What It Would Look Like If Wes Anderson, Quentin Tarantino & Other Directors Filmed Cooking Videos

I usu­al­ly chafe when direc­tor Wes Ander­son is labelled “twee,” but as an enthu­si­as­tic, sticky-fin­gered gob­bler of bark and ash encrust­ed camp­fire s’mores, I did enjoy a rather row­dy laugh at his expense while watch­ing the above video.

Each entry in film­mak­er David Ma’s #Food­Films series starts with a hypoth­e­sis that pairs a sim­ple, famil­iar dish with a direc­tor whose visu­al style is well estab­lished.

What if Wes Ander­son made S’mores? 

Ma’s ear­ly mar­i­na­tion in the realms of food styling and adver­tis­ing is a recipe for suc­cess here.

Anderson’s beloved God shot has become a sta­ple of online cook­ing videos, but Ma’s atten­tion to sub­tler details would pass muster with a Cor­don Bleu chef.

The for­mal­ly engraved card! The rib­bon motif! The cos­tumes!

The look is more Grand Budapest Hotel than the camp-themed Moon­rise King­dom, but no mat­ter. That more obvi­ous pair­ing start­ed tast­ing a tad over-chewed around the time of the Moon­rise King­dom-inspired wed­ding pho­to shoot.

Ma’s homage to Quentin Taran­ti­no is a butch and bloody take on spaghet­ti and meat­balls.

To para­phrase Jean-Luc Godard, “It’s not blood. It’s red sauce.

The sound­track sug­gests that Ma’s ear is just as keen as his eye.

45 sec­onds in, there’s a Part 2, as an extra treat for QT fans.

Big bud­get action king Michael Bay and a Grav­i­ty-cen­tric Alfon­so Cuarón round out #Food­Films’ four-course tast­ing menu.

How­ev­er sat­is­fied view­ers may feel with these hijinks, their appetite for the project is far from sati­at­ed. Sequel requests are pil­ing up:

What if Kubrick made Toast?

What if Tim Bur­ton made a grilled cheese sand­wich?

What if Woody Allen made piz­za?

What if Steven Spiel­berg made cup­cakes?

What if Kuro­sawa made scram­bled eggs?

What if Guy Ritchie did a Full Eng­lish Fry-Up?

Gives me a han­ker­ing to see what Sofia Cop­po­la would do with my grandmother’s favorite lay­ered Jell‑o sal­ad.

While we’re wait­ing for Ma to serve up his next dish we can tide our­selves over with some of his oth­er high­ly styl­ized recipe videos, like the Incred­i­ble Hulk’s Smashed Pota­toes.

Read­ers, what direc­tor-dish pair­ing would you order up? Let us know in the com­ments.

via W Mag­a­zine

Relat­ed Con­tent:

The Pow­er of Food in Quentin Tarantino’s Films

For­rest Gump Direct­ed by Wes Ander­son: Here’s What It Would Look Like

A Com­plete Col­lec­tion of Wes Ander­son Video Essays

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

The Monty Python Philosophy Football Match: The Ancient Greeks Versus the Germans

Today, as the 2018 World Cup draws to a close, we’re revis­it­ing a clas­sic Mon­ty Python skit. The scene is the 1972 Munich Olympics. The event is a football/soccer match, pit­ting Ger­man philoso­phers against Greek philoso­phers. On the one side, the Ger­mans — Hegel, Niet­zsche, Kant, Marx and, um, Franz Beck­en­bauer. On the oth­er side, Archimedes, Socrates, Pla­to and the rest of the gang. The ref­er­ee? Con­fu­cius. Of course.

Note: Some years ago, this match was recre­at­ed by The Phi­los­o­phy Shop, a group ded­i­cat­ed to pro­mot­ing phi­los­o­phy among pri­ma­ry school­child­ren. The Tele­graph gives you more details.

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!

Relat­ed Con­tent:

Mon­ty Python’s Best Phi­los­o­phy Sketch­es

Noam Chom­sky Slams Žižek and Lacan: Emp­ty ‘Pos­tur­ing’

Free Phi­los­o­phy Cours­es

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Watch “The Hangman,” a Classic Animated Film That Explores What Happens When No One Dares to Stand Up to Evil

Last Fri­day, I was down­town at an open air cin­e­ma to watch a col­lec­tion of ani­mat­ed shorts. It was also a beast­ly hot night with roar­ing sun­down­ers, a very present dan­ger of being clocked in the head by falling palm fronds, and an exis­ten­tial dan­ger of fire in the hills. The oth­er exis­ten­tial dan­ger was that of the author­i­tar­i­an turn of this coun­try that, at that moment, seemed so far away from our pic­nic bas­kets and wine in a can.

