Netflix Makes Documentaries Free to Stream: Design, Politics, Sports, Sir David Attenborough & More

Many of us kept indoors by the COVID-19 pan­dem­ic for days — or rather weeks, or per­haps months — have been imbued with a new sense of won­der about our world. Specif­i­cal­ly, we’re won­der­ing what’s going on in it. At the same time as the glob­al sci­en­tif­ic com­mu­ni­ty strug­gles to deter­mine the nature of the new and still poor­ly under­stood virus tak­ing lives and immo­bi­liz­ing economies, we hear dig­i­tal word of con­se­quent phe­nom­e­na also pre­vi­ous­ly unknown in our life­times: wild ani­mals, for instance, mak­ing their way into the streets of major cities. We live, it turns out, in a stranger, more mys­te­ri­ous real­i­ty than we’d imag­ined. For­tu­nate­ly, the inter­net makes it pos­si­ble for us to start get­ting a grip on that real­i­ty here in our homes, not least through free stream­ing Net­flix doc­u­men­taries.

“In the Before Times, Net­flix let teach­ers stream their pro­gram­ming in the class­room,” writes Jason Kot­tke. With schools out of ses­sion, “Net­flix has decid­ed to put some of their edu­ca­tion­al pro­gram­ming on YouTube for free (full playlist here). For instance, they’ve put all 8 episodes of David Attenborough’s nature series Our Plan­et online in their entire­ty.”

Released just last year, that Net­flix debut of the high­ly respect­ed nat­ur­al his­to­ri­an and broad­cast­er cov­ers in great visu­al detail — and, need­less to say, with high­ly evoca­tive nar­ra­tion — every­where from forests and deserts to jun­gles and high seas. If as a start­ing point that all seems a bit epic, as they say, Net­flix has also made free sin­gle-serv­ing doc­u­men­tary shorts on sub­jects like the stock mar­ket, the excla­ma­tion point, and crick­et (the British Empire sport, not the insect).

Those come from the series Explained, a col­lab­o­ra­tion between Net­flix and Vox, a site known for its brief “explain­er” videos on cul­ture, sci­ence, and cur­rent events — one of which, on the coro­n­avirus itself, we fea­tured last month here on Open Cul­ture. Net­flix has also made free to stream on Youtube oth­er series like Abstract, which looks at the art of design (and whose debut we fea­tured here a few years ago), and Babies, a five-part jour­ney into the life of the human infant. If you pre­fer a fea­ture-length doc­u­men­tary expe­ri­ence to a dai­ly view or a binge-watch, you’ll also find on the playlist Ava DuVer­nay’s 13th, Rachel Lears’ Knock Down the House, and Jeff Orlowski’s Chas­ing Coral. When the orders of “stay home” and “social-dis­tance” come to an end, many of us will feel a stronger desire to explore and learn about the world than ever before — in part because of how much of the time indoors we’ve spent stok­ing our curios­i­ty with doc­u­men­taries like these. Access the playlist of doc­u­men­taries here.

via Kot­tke

Relat­ed Con­tent:

265 Free Doc­u­men­taries Online

200 Free Doc­u­men­taries: A Super Rich List of Fine­ly-Craft­ed Doc­u­men­taries on the Web

Cours­era Makes Cours­es & Cer­tifi­cates Free Dur­ing Coro­n­avirus Quar­an­tine: Take Cours­es in Psy­chol­o­gy, Music, Well­ness, Pro­fes­sion­al Devel­op­ment & More Online

Björk and Sir David Atten­bor­ough Team Up in a New Doc­u­men­tary About Music and Tech­nol­o­gy

David Atten­bor­ough Reads “What a Won­der­ful World” in a Mov­ing Video

Use Your Time in Iso­la­tion to Learn Every­thing You’ve Always Want­ed To: Free Online Cours­es, Audio Books, eBooks, Movies, Col­or­ing Books & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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, on Face­book, or on Insta­gram.

Quarantine Cooking: 13 Professional Chefs Cook Pasta at Home with the Most Basic Ingredients Available

Bon Appétit takes you to the homes of 13 pro­fes­sion­al chefs, each cook­ing pas­ta with what­ev­er they hap­pen to have on hand. In the next half hour, you may pick up a few handy tips.

