on both flu­en­cy and one’s belief in one’s own abil­i­ty to string togeth­er nar­ra­tives that oth­ers will enjoy.

The Pixar direc­tors and sto­ry artists draft­ed to serve as instruc­tors for this course are as deft at encour­age­ment as they are at their craft. They’ll help you move that rub­ber tree plant… for free.

Each short, exam­ple-packed video les­son is fol­lowed with an activ­i­ty in which the view­er is asked to parse his or her favorite sto­ries.

One of the most com­pelling aspects of the series is hear­ing about the sto­ries that mat­ter deeply to the teach­ers.

Mark Andrews, who wrote and direct­ed Brave, recalls his vis­cer­al response to the injus­tice of Rudolph the Red Nosed Reindeer’s Island of Mis­fit Toys.

Domee Shi who sto­ry­board­ed Inside Out had to bail on The Lion King, she was so effect­ed by Simba’s dis­cov­ery of his dead father.

Rata­touille ani­ma­tor San­jay Patel, whose obser­va­tions con­sis­tent­ly struck me as the most pro­found and out of the box, went with The Killing Fields, a title that’s prob­a­bly not on the radar of those most square­ly in Pixar’s demo­graph­ic.

The first install­ment stress­es the impor­tance of pro­vid­ing a rich set­ting for well-devel­oped char­ac­ters to explore, though the teach­ers are divid­ed on which should come first.

Direc­tor Pete Doc­ter, whose daughter’s tweenage pas­sage into the Reviv­ing Ophe­lia-land inspired Inside Out, stress­es “writ­ing what you know” need not pin you to the nar­row con­fines of your own back­yard. He was well into pro­duc­tion on Mon­sters, Inc. when he real­ized it wasn’t so much a tale of a mon­ster whose job is scar­ing lit­tle kids as a sto­ry of his own jour­ney to father­hood.

As you may have guessed, exam­ples from the Pixar canon abound.

Khan Acad­e­my will be tak­ing the whole of 2017 to roll out Pixar in a Box’s five remain­ing Sto­ry­telling units

You can com­plete the first unit here, then revis­it their pre­vi­ous course on mak­ing ani­ma­tions, while wait­ing for the rest of the cur­ricu­lum to drop.

Find more free cours­es in our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Take a Free Online Course on Mak­ing Ani­ma­tions from Pixar & Khan Acad­e­my

Pixar’s 22 Rules of Sto­ry­telling … Makes for an Addic­tive Par­lor Game

George Saun­ders Demys­ti­fies the Art of Sto­ry­telling in a Short Ani­mat­ed Doc­u­men­tary

John Berg­er (RIP) and Susan Son­tag Take Us Inside the Art of Sto­ry­telling (1983)

Ayun Hal­l­i­day is an author, illus­tra­tor, and the­ater mak­er, whose new play Zam­boni Godot is open­ing in New York City in less than two weeks. Fol­low her @AyunHalliday.

Buckminster Fuller’s Map of the World: The Innovation that Revolutionized Map Design (1943)

Last week we brought you news of a world map pur­port­ed­ly more accu­rate than any to date, designed by Japan­ese archi­tect and artist Hajime Narukawa. The map, called the Autha­Graph, updates a cen­turies-old method of turn­ing the globe into a flat sur­face by first con­vert­ing it to a cylin­der. Win­ner of Japan’s Good Design Grand Award, it serves as both a bril­liant design solu­tion and an update to our out­mod­ed con­cep­tions of world geog­ra­phy.

But as some read­ers have point­ed out, the Autha­Graph also seems to draw quite heav­i­ly on an ear­li­er map made by one of the most vision­ary of the­o­rists and design­ers, Buck­min­ster Fuller, who in 1943 applied his Dymax­ion trade­mark to the map you see above, which will like­ly remind you of his most rec­og­niz­able inven­tion, the Geo­des­ic Dome, “house of the future.”

