Leonardo da Vinci’s Elegant Studies of the Human Heart Were 500 Years Ahead of Their Time

in Art, Biology, Health, History | September 11th, 2020

Leonar­do da Vin­ci didn’t real­ly have hob­bies; he had pas­sion­ate, unpaid obses­sions that filled whole note­books with puz­zles sci­en­tists are still try­ing to solve. Many of the prob­lems to which he applied him­self were those none of his con­tem­po­raries under­stood, because he was the only per­son to have noticed them at all. The ama­teur anatomist was the first, for exam­ple, “to sketch tra­bec­u­lae,” notes Medievalists.net, “and their snowflake-like frac­tal pat­terns in the 16th cen­tu­ry.”

These geo­met­ric pat­terns of mus­cle fibers on the inner sur­face of the heart have remained a mys­tery for over 500 years since Leonardo’s anatom­i­cal inves­ti­ga­tions, car­ried out first on pig and oxen hearts, then lat­er, in hasty dis­sec­tions in the win­ter cold, on human spec­i­mens. He spec­u­lat­ed they might have warmed the blood, but sci­en­tists have recent­ly found they enhance blood flow “just like the dim­ples on a golf ball reduce air resis­tance.”

Leonar­do may have been wide of the mark in his tra­bec­u­lae the­o­ry, not hav­ing access to genet­ic test­ing, AI, or MRI. But he was the first to describe coro­nary artery dis­ease, which would become one of the lead­ing caus­es of death 500 years lat­er. Many of his med­ical con­clu­sions have turned out to be start­ing­ly cor­rect, in fact. He detailed and ele­gant­ly sketched the heart’s anato­my from 1507 until his death in 1519, work­ing out the flow of the blood through the body.

As the Medlife Cri­sis video above explains, Leonardo’s stud­ies on the heart ele­gant­ly brought togeth­er his inter­ests in art, anato­my, and engi­neer­ing. Because of this mul­ti-dimen­sion­al approach, he was able to explain a fact about the heart’s oper­a­tion that even many car­di­ol­o­gists today get wrong, the move­ment of the aor­tic valve. In order to visu­al­ize the “flow dynam­ics” of the heart’s machin­ery, with­out imag­ing machin­ery of his own, he built a glass mod­el, and drew sev­er­al sketch­es of what he saw. “Incred­i­bly, it took 450 years to prove him right.”

The mind of this extra­or­di­nary fig­ure con­tin­ues to divulge its secrets, and schol­ars and doc­tors across mul­ti­ple fields con­tin­ue to engage with his work, in the pages, for exam­ple, of the Nether­lands Heart Jour­nal. His stud­ies on the heart par­tic­u­lar­ly show how his aston­ish­ing breadth of knowl­edge and skill para­dox­i­cal­ly made him such a focused, deter­mined, and cre­ative thinker.

via Medievalists.net

Relat­ed Con­tent:

A Com­plete Dig­i­ti­za­tion of Leonar­do Da Vinci’s Codex Atlanti­cus, the Largest Exist­ing Col­lec­tion of His Draw­ings & Writ­ings

Leonar­do da Vinci’s Ear­li­est Note­books Now Dig­i­tized and Made Free Online: Explore His Inge­nious Draw­ings, Dia­grams, Mir­ror Writ­ing & More

Leonar­do da Vinci’s Inven­tions Come to Life as Muse­um-Qual­i­ty, Work­able Mod­els: A Swing Bridge, Scythed Char­i­ot, Per­pet­u­al Motion Machine & More

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

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Sounds of the Forest: A Free Audio Archive Gathers the Sounds of Forests from All Over the World

in Life, Nature | September 11th, 2020

Some of my fond­est mem­o­ries are of hik­ing the Olympic Nation­al For­est in Wash­ing­ton State and the forests of the Shenan­doah Val­ley in Vir­ginia, seek­ing the kind of silence one can only find in busy ecosys­tems full of birds, insects, wood­land crea­tures, rustling leaves, etc. This expe­ri­ence can be trans­for­ma­tive, a full immer­sion in what acoustic ecol­o­gist Gor­don Hemp­ton calls a “nat­ur­al acoustic sys­tem,” the end­less inter­play of calls and respons­es that evolved to har­mo­nize over mil­len­nia.