Chefs fea­tured include: Claire Saf­fitz, Brad Leone, Chris Moroc­co, Gaby Melian, Andy Baraghani, Sohla El-Wayl­ly, Amiel Stanek, Alex Delany, Car­la Lal­li Music, Priya Krish­na, Rick Mar­tinez, Christi­na Chaey and Mol­ly Baz.

via Mefi

Relat­ed Con­tent:

How to Bake Ancient Roman Bread Dat­ing Back to 79 AD: A Video Primer

The New York Times Makes 17,000 Tasty Recipes Avail­able Online: Japan­ese, Ital­ian, Thai & Much More

An Archive of 3,000 Vin­tage Cook­books Lets You Trav­el Back Through Culi­nary Time

Banksy Debuts His COVID-19 Art Project: Good to See That He Has TP at Home

“Who is Banksy?” asked an Art­net roundup of pos­si­ble sus­pects in 2016. One might well respond, “who cares?”—a rhetor­i­cal ques­tion Artnet’s Hen­ri Neuen­dorf answers. At least a few years ago, before some oth­er things got seri­ous­ly out of hand, the iden­ti­ty of the noto­ri­ous gueril­la street artist turned inter­na­tion­al man of mys­tery was “an obses­sion that seems to have gripped the world.”

One answer, assessed by cura­tor and street art expert Car­lo McCormick, was arrived at through the use of geo­graph­ic pro­fil­ing, a “sophis­ti­cat­ed sta­tis­ti­cal analy­sis tech­nique used in crim­i­nol­o­gy to locate repeat offend­ers.” McCormick rates its con­clu­sion as prob­a­ble, but also finds it “scary” to bend such meth­ods to such ends, an anx­i­ety res­o­nant with con­cerns over sur­veil­lance tech used to track COVID-19 vec­tors.

Anoth­er ques­tion is whether it mat­ters who Banksy is. “The improb­a­bly ornate fic­tion is always going to be more com­pelling than the sim­ple mun­dane truth.” Do we real­ly need to ruin the illu­sion? If those who want to remain anony­mous can be tracked with algorithms—while the rest of us vol­un­teer our per­son­al data dai­ly in a cul­ture of com­pet­i­tive oversharing—is there any room left for pri­va­cy? Now that we’re trapped inside for days on end with fam­i­lies, room­mates, part­ners, pets, maybe our only per­son­al space is in the loo (where we’re still inclined to bring our phones).

 

View this post on Insta­gram

 

. . My wife hates it when I work from home.

A post shared by Banksy (@banksy) on

Banksy’s lat­est work, post­ed on Insta­gram, plays with all of these themes and shows he doesn’t have a prob­lem defac­ing his own prop­er­ty, and shar­ing an inti­mate por­trait with his mil­lions of fol­low­ers. Hell, it’s almost a self­ie, minus the preen­ing, duck-faced self.

As Daria Harp­er writes at Art­sy:

The noto­ri­ous­ly elu­sive street artist Banksy debuted his lat­est work in a rather pecu­liar place: his bath­room. With much of the world on lock­down due to the COVID-19 cri­sis, artists like Banksy have been forced to get inno­v­a­tive with their artis­tic prac­tices. The artist post­ed pho­tos of the new art­work on his Insta­gram page yes­ter­day with the cap­tion: “My wife hates it when I work from home.”

Is this real­ly Banksy work­ing from home? (“One par­tic­u­lar­ly baf­fled com­menter,” notes Hyper­al­ler­gic, “wrote: ‘You are one of the world’s most famous artists… and THAT’S YOUR shit­ty lit­tle BATHROOM????’”)

Is there real­ly a Mrs. Banksy? Lit­tle Banksies run­ning around the yard, wear­ing coro­n­avirus face­masks and hood­ies? Is he on the verge of out­ing him­self? At least we know he’s still got toi­let paper.