Whether Narukawa has acknowl­edged Fuller as an inspi­ra­tion I can­not say. In any case, 73 years before the Autha­Graph, the Dymax­ion Map achieved a sim­i­lar feat, with sim­i­lar moti­va­tions. As the Buck­min­ster Fuller Insti­tute (BFI) points out, “The Fuller Pro­jec­tion Map is [or was] the only flat map of the entire sur­face of the Earth which reveals our plan­et as one island in the ocean, with­out any visu­al­ly obvi­ous dis­tor­tion of the rel­a­tive shapes and sizes of the land areas, and with­out split­ting any con­ti­nents.”

Fuller pub­lished his map in Life mag­a­zine, as a cor­rec­tive, he said, “for the lay­man, engrossed in belat­ed, war-taught lessons in geog­ra­phy…. The Dymax­ion World map is a means by which he can see the whole world fair­ly at once.” Fuller, notes Kelsey Campell-Dol­laghan at Giz­mo­do, “intend­ed the Dymax­ion World map to serve as a tool for com­mu­ni­ca­tion and col­lab­o­ra­tion between nations.”

Fuller believed, writes BFI, that “giv­en a way to visu­al­ize the whole plan­et with greater accu­ra­cy, we humans will be bet­ter equipped to address chal­lenges as we face our com­mon future aboard Space­ship Earth.” Was he naïve or ahead of his time?

We may have had a good laugh at a recent repli­ca of Fuller’s near­ly undrive­able, “scary as hell,” 1930 Dymax­ion Car, one of his first inven­tions. Many of Fuller’s con­tem­po­raries also found his work bizarre and imprac­ti­cal. Eliz­a­beth Kol­bert at The New York­er sums up the recep­tion he often received for his “schemes,” which “had the hal­lu­ci­na­to­ry qual­i­ty asso­ci­at­ed with sci­ence fic­tion (or men­tal hos­pi­tals).” The com­men­tary seems unfair.

Fuller’s influ­ence on archi­tec­ture, design, and sys­tems the­o­ry has been broad and deep, though many of his designs only res­onat­ed long after their debut. He thought of him­self as an “antic­i­pa­to­ry design sci­en­tist,” rather than an inven­tor, and remarked, “if you want to teach peo­ple a new way of think­ing, don’t both­er try­ing to teach them. Instead, give them a tool, the use of which will lead to new ways of think­ing.” In this sense, we must agree that the Dymax­ion map was an unqual­i­fied suc­cess as an inspi­ra­tion for inno­v­a­tive map design.

In addi­tion to its pos­si­bly indi­rect influ­ence on the Autha­Graph, Fuller’s map has many promi­nent imi­ta­tors and sparked “a rev­o­lu­tion in map­ping,” writes Camp­bell-Dol­laghan. She points us to, among oth­ers, the Cryos­phere, fur­ther up, a Fuller map “arranged based on ice, snow, glac­i­ers, per­mafrost and ice sheets”; to Dubai-based Emi­rates airline’s map show­ing flight routes; and to the “Google­spiel,” an inter­ac­tive Dymax­ion map built by Rehab­stu­dio for Google Devel­op­er Day, 2011.

And, just above, we see the Dymax­ion Woodocean World map by Nicole San­tuc­ci, win­ner of 2013’s DYMAX REDUX, an “open call to cre­ate a new and inspir­ing inter­pre­ta­tion of Buck­min­ster Fuller’s Dymax­ion Map.” You’ll find a hand­ful of oth­er unique sub­mis­sions at BFI, includ­ing the run­ner-up, Clouds Dymax­ion Map, below, by Anne-Gaelle Amiot, an “absolute­ly beau­ti­ful hand-drawn depic­tion of a real­i­ty that is almost always edit­ed from our maps: cloud pat­terns cir­cling above Earth.”

via Giz­mo­do

Relat­ed Con­tent:

Japan­ese Design­ers May Have Cre­at­ed the Most Accu­rate Map of Our World: See the Autha­Graph

Every­thing I Know: 42 Hours of Buck­min­ster Fuller’s Vision­ary Lec­tures Free Online (1975)

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

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

« Go BackMore in this category... »
Quantcast