In the mid­dle of the pro­gram of well made but light and fluffy shorts came the above ani­mat­ed film, “The Hang­man.” The ver­sion above is not the restored ver­sion we saw, but it’s pret­ty much the same, give or take a scratch. Les Gold­man and Paul Julian’s 1964 short deliv­ers a moral mes­sage along the same lines as anti-Nazi pas­tor Mar­tin Niemöller’s “First they came for the Social­ists” statement–currently a meme you’ve prob­a­bly seen pass through your social feed. And though the nar­ra­tive, based on the poem by Mau­rice Ogden, is easy to suss out as it trun­dled towards its mor­tal con­clu­sion, it did not stop the fact that the ram­bunc­tious Fri­day night audi­ence fell dead silent upon its con­clu­sion. You may too.

The poem first appeared in a 1954 issue of Mass­es and Main­stream, a month­ly Marx­ist pub­li­ca­tion that con­tin­ued pub­lish­ing through the worst excess­es of the McCarthy hear­ings to an under­stand­ably van­ish­ing read­er­ship. The poem has occa­sion­al­ly been taught in the con­text of the Holo­caust, but any kind of creep­ing fas­cism will do. Not much is real­ly known about Ogden, who wrote the poem under the pseu­do­nym Jack Denoya in its orig­i­nal pub­li­ca­tion. (He is pos­si­bly the same man who taught at Coast Com­mu­ni­ty Col­lege in Cos­ta Mesa, CA, and min­is­tered at Orange Coast Uni­tar­i­an Uni­ver­sal­ist Church.)

The ani­mat­ed ver­sion, with its mod­ernist look influ­enced by UPA’s ani­ma­tion stu­dio, came out one year after Mass­es and Main­stream fold­ed. Dur­ing that Fri­day night view­ing, I sus­pect­ed the nar­ra­tor to be Ken Nor­dine, who record­ed a vocal jazz album around that time. But actu­al­ly the voice belongs to Her­schel Bernar­di, a film and the­ater actor who would have been known to Broad­way fans for his star­ring role in Fid­dler on the Roof but to tele­vi­sion fans as Char­lie Tuna in the Stark­ist com­mer­cials. Before all that, how­ev­er, he was a vic­tim of the Hol­ly­wood black­list, which made him a per­fect choice to nar­rate “The Hang­man.”

Direc­tor Paul Julian illus­trat­ed much of the back­ground art used in Warn­er Bros. car­toons, and his claim to pop cul­ture fame is pro­vid­ing the “beep beep” sound for the Road Run­ner car­toons by the same stu­dio. Pro­duc­er Les Gold­man went on to pro­duce sev­er­al oth­er influ­en­tial ani­mat­ed shorts, such as “The Dot and the Line” and “The Phan­tom Toll­booth.”

How­ev­er, “The Hang­man” is seri­ous food for thought in these fraught times, and it’s good to see it back in cir­cu­la­tion, thanks to cura­tor Ron Dia­mond. Here’s to hop­ing his­to­ry doesn’t repeat itself.

Relat­ed Con­tent:

Watch a Sur­re­al 1953 Ani­ma­tion of Edgar Allan Poe’s “Tell-Tale Heart,” Vot­ed the 24th Best Car­toon of All Time

A Short Ani­mat­ed Intro­duc­tion to Karl Marx

The Best Ani­mat­ed Films of All Time, Accord­ing to Ter­ry Gilliam

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.

French Bookstore Blends Real People’s Faces with Book Cover Art

You can lead the I‑generation to a book­store, but can you make them read?

Per­haps, espe­cial­ly if the vol­ume has an eye-catch­ing cov­er image that bleeds off the edge.

If noth­ing else, they can be enlist­ed to pro­vide some stun­ning free pub­lic­i­ty for the titles that appeal to their high­ly visu­al sense of cre­ative play. (An author’s dream!)

France’s first indie book­store, Bordeaux’s Librairie Mol­lat, is reel­ing ‘em in with Book Face, an irre­sistible self­ie chal­lenge that harkens back to DJ Carl Mor­risSleeve­face project, in which one or more peo­ple are pho­tographed “obscur­ing or aug­ment­ing any part of their body or bod­ies with record sleeve(s), caus­ing an illu­sion.”