Maybe you find this tan­ta­liz­ing win­dow on the artist’s inner sanc­tum cred­i­ble evi­dence of his mun­dane real life. Maybe the sig­na­ture rats destroy­ing his crap­per are his cab­in-fever dream. Or maybe, as usu­al, he’s just tak­ing the piss with this cre­ative instal­la­tion. We await com­ment from Mrs. Banksy.

via Boing Boing

Relat­ed Con­tent:

Banksy Strikes Again in Venice

Banksy Paints a Grim Hol­i­day Mur­al: Season’s Greet­ings to All

Behind the Banksy Stunt: An In-Depth Break­down of the Artist’s Self-Shred­ding Paint­ing

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

Watch the Rolling Stones Play “You Can’t Always Get What You Want” While Social Distancing in Quarantine

Ladies and gen­tle­man, the great­est rock n roll band in the world, the Rolling Stones. Live, in quar­an­tine, at home, per­form­ing “You Can’t Always Get What You Want.” Any the­o­ries on what’s the sto­ry with Char­lie’s drum kit? And why they have red in their homes? 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:

Watch the Rolling Stones Write “Sym­pa­thy for the Dev­il”: From Jean-Luc Godard’s ’68 Film One Plus One

Mick Jag­ger Tells the Sto­ry Behind ‘Gimme Shel­ter’ and Mer­ry Clayton’s Haunt­ing Back­ground Vocals

Jef­fer­son Air­plane Wakes Up New York; Jean-Luc Godard Cap­tures It (1968)

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Neil Finn Sings a Lovely Version of David Bowie’s “Heroes,” Live from Home

I need­ed a lift today. This did the trick. Neil Finn–you know him from Crowd­ed House and Split Enz–plays a beau­ti­ful acoustic ver­sion of David Bowie’s “Heroes.” Enjoy.

Relat­ed Con­tent:

Watch David Byrne Lead a Mas­sive Choir in Singing David Bowie’s “Heroes”

David Bowie’s “Heroes” Delight­ful­ly Per­formed by the Ukulele Orches­tra of Great Britain

Pro­duc­er Tony Vis­con­ti Breaks Down the Mak­ing of David Bowie’s Clas­sic “Heroes,” Track by Track

David Bowie Per­forms a Live Acoustic Ver­sion of “Heroes,” with a Bot­tle Cap Strapped to His Shoe, Keep­ing the Beat

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Hayao Miyazaki’s Studio Ghibli Releases Free Backgrounds for Virtual Meetings: Princess Mononoke, Spirited Away & More

To a degree that sur­pass­es any oth­er stu­dio in ani­ma­tion his­to­ry, Stu­dio Ghi­b­li has cre­at­ed a real­i­ty of its own. All of its fans around the world appre­ci­ate the artistry of its films, direct­ed by such lumi­nar­ies of Japan­ese ani­ma­tion as Hayao Miyaza­ki and Isao Taka­ha­ta, and many appre­ci­ate it so fer­vent­ly that they’d pre­fer to occu­py any of Ghi­b­li’s worlds to this one. The stu­dio has respond­ed to their desires by not just con­tin­u­ing to pro­duce motion pic­tures — the “retired” Miyaza­ki is now at work on his lat­est, How Do You Live? — but by autho­riz­ing a wide and ever-chang­ing range of mer­chan­dise, and even build­ing a muse­um out­side Tokyo and a theme park out­side Nagoya.

Alas, like most muse­ums, Ghi­b­li’s is tem­porar­i­ly closed. Nei­ther the Ghi­b­li theme park nor How Do You Live? will open any time soon, and even if they could open today, it would hard­ly be an oppor­tune time to do so. With so few of us any­where able to go to movie the­aters, let alone theme parks (though we can now, at long last, stream Ghi­b­li movies online), we have to enter the realm of Ghi­b­li in a dig­i­tal fash­ion.

To make this a bit more pos­si­ble, the stu­dio has offi­cial­ly released a set of eight back­grounds, suit­able for use as back­drops on Zoom or oth­er video-con­fer­enc­ing appli­ca­tions. You’ll find them all at Ghi­b­li’s web site: in Japan­ese only, true to form, but even non-Japan­ese speak­ers can eas­i­ly click and save the images. (For instruc­tions on how to set one as your back­ground, see our pre­vi­ous post on the sub­ject.)