Trag­i­cal­ly, human noise pol­lu­tion encroach­es on the acoustic space of such refuges, and cli­mate change may irrev­o­ca­bly alter their nature. But they will be pre­served, in dig­i­tal record­ings at least, thanks in part to the efforts of a project called Sounds of the For­est, which has been doc­u­ment­ing the preg­nant silences of forests around the world and has so far col­lect­ed audio files from six con­ti­nents, with west­ern Europe most heav­i­ly rep­re­sent­ed.

The Sounds of the For­est library, acces­si­ble via its inter­ac­tive map or Sound­cloud page, “will form an open source library,” the project announces, “to be used by any­one to lis­ten to and cre­ate from.”

Nature lovers can con­tribute their own record­ings, help­ing to fill in the many remain­ing areas on the map with­out rep­re­sen­ta­tion. “Vis­it a wood­land,” the project rec­om­mends, “recharge under the canopy and record your sounds of the for­est.” The site gives spe­cif­ic instruc­tions for how to upload audio file sub­mis­sions.

Sounds of the For­est came out of the annu­al Tim­ber Fes­ti­val, an inter­na­tion­al gath­er­ing in the UK’s Nation­al For­est, which is the “bold­est envi­ron­men­tal­ly-led regen­er­a­tion project: the cre­ation of England’s first new for­est in a thou­sand years… an imag­i­na­tive and ambi­tious state­ment of sus­tain­able devel­op­ment.” When the pan­dem­ic scut­tled plans for an in-per­son 2020 Tim­ber Fes­ti­val, orga­niz­ers con­ceived of the sound files as a way to bring the world togeth­er in a vir­tu­al for­est gath­er­ing. They are also for­ag­ing mate­r­i­al for next year’s fest, in which “select­ed artists will be respond­ing to the sounds that are gath­ered, cre­at­ing music, audio, art­work or some­thing else incred­i­ble.”

If you can’t make it to Tim­ber Fes­ti­val 2021 next sum­mer, or to your for­est refuge of choice this autumn, you can still immerse your­self in the restora­tive sounds of forests world­wide. Open the sound map, click on a file, close your eyes, and imag­ine your­self in Nel­son Lakes Nation­al Park in New Zealand, Yasuni Nation­al Park at night in Ecuador, or Chernyaevsky For­est in Rus­sia. Expe­ri­enc­ing the busy silences of nature brings us back to ourselves—or to the ancient parts of our­selves that once also har­mo­nized with the nat­ur­al world.

 

via Kot­tke

Relat­ed Con­tent:

How to Find Silence in a Noisy World

The British Library’s “Sounds” Archive Presents 80,000 Free Audio Record­ings: World & Clas­si­cal Music, Inter­views, Nature Sounds & More

Free: Down­load the Sub­lime Sights & Sounds of Yel­low­stone Nation­al Park

10 Hours of Ambi­ent Arc­tic Sounds Will Help You Relax, Med­i­tate, Study & Sleep

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

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Watch Lime Kiln Club Field Day, One of the Earliest Surviving Feature Films with an All Black Cast (1913)

in Film, History | September 11th, 2020

For some of us (no names) the world of Tik­Tok is baf­fling and bizarre. Why does Gen Z flock to it? Who knows, but they do, in droves. Any­one can be a “cre­ator” on what Jason Parham at Wired calls “the most excit­ing cul­tur­al prod­uct of this time.” It also hap­pens to be a place where “dig­i­tal black­face” has evolved—an online cul­tur­al phe­nom­e­non in which Black users of a plat­form get dis­pro­por­tion­ate­ly cen­sored while oth­ers who adopt the trap­pings of Black Amer­i­can cul­ture, often in exag­ger­at­ed, stereo­typ­i­cal ways, rack up fol­low­ers and views.

21st cen­tu­ry forms of black­face per­sist for all sorts of rea­sons. The intent may not be con­scious­ly to demean, but the effects are usu­al­ly oth­er­wise, espe­cial­ly giv­en the long his­to­ry of black­face as a way of mock­ing Black Amer­i­cans, while forc­ing Black actors to them­selves per­form in black­face to gain an audi­ence and get work. Min­strel­sy per­formed by white stage actors, come­di­ans, musi­cians, etc. set a trag­i­cal­ly low bar for Black actors.