The results are pro­lif­er­at­ing on the store’s Insta­gram, as fetch­ing young things (and oth­ers) apply them­selves to find­ing the best angles and cos­tumes for their lit-based Trompe‑l’œil mas­ter­strokes.

…even the ones that don’t quite pass the forced per­spec­tive test have the capac­i­ty to charm.

…and not every shot requires intense pre-pro­duc­tion and pre­ci­sion place­ment.

Hope­ful­ly, we’ll see more kids get­ting into the act soon. In fact, if some young­sters of your acquain­tance are express­ing a bit of bore­dom with their vacances d’été, try turn­ing them loose in your local book­store to iden­ti­fy a like­ly can­di­date for a Book Face of their own.

(Remem­ber to sup­port the book­seller with a pur­chase!)

Back state­side, some librar­i­ans shared their pro tips for achiev­ing Book Face suc­cess in this 2015 New York Times arti­cle. The New York Pub­lic Library’s Mor­gan Holz­er also cites Sleeve­face as the inspi­ra­tion behind #Book­face­Fri­day, the hash­tag she coined in hopes that oth­er libraries would fol­low suit.

With over 50,000 tagged posts on Insta­gram, looks like it’s caught on!

See Librairie Mol­lats patrons’ gallery of Book Faces here.

Read­ers, if you’ve Book Faced any­where in the world, please share the link to your efforts in the com­ments sec­tion.

via This is Colos­sal/Hyper­al­ler­gic

Relat­ed Con­tent:

36 Abstract Cov­ers of Vin­tage Psy­chol­o­gy, Phi­los­o­phy & Sci­ence Books Come to Life in a Mes­mer­iz­ing Ani­ma­tion

The Art of Sci-Fi Book Cov­ers: From the Fan­tas­ti­cal 1920s to the Psy­che­del­ic 1960s & Beyond

Enter the Cov­er Art Archive: A Mas­sive Col­lec­tion of 800,000 Album Cov­ers from the 1950s through 2018

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. In hon­or of her son’s 18th birth­day, she invites you to Book Face your baby using The Big Rum­pus, her first book, for which he served as cov­er mod­el. Fol­low her @AyunHalliday.

Archaeologists Think They’ve Discovered the Oldest Greek Copy of Homer’s Odyssey: 13 Verses on a Clay Tablet

The Home­r­ic epics are thought to have been com­posed in the 8th cen­tu­ry BCE. In the case of these ancient poems, how­ev­er, “com­posed” is a very ambigu­ous term. While archae­o­log­i­cal and lin­guis­tic research dates Homer’s ver­sions of the poems to some­where between 650 and 750, BCE., a schol­ar­ly con­sen­sus agrees these tales exist­ed hun­dreds of years before, in oral form, trans­mit­ted by wan­der­ing bards and mod­i­fied often in the telling. While they are thought to have been writ­ten down in Homer’s age, “any glimpse into Homer before medieval times is rare,” notes the Smith­son­ian, “and any insight into the com­po­si­tion of the epics is pre­cious.”

Before the medieval man­u­script tra­di­tion, begin­ning in the 10th cen­tu­ry CE, the largest extant copies of the Ili­ad and Odyssey come from what is known as the “Home­r­ic papyri,” frag­ments such as the Bankes Papyrus dis­cov­ered in Egypt in the 19th cen­tu­ry. Now, it’s being report­ed in news sites all over the web that the old­est writ­ten copy of the Odyssey has been found—or rather 13 vers­es of it, carved into a clay tablet and dis­cov­ered in the ancient city of Olympia in south­ern Greece. While the dat­ing has not been ful­ly con­firmed, experts believe the arti­fact comes from the Roman era, some­time before the 3rd cen­tu­ry CE.

While the dis­cov­ery may be sig­nif­i­cant, we should be care­ful to qual­i­fy the many claims made for its sta­tus. Like the poem itself, the sto­ry of this dis­cov­ery has seemed to change in its retellings. The tablet is the old­est find in Greece, not in the world. “Find­ing a bit of Homer in home soil,” says Mal­colm Heath, pro­fes­sor of Greek lan­guage and lit­er­a­ture at Leeds Uni­ver­si­ty, “will obvi­ous­ly give the Greeks a warm glow.” But, as The Times reports, “the ear­li­est sur­viv­ing frag­ments of the Odyssey” are actu­al­ly “bits of graf­fi­ti scratched into clay by school­boys at Olbia on the Black Sea coast of what is now Ukraine.” These frag­ments are “at least 600 years old­er than the Olympia tablet.”