Drawn from the sweep of Stu­dio Ghi­b­li’s his­to­ry, from Nau­si­caä of the Val­ley of the Wind to Cas­tle in the Sky, Princess Mononoke, Spir­it­ed Away, Howl’s Mov­ing Cas­tle, Ponyo, Arri­et­ty, and The Tale of the Princess Kaguya, the back­drops show the wide aes­thet­ic range of its work. Some of them depict mem­o­rable set­tings from these films (any Ghi­b­li fan will know exact­ly where you “are” the moment you con­nect) but oth­ers cap­ture a char­ac­ter, an icon, or an atmos­phere.

Whichev­er Ghi­b­li back­ground you pick, it will remind your inter­locu­tors of the for­mi­da­ble imag­i­na­tion exer­cised by each and every one of the stu­dio’s films, whether its char­ac­ters soar across the sky, live beneath the sea, or plunge into an unseen under­world — do any­thing, essen­tial­ly, but stay at home mak­ing calls.

Relat­ed Con­tent:

Watch Hayao Miyazaki’s Beloved Char­ac­ters Enter the Real World

Build Your Own Minia­ture Sets from Hayao Miyazaki’s Beloved Films: My Neigh­bor Totoro, Kiki’s Deliv­ery Ser­vice & More

Hayao Miyazaki’s Beloved Char­ac­ters Reimag­ined in the Style of 19th-Cen­tu­ry Wood­block Prints

Calm Down & Study with Relax­ing Piano, Jazz & Harp Cov­ers of Music from Hayao Miyaza­ki Films

Stu­dio Ghi­b­li Releas­es Tan­ta­liz­ing Con­cept Art for Its New Theme Park, Open­ing in Japan in 2022

Cus­tomize Your Zoom Vir­tu­al Back­ground with Free Works of Art

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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, on Face­book, or on Insta­gram.

Watch Samuel Beckett Walk the Streets of Berlin Like a Boss, 1969

Samuel Beck­ett long had a fond­ness for Berlin, from his first trip in the late 1920s–when he fell in love with his cousin while vis­it­ing his uncle on his mom’s side–to his long­time rela­tion­ship with his Ger­man trans­la­tor Eri­ka Tophoven and with the Schiller The­ater, which pro­duced many of his plays.

The above footage shows the 63-year old Beck­ett walk­ing the streets of Berlin, ask­ing for direc­tions, or read­ing the dai­ly paper at a cafe. At one point he is seen walk­ing with a woman (pos­si­bly Tophoven?).

Why was this film shot? It has the feel­ing of sur­veil­lance footage, but the more log­i­cal expla­na­tion is that it was b‑roll for some news fea­ture. Beck­ett was award­ed the Nobel Prize for Lit­er­a­ture in 1969, so that might be the rea­son.

How­ev­er, the illog­i­cal but *best* rea­son is that Beck­ett was film­ing the title sequence for his detec­tive show pilot, named, of course, Beck­ett. YouTube user oobleck­boy cre­at­ed this hilar­i­ous rework a few years ago, which we told you about then. But it’s worth anoth­er look, sure­ly.

On a more seri­ous note, Beck­et­t’s main tour of Berlin came long before his jour­ney as a play­wright. Self-taught in the lan­guage and inter­est­ed in the cul­ture, he trav­eled to Berlin right after the 1936 Olympic Games and stayed through 1937. He had lost his job in Dublin, and he had fall­en out with James Joyce, so he was avoid­ing Paris. So Beck­ett trav­eled to Berlin to devour the arts. He knew the dan­gers of the ris­ing Nazi threat and took it seri­ous­ly. Instead he want­ed to see the cul­ture before it dis­ap­peared. (And it would, on one hand through the Nazis and their cam­paign against “degen­er­ate art.” On the oth­er, from the Allies bomb­ing dur­ing the war.) Beck­ett spent count­less hours in muse­ums. He attend­ed operas. He got so flu­ent in the lan­guage he could read Schopen­hauer (for the style, not the con­tent, appar­ent­ly).

