Take a Virtual Tour of the World’s Only Sourdough Library

There’s 15-year-old Pre­cious from the Nether­lands…

And Bub­ble from Aus­tralia, age 4…

Yeasty Beasty Methuse­lah, from Twin Falls, Ida­ho, is esti­mat­ed to be around 50…

Every sour­dough starter is spe­cial to the ones who made or main­tain it, but of the 1000s reg­is­tered online with Quest for Sour­dough, only 125 have earned a per­ma­nent place in the Puratos Sour­dough Library in Saint-Vith, Bel­gium. It’s the world’s only library ded­i­cat­ed to Sour­dough, and you can take a vir­tu­al tour here.

Housed in iden­ti­cal jars in a muse­um-qual­i­ty refrig­er­at­ed cab­i­nets, these her­itage starters have been care­ful­ly select­ed by librar­i­an Karl De Smedt, above, who trav­els the world vis­it­ing bak­eries, tast­ing bread, and learn­ing the sto­ries behind each sam­ple that enters the col­lec­tion.

As De Smedt recalls in an inter­view with the Sour­dough Pod­cast, the idea for the muse­um began tak­ing shape when a Lebanese bak­er reached out to Puratos, a hun­dred-year-old com­pa­ny that sup­plies com­mer­cial bak­ers and pas­try mak­ers with essen­tials of the trade. The man’s sons returned from a bak­ing expo in Paris and informed their dad that when they took over, they planned to retire his time-hon­ored prac­tice of bak­ing with fer­ment­ed chick­peas in favor of instant yeast. Wor­ried that his prized recipe would be lost to his­to­ry, he appealed to Puratos to help pre­serve his pro­to­cols.

While fer­ment­ed chick­peas do not count as sourdough—a com­bi­na­tion of flour, water, and the result­ing microor­gan­isms this mar­riage gives rise to over time—the com­pa­ny had recent­ly col­lect­ed and ana­lyzed 43 ven­er­a­ble starters. The bulk came from Italy, includ­ing one from Alta­mu­ra, the “city of bread, pro­duc­er of what Horace called in 37 B.C. ‘the best bread to be had, so good that the wise trav­el­er takes a sup­ply of it for his onward jour­ney.’”

Thus was a non-cir­cu­lat­ing library born.

Each spec­i­men is ana­lyzed by food micro­bi­ol­o­gist Mar­co Gob­bet­ti from the Uni­ver­si­ty of Bolzano and Bari.

A col­lab­o­ra­tion with North Car­oli­na State Uni­ver­si­ty biol­o­gists Rob Dunn and Anne Mad­den revealed that sour­dough bak­ers’ hands share dis­tinct microbes with their starters.

More than 1100 strains of microor­gan­isms have been record­ed so far.

Every two months, the starters are tak­en out of the fridge and fed, i.e. reac­ti­vat­ed, with a com­bi­na­tion of water and some of their flour of ori­gin, year­ly quan­ti­ties of which are con­tributed by their bak­ers. With­out this reg­u­lar care, the starters will die off.

(The pan­dem­ic has De Smedt work­ing from home, but he inti­mat­ed to The New York Times that he intend­ed to make it back to feed his babies, or “moth­ers” as they are known in sour­dough cir­cles.)

#72 from Mex­i­co feeds on eggs, lime and beer

#100 from Japan is made of cooked sake rice.

#106 is a vet­er­an of the Gold Rush.

Their con­sis­ten­cy is doc­u­ment­ed along a line that ranges from hard to flu­id, with Sil­ly Put­ty in the mid­dle.

Each year, De Smedt expands the col­lec­tion with starters from a dif­fer­ent area of the world. The lat­est addi­tions come from Turkey, and are doc­u­ment­ed in the mouth­wa­ter­ing trav­el­ogue above.

For now, of course, he’s ground­ed in Bel­gium, and using his Insta­gram account to pro­vide encour­age­ment to oth­er sour­dough prac­ti­tion­ers, answer­ing rook­ie ques­tions and show­ing off some of the loaves pro­duced by his own per­son­al starters, Bar­bara and Aman­da.

Reg­is­ter your starter on Quest for Sour­dough here.

If you haven’t yet tak­en the sour­dough plunge, you can par­tic­i­pate in North Car­oli­na State University’s Wild Sour­dough Project by fol­low­ing their instruc­tions on mak­ing a starter from scratch and then sub­mit­ting your data here.

