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

Rarely Seen, Very Early Godard Film Surfaces on YouTube

Jean-Luc Godard, that liv­ing embod­i­ment of the nou­velle vague who did so much to tear down and rebuild the rela­tion­ship between cin­e­ma and its view­ers, has kept push­ing the bound­aries of his art form well into his eight­ies. But even he had to start some­where, and up until very recent­ly indeed, Godard enthu­si­asts looked to his first film Opéra­tion béton, a short 1955 doc­u­men­tary on the con­struc­tion of a Swiss dam that we fea­tured a few years ago, as the start­ing point of his career as a film­mak­er. But most of them sure­ly had more inter­est in Un Femme coquette, Godard­’s sec­ond and no doubt more for­ma­tive first fic­tion film, a nine-minute adap­ta­tion of a Mau­pas­sant sto­ry hard­ly ever seen until just last week.

Une Femme coquette is the most elu­sive rar­i­ty of the French New Wave, and pos­si­bly the most dif­fi­cult-to-see film by a name film­mak­er that isn’t believed to be irre­triev­ably lost,” wrote A.V. Club crit­ic Ignatiy Vish­n­evet­sky in a 2014 piece on his search for it. And so, for decades, near­ly every­one who want­ed to see Un Femme coquette had to make do with mere descrip­tions. In his Godard biog­ra­phy Every­thing Is Cin­e­maNew York­er crit­ic Richard Brody high­lights not only how the film­mak­er, in adapt­ing this “tale about a woman who, see­ing a pros­ti­tute beck­on to pass­ing men, decides to try the ges­ture her­self [ … ] turns the neces­si­ty of film­ing cheap­ly and rapid­ly, with­out movie lights, into an aes­thet­ic virtue,” but also how this “film about watch­ing, about try­ing to live with what one has watched, and about the inher­ent dan­gers of doing so” evokes “the per­ilous path [Godard] was tak­ing as he sought to enter the cin­e­ma and antic­i­pates the moral dan­gers that await­ed him there.”

The sud­den appear­ance of Un Femme coquette on “the dig­i­tal back chan­nels fre­quent­ed by obscure movie enthu­si­asts,” as Vish­n­evet­sky puts it, and com­plete with Eng­lish sub­ti­tles at that, would thrill even a casu­al Godard fan. As for the Breath­lessAlphav­ille, and Week­end direc­tor’s die-hard exegetes, one can only imag­ine the feel­ings they, or at least the ones who’ve yet brought them­selves to cast eyes upon this sacred text, have expe­ri­enced while watch­ing it. No mat­ter our lev­el of famil­iar­i­ty with Godard and his work, we can all feel the charge cin­e­ma his­to­ry has giv­en his shoe­string-bud­get­ed and at times rough-look­ing black-and-white short. But who, watch­ing it at one of its sparse ear­ly screen­ings, could have imag­ined what an aes­thet­ic rev­o­lu­tion­ary its direc­tor, screen­writer, and one-man crew would short­ly become — who, that is, besides Jean-Luc Godard?

via AV Club

Relat­ed Con­tent:

An Intro­duc­tion to Jean-Luc Godard’s Inno­v­a­tive Film­mak­ing Through Five Video Essays

Jean-Luc Godard Takes Cannes’ Rejec­tion of Breath­less in Stride in 1960 Inter­view

The Entire­ty of Jean-Luc Godard’s Breath­less Art­ful­ly Com­pressed Into a 3 Minute Film

Jean-Luc Godard’s Debut, Opéra­tion béton (1955) — a Con­struc­tion Doc­u­men­tary

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.

Listen to Presidential, The Washington Post’s Podcast Exploring Each & Every U.S. President

A quick heads up on Pres­i­den­t’s Day: The Wash­ing­ton Post presents Pres­i­den­tial, a pod­cast that explores how “each Amer­i­can pres­i­dent reached office, made deci­sions, han­dled crises and rede­fined the role of com­man­der-in-chief.” Nat­u­ral­ly, it starts with George Wash­ing­ton. Hear that episode below.

Pres­i­den­tial is host­ed by Wash­Po edi­tor Lil­lian Cun­ning­ham and fea­tures Pulitzer Prize-win­ning his­to­ri­ans like David McCul­lough and jour­nal­ists like Bob Wood­ward. Right now you can get all 45 episodes (each about 30–50 min­utes long) on iTunes, Sound­cloud and Stitch­er.

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:

Free Online His­to­ry Cours­es

Watch Online Every Pres­i­den­tial Debate Since 1960–and Revis­it America’s San­er Polit­i­cal Days

John Green’s Crash Course in U.S. His­to­ry: From Colo­nial­ism to Oba­ma in 47 Videos

The His­to­ry of the World in 46 Lec­tures From Colum­bia Uni­ver­si­ty

A Hypnotic Look at How Tennis Balls Are Made

Over the years, we’ve shown you var­i­ous house­hold objects being made–everything from crayons and ink, to vinyl records, old fash­ioned books and paper. Today, you can get a mes­mer­iz­ing glimpse into how ten­nis balls are made. Cre­at­ed by Bene­dict Red­grove for ESPN, the short film above shows “the man­u­fac­tur­ing process of [Wil­son] ten­nis balls for the US Open.” Com­bined, it takes 24 dif­fer­ent process­es to make the final ball. And it’s fun to watch.

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:

How Japan­ese Things Are Made in 309 Videos: Bam­boo Tea Whisks, Hina Dolls, Steel Balls & More

How Ink is Made: A Volup­tuous Process Revealed in a Mouth-Water­ing Video

Learn How Crayons Are Made, Cour­tesy of 1980s Videos by Sesame Street and Mr. Rogers

20 Mes­mer­iz­ing Videos of Japan­ese Arti­sans Cre­at­ing Tra­di­tion­al Hand­i­crafts

The Art of Mak­ing Old-Fash­ioned, Hand-Print­ed Books

The Mak­ing of Japan­ese Hand­made Paper: A Short Film Doc­u­ments an 800-Year-Old Tra­di­tion

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