But it was such a pri­vate trip that his Ger­man friends from the ‘60s nev­er knew of it. He did not men­tion it to them. The only rea­son we know is because in 1989, his nephew dis­cov­ered his diary from that time–the only diary Beck­ett ever kept–and after years of it being avail­able only to researchers, it was pub­lished in 2011. (Or rather, selec­tions of the 120,000 word jour­nal, were pub­lished.)

Last­ly, it was on one of those Berlin muse­um trips where he saw the paint­ing Two Men Con­tem­plat­ing the Moon by Cas­par David Friedrich. The image would stick in his mind until many years lat­er when it would influ­ence the set design for his most famous play, Wait­ing for Godot. (A coun­try road. A tree. Evening.) You can see the paint­ing here.

via Ubu Web

Relat­ed Con­tent:

The Books That Samuel Beck­ett Read and Real­ly Liked (1941–1956)

When Robin Williams & Steve Mar­tin Starred in Samuel Beckett’s Wait­ing For Godot (1988)

Samuel Beck­ett Directs His Absur­dist Play Wait­ing for Godot (1985)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

How to Paint Water Lilies Like Monet in 14 Minutes

Some of us are using this peri­od of self-iso­la­tion to make sour­dough.

Oth­ers are learn­ing to play an instru­ment or ini­ti­at­ing a dai­ly yoga prac­tice.

For those con­sid­er­ing tak­ing up paint­ing, David Dun­lop’s Emmy-Award win­ning PBS series Land­scapes Through Time offers an excel­lent alter­na­tive (or sup­ple­ment) to the well-estab­lished joys of cult fig­ure Bob Ross, the eter­nal king of tele­vi­sion art instruc­tion.

Like Ross, Dun­lop has a mel­low onscreen tem­pera­ment that pairs beau­ti­ful­ly with the enchant­i­ng set­ting of Claude Monet’s famous water gar­den, above.

(Those who’ve vis­it­ed Monet’s house and gar­den at Giverny will envy him his tourist-free access to the site. Even those with no inten­tion of pick­ing up a brush should find it restora­tive to spend time gaz­ing at the same love­ly view that Dun­lop, like Mon­et before him, looks at through a delib­er­ate­ly Impres­sion­is­tic squint.)

He packs a lot of art appre­ci­a­tion into 14 eas­i­ly digest­ed min­utes, touch­ing on art his­to­ry, brush tech­nique, com­po­si­tion, use of light, and, in par­tic­u­lar, col­or the­o­ry.

When the muse­ums reopen, you may find this crash course has enhanced your enjoy­ment, espe­cial­ly as per­tains to can­vas­es by Mon­et and his fel­low Impres­sion­ists.

For those pur­su­ing the hands-on oil paint­ing expe­ri­ence, Dun­lop pro­vides a sup­ply list of col­ors, all read­i­ly avail­able:

Cobalt Blue

Cad­mi­um Yel­low

Alizarin Crim­son

Ultra­ma­rine

Bril­liant Rose

Emer­ald Green

Hooker’s Green

Tita­ni­um White

His brush­es and paper appear to be gar­den vari­ety, and his approach, like Ross’, is fast and loose.

Those who favor a less brazen approach may feel more at home with his water­col­or paint­ing demon­stra­tion in Cezanne’s Mont Sainte-Vic­toire in Provence, France, below.

There are more excerpts and instruc­tion on Dunlop’s YouTube chan­nel. For those wish­ing to take it to the next lev­el, Dun­lop is teach­ing a series of inter­ac­tive stu­dio demon­stra­tion class­es via Zoom. Reg­is­ter here.

Relat­ed Con­tent: 

Rare 1915 Film Shows Claude Mon­et at Work in His Famous Gar­den at Giverny

Watch Every Episode of Bob Ross’ The Joy Of Paint­ing Free Online: 403 Episodes Span­ning 31 Sea­sons

Bob Ross’ Christ­mas Spe­cial: Cel­e­brate, Relax, Nod Off

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her art in iso­la­tion has tak­en the form of a hasti­ly assem­bled trib­ute to the clas­sic 60s social line dance, The Madi­son. Fol­low her @AyunHalliday.

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