And bide your time until you’re cleared to vis­it the Puratos Sour­dough Library in per­son by tak­ing an inter­ac­tive vir­tu­al tour or watch­ing a com­plete playlist of De Smedt’s col­lect­ing trips here.

via Atlas Obscu­ra

Relat­ed Con­tent: 

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

An Archive of Hand­writ­ten Tra­di­tion­al Mex­i­can Cook­books Is Now Online

400 Ways to Make a Sand­wich: A 1909 Cook­book Full of Cre­ative Recipes

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her cur­rent starter, Miss Sour­dough, was brought to life with an unholy splash of apple cider. Fol­low her @AyunHalliday.

The Doobie Brothers Sing Their 1974 Classic, “Black Water,” Live, in Isolation

The Doo­bie Brothers–they can’t tour this sum­mer and cel­e­brate their 50th anniver­sary. But they can give you this: a per­for­mance of 1974’s “Black Water” per­formed vir­tu­al­ly, live, in iso­la­tion. Make sure you catch the fan con­tri­bu­tions toward the end…

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The Stay At Home Museum: Your Private, Guided Tours of Rubens, Bruegel & Other Flemish Masters

Of the many world class muse­ums treat­ing a stuck-at-home pub­lic to vir­tu­al tours of their col­lec­tions, none inspire the resolve for future trav­el as the Stay At Home Muse­um, an ini­tia­tive of the Flan­ders tourism board.

Before the COVID-19 epi­dem­ic response demand­ed the tem­po­rary shut­ter­ing of all such attrac­tions, the region was enter­ing the final year of a 3‑year fes­ti­val cel­e­brat­ing such Flem­ish mas­ters as Jan Van EyckPieter Bruegel, and Peter Paul Rubens.

Its web­site appeals to young, hip vis­i­tors by match­ing inter­ests with celebri­ty tour guides: Bac­chus (as ren­dered by Rubens) for eat­ing and drink­ing in an arty atmos­phere and Rubens’ Venus for cul­tur­al­ly respon­si­ble shop­ping and dia­mond admir­ing.

Oth­er entic­ing prospects we can’t take advan­tage of at present:

A down­load­able Bruegel walk­ing tour map

Rubens-inspired beer tourism

A Flem­ish Mas­ters itin­er­ary for chil­dren

An open air aug­ment­ed real­i­ty expe­ri­ence based on Bruegel’s The Fight Between Car­ni­val and Lent

Our sad­ness at miss­ing these can­not be chalked up to FOMO. Right now, the whole world is miss­ing out.

So, con­sid­er the Stay At Home Muse­um a pre­view, some­thing to help us enjoy our trips to the region all the more at some point in the future, by edu­cat­ing our­selves on the painters who made Flan­ders famous.

The series is also a treat for the Zoom weary. The expert guides aren’t fac­ing their web­cams at home, but rather using their high lev­el access to lead us through the emp­ty muse­ums in which the exhibits are still installed.

No jostling…

No crowd­ing in front of the most cel­e­brat­ed pieces…

No inane lunch-relat­ed chat­ter from tourists who aren’t into art as deeply as you are…

Above, Van Eyck expert Till-Hol­ger Borchert, Direc­tor of Musea Bruges, ori­ents us to the artist and his work, most notably the Ghent altar­piece, aka Ado­ra­tion of the Mys­tic Lamb, a 12-pan­el polyp­tych that Van Eyck worked on with Hugo, the old­er broth­er who died 6 years before its com­ple­tion.

Pay close atten­tion to Adam and Eve’s body hair. Borchert cer­tain­ly does.

He also sheds a lot of inter­est­ing light on the sig­nif­i­cance of mate­ri­als, fram­ing choic­es, and com­po­si­tion.

The restored altar­piece was slat­ed to be rein­stalled in its orig­i­nal home of Ghent’s Saint Bavo’s Cathe­dral, fol­low­ing the sched­uled clos­ing of Jan van Eyck: An Opti­cal Rev­o­lu­tion—April 30, 2020.

The Roy­al Muse­um of Fine Art’s direc­tor Michel Draguet takes us on a French-speak­ing jour­ney inside Bruegel’s paint­ing, The Fall of the Rebel Angels.