Fur­ther­more, the Der­veni papyrus, dis­cov­ered in Egypt, which may include a quote from the poem, has been dat­ed as far back as 340 BCE. Nonethe­less, the new dis­cov­ery is still unusu­al, not only for its place of ori­gin, but also because of the medi­um. As Cam­bridge University’s Tim Whit­marsh notes, “It’s rare to find con­tin­u­ous text of Homer writ­ten out at such length in clay.” The tablet includes a notable word sub­sti­tu­tion that will cer­tain­ly be of inter­est to schol­ars, par­tic­u­lar­ly those at work on the “Homer Mul­ti­text project.”

That project, Smith­son­ian writes, is gath­er­ing all the frag­ments togeth­er “so they can be com­pared and put in sequence to pro­vide a broad­er view of Homer’s epics.” A view that shows us, as the project explains, “that there is not one orig­i­nal text that we should try to recon­struct,” but rather an unknown num­ber of vari­a­tions, tran­scribed and altered over the course of hun­dreds of years and scat­tered all over the ancient world. All of these frag­ments are fas­ci­nat­ing exam­ples, writes Sci­ence Alert, “of the way writ­ten texts can sur­vive through the cen­turies, or even mil­len­nia,” just as the sto­ry itself shows how oral tra­di­tions can sur­vive just as long with­out any need for writ­ten lan­guage at all.

Relat­ed Con­tent:

One of the Best Pre­served Ancient Man­u­scripts of The Ili­ad Is Now Dig­i­tized: See the “Bankes Homer” Man­u­script in High Res­o­lu­tion (Cir­ca 150 C.E.)

See The Ili­ad Per­formed as a One-Woman Show in a Mon­tre­al Bar by McGill Uni­ver­si­ty Clas­sics Pro­fes­sor Lynn Kozak

Emi­ly Wil­son Is the First Woman to Trans­late Homer’s Odyssey into Eng­lish: The New Trans­la­tion Is Out Today

Hear What Homer’s Odyssey Sound­ed Like When Sung in the Orig­i­nal Ancient Greek

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

How the Radical Buildings of the Bauhaus Revolutionized Architecture: A Short Introduction

When Ger­many lost World War I, it also lost its monar­chy. The con­sti­tu­tion for the new post­war Ger­man state was writ­ten and adopt­ed in the city of Weimar, giv­ing it the unof­fi­cial name of the Weimar Repub­lic. Free of monar­chi­cal cen­sor­ship, the Weimar Repub­lic saw, among oth­er upheavals, the flood­gates open for artis­tic exper­i­men­ta­tion in all areas of life. One of the most influ­en­tial aes­thet­ic move­ments of the era began in Weimar, where the Great Big Sto­ry short above opens. As the city gave birth to the Weimar Repub­lic, it also gave birth to the Bauhaus.

The Bauhaus, lit­er­al­ly “build­ing house,” was a school in two sens­es, both a move­ment and an actu­al insti­tu­tion. The style it advo­cat­ed, accord­ing to the video’s nar­ra­tor, “looked to strip build­ings from unnec­es­sary orna­ment and build the foun­da­tion of what is called mod­ern archi­tec­ture.” It was at Weimar Uni­ver­si­ty in 1919 that archi­tect Wal­ter Gropius found­ed the Bauhaus, and his office still stands there as a tes­ta­ment to the pow­er of “clean, sim­ple designs fit for the every­day life.” We also see the first offi­cial Bauhaus build­ing, Georg Muche’s Haus am Horn of 1923, and Gropius’ Bauhaus Dessau of 1925, which “amazed the world with its steel-frame con­struc­tion and asym­met­ri­cal plan.”

You can learn more about the Bauhaus’ prin­ci­ples in the video above, a chap­ter of an Open Uni­ver­si­ty series on design move­ments. As an edu­ca­tion­al insti­tu­tion, the Bauhaus “offered foun­da­tion train­ing in many art and design dis­ci­plines,” includ­ing mass pro­duc­tion, seek­ing to “devel­op stu­dents who could uni­fy art with craft while embrac­ing new tech­nol­o­gy.” Bauhaus thinkers believed that “good design required sim­plic­i­ty and geo­met­ric puri­ty,” which led to works of graph­ic design, fur­ni­ture, and espe­cial­ly archi­tec­ture that looked then like rad­i­cal, some­times hereti­cal depar­tures from tra­di­tion — but which to their cre­ators rep­re­sent­ed the future.