A once-promi­nent exam­ple comes from the career of per­former Bert Williams. “Large­ly for­got­ten today,” Clau­dia Roth Pier­pont writes at The New York­er, Williams was “the first African-Amer­i­can star: the most famous ‘col­ored man’ in Amer­i­ca dur­ing the ear­ly years of the twen­ti­eth cen­tu­ry.” He per­formed at Buck­ing­ham Palace, was the only Black mem­ber of Ziegfeld Fol­lies (and a head­lin­er) and played “along­side Fan­ny Brice and Eddie Cantor—for near­ly a decade.”

He did all of it in black­face, decades after the orig­i­nal Jim Crow char­ac­ter appeared in 1830. Born in 1874 in the Bahamas, says Caribbean nov­el­ist Caryl Phillips, Williams “was an out­sider in all sorts of ways… He didn’t see him­self to be ful­ly a part of African Amer­i­can tra­di­tions, so in a sense he didn’t quite under­stand the full impli­ca­tions of the black­face per­for­mance. He saw it as part of his cos­tume.” That may not nec­es­sar­i­ly be so. In his stage act, Williams and his part­ner resist­ed the prac­tice for as long as they could, until they real­ized that they would be sub­ject to con­stant vio­lence from white audi­ences with­out it.

Black­face affec­ta­tions helped Williams cross over into a film career. He “pro­duced, wrote, direct­ed and starred in two short films for Bio­graph,” the San Fran­cis­co Silent Film Fes­ti­val notes, “A Nat­ur­al Born Gam­bler (1916) and Fish (1916). Pro­duced by a black man for white audi­ences, they were ground­break­ing, how­ev­er, these films fea­tured char­ac­ters and sto­ry­lines that still sat­is­fied dom­i­nant racist stereo­types of black men.”

In con­trast, a third film, pro­duced three years ear­li­er, titled Lime Kiln Club Field Day, “one of a hand­ful of sur­viv­ing silent films with an all-black cast,” told a very dif­fer­ent kind of sto­ry. Williams appeared in black­face, but the oth­er actors did not. “The film … fea­tures one of the first exam­ples of on-screen inti­ma­cy between a black man and a black woman—a kiss—along with scenes of mid­dle class leisure; sto­ry ele­ments that chal­lenged the most­ly neg­a­tive, some­times evil, depic­tions of blacks in the major­i­ty of white-pro­duced films, which reached a dis­tress­ing nadir in D.W. Griffith’s The Birth of a Nation, released two years lat­er.”

Lime Kiln Club Field Day was nev­er com­plet­ed. Its many unedit­ed reels of film were only recent­ly redis­cov­ered, a cen­tu­ry lat­er, in the archives at New York’s Muse­um of Mod­ern Art. See the film above, restored by cura­tor Ron Magliozzi and preser­va­tion offi­cer Peter Williamson, who con­duct­ed research “over near­ly a decade,” the MoMA writes, to deci­pher the plot of the film and recov­er its pro­duc­tion his­to­ry, even going so far as to employ a lip read­er and explore Stat­en Island and New Jer­sey in search of loca­tions.”

Film his­to­ri­ans do not know why the project was aban­doned. They do know that Williams suf­fered sig­nif­i­cant­ly for the racist car­i­ca­tures he felt forced to per­form. Read more about his extra­or­di­nary career at The New York­er and learn more about the Lime Kiln Club Field Day restora­tion project at the San Fran­cis­co Silent Film Fes­ti­val site.

Relat­ed Con­tent:

Watch Free Films by African Amer­i­can Film­mak­ers in the Cri­te­ri­on Col­lec­tion … and the New Civ­il Rights Film, Just Mer­cy

Watch the Pio­neer­ing Films of Oscar Micheaux, America’s First Great African-Amer­i­can Film­mak­er

Watch the First-Ever Kiss on Film Between Two Black Actors, Just Hon­ored by the Library of Con­gress (1898)

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

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Central Park Bird Watcher Christian Cooper Writes DC Comics Graphic Novel: It’s Now Free Online

in Comics/Cartoons, Current Affairs, K-12 | September 11th, 2020

Write what you know.

It’s oft-cit­ed advice for writ­ers both begin­ning and estab­lished.

Thus, Jules, the teenage boy at the cen­ter of Chris­t­ian Cooper’s It’s a Bird, the first entry in DC Comics’ dig­i­tal-first anthol­o­gy series Rep­re­sent!, is a bird­watch­er, like the author.