Ben Van Bene­den, the direc­tor of the Rubens House, invites us into Ruben’s “art gallery room”—something no self-respect­ing wealthy poly­glot diplomat/aesthete who’s also a Baroque painter would do with­out, appar­ent­ly.

The peek at Rubens’ gar­den is nice too, espe­cial­ly for those of us with no pri­vate out­door space of our own.

Jump­ing ahead to the Bel­gian avant-garde of the late nine­teenth and ear­ly twen­ti­eth cen­turies, cura­tor Mieke Mels of Ostennd’s the Mu.ZEE spills the beans on why native son, James Ensor, shield­ed his 1888 mas­ter­piece Christ’s Entry into Brus­sels from the pub­lic view for 3 decades.

This episode has been trans­lat­ed into Inter­na­tion­al Sign Lan­guage for deaf and hear­ing impaired view­ers.

A fifth and alleged­ly final episode is forth­com­ing. View a playlist of all Stay At Home Muse­um episodes here.

Relat­ed Con­tent: 

Take a Vir­tu­al Tour of 30 World-Class Muse­ums & Safe­ly Vis­it 2 Mil­lion Works of Fine Art

14 Paris Muse­ums Put 300,000 Works of Art Online: Down­load Clas­sics by Mon­et, Cézanne & More

The British Muse­um Puts 1.9 Mil­lion Works of Art Online

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. It’s been so long since she vis­it­ed Bel­gium, she can’t remem­ber if her indis­cre­tion in the Bruges youth hos­tel made it into her trav­el mem­oir, No Touch Mon­key! And Oth­er Trav­el Lessons Learned Too Late. Fol­low her @AyunHalliday.

500+ Beautiful Manuscripts from the Islamic World Now Digitized & Free to Download

Math­e­mat­ics, astron­o­my, his­to­ry, law, lit­er­a­ture, archi­tec­ture: in these fields and oth­ers, the Mus­lim world came up with major inno­va­tions before any oth­er civ­i­liza­tion did. This Islam­ic cul­tur­al and intel­lec­tu­al flow­er­ing last­ed from the 11th through the 19th cen­tu­ry, and many of the texts the peri­od left as its lega­cy have gone most­ly unre­searched. So say the cre­ators of Man­u­scripts of the Mus­lim World, a project of Colum­bia Uni­ver­si­ty, the Free Library of Philadel­phia, the Uni­ver­si­ty of Penn­syl­va­nia, Bryn Mawr Col­lege, and Haver­ford Col­lege aimed at cre­at­ing an online archive of “more than 500 man­u­scripts and 827 paint­ings from the Islam­i­cate world broad­ly con­strued.”

As UPenn Libraries Senior Cura­tor of Spe­cial Col­lec­tions Mitch Fraas tells Hyper­al­ler­gic’s Sarah Rose Sharp, “The aim of this project was to find and dig­i­tize all the Islam­i­cate man­u­scripts in Philadel­phia col­lec­tions and along the way we part­nered with Colum­bia on a grant to take a mul­ti-city approach.”

To the sources of its man­u­scripts it also takes a mul­ti-cul­ture approach, includ­ing “texts relat­ed to Chris­tian­i­ty (Cop­tic and Syr­i­ac mss. galore), Hin­duism (epics trans­lat­ed into Per­sian in Mughal India), sci­ence, tech­nol­o­gy, music, etc. but which were pro­duced in the his­toric Mus­lim world.” There are also texts, he adds, “in Per­sian, Ara­bic, and Turk­ish of course but also in Cop­tic, Tamazight, Aves­tan, etc.”

If you can read those lan­guages, Man­u­scripts of the Mus­lim World obvi­ous­ly amounts to a gold mine. (You may also find some­thing of inter­est in the dig­i­tal archives of 700 years of Per­sian man­u­scripts and 10,000 books in Ara­bic we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture.) But even if you don’t, you’ll find in the col­lec­tion mar­vels of book design that will appeal to any­one with an appre­ci­a­tion of the lush aes­thet­ics, both abstract and fig­u­ra­tive, of these places and these times. Some of them aren’t even as old as they may seem: take the man­u­script at the top of the post, “over­paint­ed in the 20th cen­tu­ry to mim­ic Mughal style.” Or the one below that, whose colophon “says the copy was com­plet­ed in 1121 A.H. (1709 or 1710 CE),” which “does not make sense giv­en the author like­ly lived in the 19th cen­tu­ry.”