“Noth­ing dates faster than peo­ple’s fan­tasies about the future,” art crit­ic Robert Hugh­es once said, but some­how the fruits of the Bauhaus still look as mod­ern as they ever did. That holds true even now that the influ­ence of the Bauhaus man­i­fests in count­less ways in var­i­ous realms of art and design, though it had already made itself glob­al­ly felt when the school moved to Berlin in 1932. By that time, of course, Ger­many had anoth­er regime change com­ing, one that would denounce the Bauhaus as a branch of “degen­er­ate art” spread­ing the dis­ease of “cos­mopoli­tan mod­ernism.” The Gestapo shut it down in 1933, but thanks to the efforts of emi­grants like Gropius, Hannes Mey­er, and Lud­wig Mies van der Rohe, each of whom once led the school, the Bauhaus would live on.

Relat­ed Con­tent:

An Oral His­to­ry of the Bauhaus: Hear Rare Inter­views (in Eng­lish) with Wal­ter Gropius, Lud­wig Mies van der Rohe & More

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: Gropius, Klee, Kandin­sky, Moholy-Nagy & More

32,000+ Bauhaus Art Objects Made Avail­able Online by Har­vard Muse­um Web­site

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

The Female Pio­neers of the Bauhaus Art Move­ment: Dis­cov­er Gertrud Arndt, Mar­i­anne Brandt, Anni Albers & Oth­er For­got­ten Inno­va­tors

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.

Margaret Atwood Teaching an Online Class on Creative Writing

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

The prob­lem of dystopi­an fic­tion is this: quite often the worst future cre­ative writ­ers can imag­ine is exact­ly the kind of present that has already been inflict­ed on others—by colo­nial­ism, dic­ta­tor­ship, geno­ci­dal war, slav­ery, theoc­ra­cy, abject pover­ty, envi­ron­men­tal degra­da­tion, etc. Mil­lions all over the world have suf­fered under these con­di­tions, but many read­ers fail to rec­og­nize dystopi­an nov­els as depict­ing exist­ing evils because they hap­pen, or have hap­pened, to peo­ple far away in space and time. Of course, Mar­garet Atwood under­stands this prin­ci­ple. The night­mares she has writ­ten about in nov­els like The Handmaid’s Tale have all already come to pass, she tells us.

In the pro­mo video above for her Mas­ter­class on Cre­ative Writ­ing start­ing this fall (it’s now open), Atwood says, “when I wrote The Handmaid’s Tale, noth­ing went into it that had not hap­pened in real life some­where at some time. The rea­son I made that rule is that I didn’t want any­body say­ing, ‘You cer­tain­ly have an evil imag­i­na­tion, you made up all these bad things.’” And yet, she says, “I didn’t make them up.” In a Swift­ian way, she implies, we did—“we” being human­i­ty writ large, or, per­haps more accu­rate­ly, the destruc­tive, greedy, pow­er-mad indi­vid­u­als who wreak hav­oc on the lives of those they deem infe­ri­ors or right­ful prop­er­ty.

“As a writer,” she says above, “your goal is to keep your read­er believ­ing, even though both of you know it’s fic­tion.” Atwood’s trick to achiev­ing this is a devi­ous one in what we might call sci-fi or dark fan­ta­sy (though she spurns these des­ig­na­tions): she writes not only what she knows to be true, in some sense, but also what we know to be true, though we would rather it not be, as in Vir­ginia Woolf’s char­ac­ter­i­za­tion of fic­tion as “as spider’s web, attached ever so light­ly per­haps, but still attached to life at all four cor­ners.”

Atwood says that writ­ers turn away from the blank page because they fear some­thing. She has made it her busi­ness, instead, to turn toward fear, to see dark visions like those of her Mad­dAd­dam Tril­o­gy, an extrap­o­la­tion of hor­rors already hap­pen­ing, in some form, some­where in the world (and soon to be a fun-filled TV series). What she feared in 1984, the year she began writ­ing The Handmaid’s Tale, seems just as chill­ing­ly pre­scient to many readers—and view­ers of the TV adaptation—thirty-four years lat­er, a tes­ta­ment to Atwood’s spec­u­la­tive real­ism, and to the awful, stub­born resis­tance real­i­ty puts up to improve­ment.