And the binoc­u­lars that were a 50th birth­day gift from Cooper’s father, a Kore­an War vet and Civ­il Rights activist, serve as mod­els for the ones Jules is none too thrilled to receive, despite his grandpa’s belief that they pos­sess spe­cial pow­ers.

Coop­er, who was was Mar­vel’s first open­ly gay writer and edi­tor, intro­duc­ing a num­ber of queer char­ac­ters before devot­ing him­self to sci­ence writ­ing, also draws on recent per­son­al his­to­ry that is more fraught.

Although the loca­tion has shift­ed from New York City’s Cen­tral Park to a sub­ur­ban green space bor­dered with large, well-kept homes, includ­ing Jules’, the young man’s encounter with an indig­nant white woman and her off-leash dog should ring any num­ber of bells.

In late May, Coop­er became the sub­ject of nation­al news, when he con­front­ed Amy Coop­er (no rela­tion) over her vio­la­tion of park rules, tired of the hav­oc uncon­trolled dogs wreak on birds who call the park home. Ms. Coop­er esca­lat­ed things quick­ly by call­ing 911, claim­ing she was being threat­ened by an African-Amer­i­can man. Coop­er record­ed the inci­dent as a mat­ter of pro­to­col, and his sis­ter shared the video on social media lat­er that day.

The same day that George Floyd was killed by police in Min­neapo­lis, Min­neso­ta.

What Jules sees through the lens­es of his grand­fa­ther’s binoc­u­lars con­tains an ele­ment of fan­ta­sy, but is also deeply root­ed in reality—the faces of Ami­dou Dial­lo, Bre­on­na Tay­lor, Floyd, and oth­er Black peo­ple who have died as a result of exces­sive, unwar­rant­ed police force.

When DC first approached him about tap­ping his expe­ri­ence for his first com­ic in over two decades, Coop­er was reluc­tant:

I thought, “I don’t know, DC Comics? Super­heroes? Not sure how that’s going to work.” We kicked around a cou­ple of ideas. They said they had got­ten the title, I’m not sure exact­ly from who, but some­body pret­ty high up in the DC food chain: “It’s a Bird.” It took me half a beat. “Oh…I get what you did there.” Once I had the title, the sto­ry wrote itself.

It’s a Bird artist Aletha E. Mar­tinez, a pio­neer whose 20-year career has includ­ed ink­ing such super­hero heavy hit­ters as the Black Pan­ther, Iron Man, Bat­girl, and X‑Men, also pulled from per­son­al expe­ri­ence when ren­der­ing Jules’ expres­sion after the binoc­u­lars reveal the cir­cum­stances of George Floyd’s death:

I saw that look on my son’s face three years ago after we left North Car­oli­na, and we were com­ing home to New York. We were stopped going into the air­port. We trav­el so often—cons, in and out of the coun­try. These two secu­ri­ty guards start­ed to harass us. They want­ed to take my purse. “Where are you from?” You hear my voice, there’s no accent in my voice. It end­ed up with them say­ing, “You should trav­el with your pass­port.” This is after back­ing us up in the cor­ner, and why? I’m an Amer­i­can cit­i­zen born on this soil, so is my son. I don’t need a pass­port to trav­el with­in my coun­try. This is our day and age.

I watched my son’s face change, and he nev­er quite walked up again look­ing hap­py going to the air­port. Now he has on armor. That face you see? That’s my kid.

It’s a Bird can be read for free on par­tic­i­pat­ing dig­i­tal plat­forms (see links below), and Coop­er is hope­ful that it will inspire young peo­ple to find out more about some of the real life char­ac­ters Jules spies through his binoc­u­lars. To that end, an appen­dix touch­es on some bio­graph­i­cal details:

We not only give the bare bones details of how they died, but also a lit­tle bit about them, because they were peo­ple. They weren’t just want hap­pened to them. I hope young peo­ple (are) inspired to keep the focus where it needs to be, which is on those we have lost and how we keep from los­ing more. There are peo­ple who are invest­ed in dis­tract­ing us right now, and there are peo­ple who want to dis­tract us from their fail­ures on so many oth­er things. That’s not what this moment is about. This moment is about the ones we’ve lost, and how we’re going to keep from los­ing any more. And if you’re not talk­ing about that, I don’t want to hear it.