The oth­er pages here come from a set of “illus­tra­tions from Qur’ānic sto­ries” (this one depict­ing “Abra­ham sac­ri­fic­ing his son”) and a “Per­sian cal­lig­ra­phy and illus­tra­tion album.” You’ll find much more in Man­u­scripts of the Mus­lim World, host­ed on OPENN, the Uni­ver­si­ty of Penn­syl­va­ni­a’s online repos­i­to­ry of “high-res­o­lu­tion archival images of man­u­scripts” accom­pa­nied by “machine-read­able TEI P5 descrip­tions and tech­ni­cal meta­da­ta,” all released into the pub­lic domain or under Cre­ative Com­mons licens­es. Though each man­u­scrip­t’s entry comes with basic notes, the col­lec­tion is, in the main, not yet a thor­ough­ly stud­ied one. If you have an inter­est in the Islam­ic world at its peak of cul­tur­al and intel­lec­tu­al influ­ence so far, you may just find your next big research sub­ject here — or at the very least, mate­r­i­al for a few hours’ admi­ra­tion. Enter the col­lec­tion.

via Hyper­al­ler­gic

Relat­ed Con­tent:

The Com­plex Geom­e­try of Islam­ic Art & Design: A Short Intro­duc­tion

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

Learn Islam­ic & Indi­an Phi­los­o­phy with 107 Episodes of the His­to­ry of Phi­los­o­phy With­out Any Gaps Pod­cast

700 Years of Per­sian Man­u­scripts Now Dig­i­tized and Avail­able Online

Down­load 10,000+ Books in Ara­bic, All Com­plete­ly Free, Dig­i­tized and Put Online

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.

The Library of Congress Makes Its Archives Free for DJs to Remix: Introducing the “Citizen DJ” Project

Since the begin­ning of hip hop and turntab­lism, the best DJs have been the best crate dig­gers, peo­ple who would spend hours flip­ping thru old vinyl, unknown titles, rare cuts, and some­times seri­ous­ly out-of-fash­ion, embar­rass­ing old records for those brief moments of music that when looped, could be spun into mod­ern mag­ic.

At the same time, hip hop sam­pling has also been a mine­field for copy­right law, so much that mod­ern DJs shy away from sam­pling lest they spend months and or years seek­ing clear­ing rights.

Artist and com­put­er sci­en­tist Bri­an Foo knows where there are plen­ty of crates that have yet to be dug: the Library of Con­gress. Already the author of sev­er­al projects that turn data into music, Foo received a grant from the Library this year to do some­thing amaz­ing with their col­lec­tion and offer it to the pub­lic.

Cit­i­zen DJ is the result and cur­rent­ly you can play around with the beta ver­sion. The above video fea­tures Foo lead­ing you through the site, and I high­ly rec­om­mend you watch it before div­ing in.

Sound sources come from the Library’s many col­lec­tions: Edi­son sound record­ings, Vari­ety Stage record­ings, Joe Smith’s inter­views with ear­ly 20th cen­tu­ry celebri­ties, a col­lec­tion of Amer­i­can dialect record­ings, gov­ern­ment infor­ma­tion films, and their more mod­ern free music archives.

You can browse these as a col­or-cod­ed graph­ic tapes­try or as a list, with plen­ty of fil­ters to nar­row down your search. Once you find a sound you like you can chop it up in a sequencer and then bring in loops, change the bpm, and cre­ate some very, very odd mod­ern music. (If you’re lucky it will also be funky!) Every­thing can be down­loaded off­site into a (dig­i­tal audio work­sta­tion) DAW of your choice.

What­ev­er you make, by the way, is yours to do with what­ev­er you want, and that includes sell­ing it as your own track. (Although it’s best-prac­tice to cred­it the source and the Library).

Foo notes that the project is ful­ly launch­ing in late sum­mer, but is real­ly look­ing for your feed­back, whether you are a pro­fes­sion­al musi­cian or a curi­ous cit­i­zen. (We also want to hear any­thing that you wind up mak­ing, so let us know.)

Relat­ed Con­tent:

What Is Fair Use?: A Short Intro­duc­tion from the Mak­er of Every­thing is a Remix

The Library of Con­gress Makes Thou­sands of Fab­u­lous Pho­tos, Posters & Images Free to Use & Reuse

The Library of Con­gress Makes 25 Mil­lion Records From Its Cat­a­log Free to Down­load

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.

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