As she put it in an essay about the novel’s ori­gins, “Nations nev­er build appar­ent­ly rad­i­cal forms of gov­ern­ment on foun­da­tions that aren’t there already.” The same, per­haps, might be said of nov­el­ists. Do you have some truths to tell in fic­tion­al form? Maybe Atwood is the per­fect guide to help you write them.

You can take this class by sign­ing up for a Mas­ter­Class’ All Access Pass. The All Access Pass will give you instant access to this course and 85 oth­ers for a 12-month peri­od.

Relat­ed Con­tent:

An Ani­mat­ed Mar­garet Atwood Explains How Sto­ries Change with Tech­nol­o­gy

Ursu­la Le Guin Gives Insight­ful Writ­ing Advice in Her Free Online Work­shop

100 Great Sci-Fi Sto­ries by Women Writ­ers (Read 20 for Free Online)

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

New Web Site Showcases 700,000 Artifacts Dug Up from the Canals of Amsterdam, Some Dating Back to 4300 BC

Ams­ter­dam has many plea­sures to offer, not least boat­ing through its hun­dred-kilo­me­ter net­work of canals. First laid out in the ear­ly 17th cen­tu­ry, they con­sti­tute a rich his­to­ry les­son in and of them­selves. But Ams­ter­dam is also, of course, a mod­ern city with mod­ern infra­struc­ture, such as a metro sys­tem with a new line set to open this month. Ams­ter­dammers have been wait­ing for that line for fif­teen years now, and the rea­sons for the pro­longed con­struc­tion have to do with the old canals, or rather part of the Riv­er Ams­tel that feeds them.

Bor­ing the tun­nels entailed drain­ing the riv­er, and drain­ing the riv­er turned out to offer anoth­er his­to­ry les­son, and a much deep­er one than expect­ed. “It is not often that a riverbed, let alone one in the mid­dle of a city, is pumped dry and can be sys­tem­at­i­cal­ly exam­ined,” says the web site Below the Sur­face. “The exca­va­tions in the Ams­tel yield­ed a del­uge of finds, some 700,000 in all: a vast array of objects, some bro­ken, some whole, all jum­bled togeth­er.”

The unin­tend­ed archae­o­log­i­cal ben­e­fit of drain­ing the riv­er amounts to “a mul­ti-faceted pic­ture of dai­ly life in the city of Ams­ter­dam. Every find is a frozen moment in time, con­nect­ing the past and the present. The pic­ture they paint of their era is extreme­ly detailed and yet entire­ly ran­dom due to the chance of objects or remains sink­ing down into the riverbed and being retrieved from there.” At Below the Sur­face you can browse the exten­sive cat­a­log of all these arti­facts, the old­est of which date to around 4300 BC, more than five and a half mil­len­nia before the found­ing of Ams­ter­dam itself.

Below the Sur­face’s col­lec­tion is orga­nized into ten dif­fer­ent cat­e­gories includ­ing “inte­ri­ors and acces­sories,” “crafts and indus­try,” “arms and armor,” “com­mu­ni­ca­tion and exchange,” and “games and recre­ation.” On your dig­i­tized object-based his­tor­i­cal jour­ney there, you’ll encounter objects from all of those realms of human life across time, from 13th-cen­tu­ry coins, 15th-cen­tu­ry keys, 18th-cen­tu­ry tiles, and 20th-cen­tu­ry med­i­cine tins. To we humans of the 21st cen­tu­ry, in the Nether­lands or else­where, some of these might look sur­pris­ing­ly con­tem­po­rary — or at least not near­ly as ancient as a mobile phone from the 1990s. Enter Below the Sur­face here.

via Hyper­al­ler­gic

Relat­ed Con­tent:

The Rijksmu­se­um Puts 125,000 Dutch Mas­ter­pieces Online, and Lets You Remix Its Art

16th-Cen­tu­ry Ams­ter­dam Stun­ning­ly Visu­al­ized with 3D Ani­ma­tion

Flash­mob Recre­ates Rembrandt’s “The Night Watch” in a Dutch Shop­ping Mall

20,000 Endan­gered Archae­o­log­i­cal Sites Now Cat­a­logued in a New Online Data­base

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.

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