Read Rep­re­sent!: It’s a Bird for free on readdc.com, Comixol­o­gy, Ama­zon Kin­dle, Apple Books, and oth­er par­tic­i­pat­ing dig­i­tal plat­forms.

Read an inter­view with Coop­er and Mar­tinez, from which the quotes in this post are drawn, on DC’s blog.

Relat­ed Con­tent:

A New Dig­i­tal Archive Pre­serves Black Lives Mat­ter & COVID-19 Street Art

Read Mar­tin Luther King and The Mont­gomery Sto­ry: The Influ­en­tial 1957 Civ­il Rights Com­ic Book

Bat­man Stars in an Unusu­al Car­toon Adap­ta­tion of Dostoyevsky’s Crime and Pun­ish­ment

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

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Drone Footage of San Francisco Set to the Music of Bladerunner 2049

in Random | September 10th, 2020

When real life and dystopi­an cin­e­ma become one and the same. You can com­pare side-by-side images of Bladerun­ner 2049 con­cept art and the San Fran­cis­co sky­line here.

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:

42 Hours of Ambi­ent Sounds from Blade Run­ner, Alien, Star Trek and Doc­tor Who Will Help You Relax & Sleep

Three Blade Run­ner Pre­quels: Watch Them Online

The Blade Run­ner Pro­mo­tion­al Film

How Rid­ley Scott’s Blade Run­ner Illu­mi­nates the Cen­tral Prob­lem of Moder­ni­ty

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Watch the First Trailer for Dune, Denis Villeneuve’s Adaptation of Frank Herbert’s Classic Sci-Fi Novel

in Books, Film, Sci Fi | September 10th, 2020

It takes a fear­less film­mak­er indeed to adapt Dune. Atop its rich lin­guis­tic, polit­i­cal, philo­soph­i­cal, reli­gious, and eco­log­i­cal foun­da­tions, Frank Her­bert’s saga-launch­ing 1965 nov­el also hap­pens to have a plot “con­vo­lut­ed to the point of pain.” So writes David Fos­ter Wal­lace in his essay on David Lynch, who direct­ed the first cin­e­mat­ic ver­sion of Dune in 1984. That the result is remem­bered as a “huge, pre­ten­tious, inco­her­ent flop” (with an accom­pa­ny­ing glos­sary hand­out) owes to a vari­ety of fac­tors, not least stu­dio med­dling and the unsur­pris­ing incom­pat­i­bil­i­ty of the man who made Eraser­head with large-scale Hol­ly­wood sci-fi. The ques­tion lin­gered: could Dune be suc­cess­ful­ly adapt­ed at all?

Well before Lynch took his crack, El Topo and The Holy Moun­tain direc­tor Ale­jan­dro Jodor­owsky put togeth­er his own Dune adap­ta­tion. If all had gone well it would have come out as a ten-hour film fea­tur­ing the art of H.R. Giger and Moe­bius as well as the per­for­mances of Orson Welles, Glo­ria Swan­son, David Car­ra­dine, Alain Delon, Mick Jag­ger, and Sal­vador Dalí.

But all did not go well, and cin­e­ma was deprived of what would have been a sin­gu­lar spec­ta­cle no mat­ter how it turned out. At least one ele­ment of Jodor­owsky’s Dune has sur­vived, how­ev­er, in the lat­est attempt to bring Her­bert’s com­plex best­seller to the screen: the music of Pink Floyd, heard in the just-released trail­er for Denis Vil­leneu­ve’s Dune, star­ring Tim­o­th­ée Chalemet as the young hero Paul Atrei­des (as well as Oscar Isaac, Josh Brolin, and a host of oth­er cur­rent­ly big names), sched­uled for release in Decem­ber.

If a cred­i­ble Dune movie is pos­si­ble, Vil­leneuve is the man to direct it. His pre­vi­ous two pic­tures, Blade Run­ner 2049 and the alien-vis­i­ta­tion dra­ma Arrival, demon­strate not just his capa­bil­i­ties with sci­ence fic­tion but his sense of the sub­lime. Begin­ning with its set­ting, the desert-waste­land plan­et of Arrakis, Dune demands to be envi­sioned with the kind of beau­ty that inspires some­thing close to dread and fear. (The first direc­tor asked to adapt Dune was David Lean, per­haps due to his track record with majes­tic views of sand.) Vil­leneuve has also made the wise choice of refus­ing to com­press the entire book into a sin­gle fea­ture, pre­sent­ing this as the first of a two-part adap­ta­tion. And as a life­long Dune fan, he under­stands the atti­tude nec­es­sary to approach­ing this chal­lenge: “Fear is the mind-killer,” as Paul famous­ly puts it — so famous­ly that the trail­er could­n’t pos­si­bly exclude Cha­la­met’s deliv­ery of the line.

Relat­ed Con­tent:

Why You Should Read Dune: An Ani­mat­ed Intro­duc­tion to Frank Herbert’s Eco­log­i­cal, Psy­cho­log­i­cal Sci-Fi Epic

The 14-Hour Epic Film, Dune, That Ale­jan­dro Jodor­owsky, Pink Floyd, Sal­vador Dalí, Moe­bius, Orson Welles & Mick Jag­ger Nev­er Made

Moe­bius’ Sto­ry­boards & Con­cept Art for Jodorowsky’s Dune

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.

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Watch Dan Aykroyd & Bill Murray Goof Off in a Newly Unearthed Ghostbusters Promotional Film (1984)

in Film | September 10th, 2020

If you weren’t in the indie cin­e­ma exhi­bi­tion indus­try in the 1980s, you prob­a­bly haven’t heard of Show­est. But this was *the* con­ven­tion back then, a chance to trav­el to Las Vegas, shmooze with film dis­trib­u­tors and Hol­ly­wood stu­dios, smoke cig­ars, drink sin­gle malt Scotch, run up your company’s tab and have a dim mem­o­ry in the morn­ing of vis­it­ing a strip club. You know: Busi­ness, Amer­i­can Style!

And so what we have here is a pro­mo­tion­al film for an up-and-com­ing 1984 movie called Ghost­busters. Not the trail­er, you see, that’s for the gen­er­al pub­lic. Instead, this is two of the film’s lead actors, Dan Aykroyd and Bill Mur­ray, direct­ly address­ing atten­dees, implor­ing them to check out what could be the sci-fi com­e­dy of the sum­mer. “It’s gonna make E.T. look like Raiders of the Lost Ark,” Mur­ray quips.

There’s a few things appar­ent from this pro­mo film: Ack­royd and Mur­ray are com­plete­ly wing­ing it, and this prob­a­bly took as long to shoot as it takes time to watch. Also, per­haps: they’ve been “cel­e­brat­ing” if you know what I mean. Maybe. Alleged­ly. Either way, you can tell these guys are goof­ing about and mak­ing each oth­er laugh. And it also ends with a Ghost­busters theme that isn’t the Ray Park­er, Jr. clas­sic. It’s…well, it’s this, if you need to hear the whole thing.

And final­ly: there’s a few jokes that, if not total­ly “rapey” per se, do assume a woman-as-sex­u­al-favor vibe. To that I would posit: Ack­royd and Mur­ray knew their audi­ence (unfor­tu­nate­ly). (It was the Rea­gan era, and don’t for­get, the main vil­lain of Ghost­busters is the Envi­ron­men­tal Pro­tec­tion Agency!)

But let’s not end on a down note. Instead, let’s just quick­ly add that as of this writ­ing, the *oth­er* Ghost­busters star, Rick Mora­nis, has just appeared after years in seclu­sion to appear with Ryan Reynolds in a cell­phone com­mer­cial. Yes, it’s also advance pro­mo for a Hon­ey I Shrunk the Kids reboot, but I’ll take what we can get these days.

P.S. If you’re won­der­ing what hap­pened to Show­est, the con­ven­tion arm of the Nation­al Asso­ci­a­tion of The­ater Own­ers (NATO, for short, go fig­ure), you can read all about it here.

Relat­ed Con­tent:

The Zen of Bill Mur­ray: I Want to Be “Real­ly Here, Real­ly in It, Real­ly Alive in the Moment”

Bill Mur­ray Explains How He Was Saved by John Prine

John Belushi and Dan Aykroyd Get Bri­an Wil­son Out of Bed and Force Him to Go Surf­ing, 1976

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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Discover the Longest Song in the World: A 639-Year Performance of the John Cage Composition Called “Organ/ASLSP (As Slow As Possible)”

in Music | September 9th, 2020

In 2016, Lau­rie Ander­son recre­at­ed the expe­ri­ence of Lou Reed’s Met­al Machine Music in Saint Mark’s chapel in Brighton. The five-day-long per­for­mance piece involved “some eight unmanned gui­tars lean­ing on a sim­i­lar num­ber of vin­tage amps,” Mark Sheerin writes, all of them cranked up, feed­ing back, and echo­ing around the Angli­can church’s vault­ed ceil­ing. It was a fit­ting trib­ute to Reed, a sus­tained, dis­so­nant drone that also invokes “the mys­ter­ies of faith and the incar­na­tion of rebel angels.”

If five days seems like a long time to hold a sin­gle note, how­ev­er, con­sid­er the per­for­mance of John Cage’s com­po­si­tion “ORGAN/ASLSP” or “A Slow as Pos­si­ble” that began in the St. Bur­char­di church, in the Ger­man town of Hal­ber­stadt, on Sep­tem­ber 5th, 2001, what would have been Cage’s 89th birth­day. The artists stag­ing this piece intend it to last for 639 years. If the organ doesn’t fall apart and if a new gen­er­a­tion of cura­tors con­tin­ues to take the place of the old, it will play until the year 2640.

Those are some big Ifs, but as long as it lasts, the piece should draw crowds every few years when a chord changes, as just hap­pened recent­ly, despite the pan­dem­ic, after the organ had played the same chord for almost 7 years. The change occurred on Sep­tem­ber 5th, 2020, Cage’s birth­day, 19 years after the per­for­mance began. Lest we think its length insane­ly per­verse, we should bear in mind that Cage him­self nev­er spec­i­fied a tem­po for “As Slow as Pos­si­ble.” The score itself only “con­sists of eight pages of music, to be played,” writes Kyle Mac­don­ald at Clas­sic FM, “well, very, very slow­ly.”

Typ­i­cal­ly, organ­ists and pianists have inter­pret­ed this direc­tion with­in the space of an hour. Some have stretched sin­gle per­for­mances “up to, and beyond, 12 hours.” Obvi­ous­ly, no sin­gle per­son, or even team of peo­ple, could sus­tain play­ing the piece for 233,235 days. Nor, how­ev­er, has the extreme slow­ness of the John Cage Organ Project ver­sion been made pos­si­ble by dig­i­tal means. Instead, a group of artists built a spe­cial pipe organ for the task. Each time a chord changes, new pipes are added man­u­al­ly. On Sat­ur­day, a masked crowd gath­ered “to see the G sharp and E notes metic­u­lous­ly installed.”

The organ is auto­mat­ed, by mechan­i­cal means. No one needs to sit and hold keys for sev­er­al years. But can the long-term coor­di­na­tion need­ed to main­tain this solemn­ly quixot­ic instal­la­tion extend over six hun­dred years for a grand finale in 2640 (IF the organ, the church, and the plan­et, sur­vive)? The ques­tion seems almost irrel­e­vant since no one liv­ing can answer it with any degree of cer­tain­ty. It depends on whether future gen­er­a­tions see the St. Buruchar­di “As Slow as Pos­si­ble” as a phe­nom­e­non that should con­tin­ue to exist. But why, we might ask, should it?

Maybe one way of think­ing of the John Cage Organ Project is through the lens of the Long Now Project’s 10,000 Year Clock, a device being con­struct­ed (“no com­ple­tion date sched­uled”) to rad­i­cal­ly change humans’ rela­tion­ship to time, to push us to think beyond—hundreds and thou­sands of years beyond—our mea­ger life­times. Cage, I think, would appre­ci­ate the effort to turn his eight page com­po­si­tion into a musi­cal man­i­fes­ta­tion of the future’s longue durée.

Relat­ed Con­tent:

An Impres­sive Audio Archive of John Cage Lec­tures & Inter­views: Hear Record­ings from 1963–1991

Nota­tions: John Cage Pub­lish­es a Book of Graph­ic Musi­cal Scores, Fea­tur­ing Visu­al­iza­tions of Works by Leonard Bern­stein, Igor Stravin­sky, The Bea­t­les & More (1969)

John Cage’s Silent, Avant-Garde Piece 4’33” Gets Cov­ered by a Death Met­al Band

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

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