Ethan Hawke Explains How to Give Yourself Permission to Be Creative

in Art, Creativity, Poetry | June 10th, 2021

The most creative people, you’ll notice, throw themselves into what they do with absurd, even reckless abandon. They commit, no matter their doubts about their talents, education, finances, etc. They have to. They are generally fighting not only their own misgivings, but also those of friends, family, critics, financiers, and landlords. Artists who work to realize their own vision, rather than someone else’s, face a witheringly high probability of failure, or the kind of success that comes with few material rewards. One must be willing to take the odds, and to renounce, says Ethan Hawke in the short TED talk above, the need for validation or approval.

This is hard news for people pleasers and seekers after fame and reputation, but in order to overcome the inevitable social obstacles, artists must be willing, says Hawke, to play the fool. He takes as his example Allen Ginsberg, who appeared on William F. Buckley’s Firing Line in May of 1968 and, rather than answer Buckley’s charge that his political positions were “naive,” pulled out a harmonium and proceeded to sing the Hare Krishna chant (“the most unharried Krishna I’ve ever heard,” Buckley remarked). Upon arriving home to New York, says Hawke, Ginsberg was met by people who were aghast at what he’d done, feeling that he made himself a clown for middle America.

Ginsberg was unbothered. He was willing to be “America’s holy fool,” as Vivian Gornick called him, if it meant interrupting the constant stream of advertising and propaganda and making Americans stop to wonder “who is this stupid poet?”

Who is this person so willing to chant at William F. Buckley for “the preservation of the universe, instead of its destruction”? What might he have to say to my secret wishes? This is what artists do, says Hawke, take risks to express emotions, by whatever means are at hand. It is the essence of Ginsberg’s view of creativity, to let go of judgment, as he once told a writing student:

Judge it later. You’ll have plenty of time to judge it. You have all your life to judge it and revise it! You don’t have to judge it on the spot there. What rises, respect it. Respect what rises….

Judge your own work later, if you must, but whatever you do, Hawke advises above, don’t stake your worth on the judgments of others. The creative life requires committing instead to the value of human creativity for its own sake, with a childlike intensity that doesn’t apologize for itself or ask permission to come to the surface.

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

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Scientists Create an Interactive Map of the 13 Emotions Evoked by Music: Joy, Sadness, Desire, Annoyance, and More

in Music, Neuroscience, Science | June 10th, 2021

Most of our playlists today are filled with music about emotions: usually love, of course, but also excitement, defiance, anger, devastation, and a host of others besides. We listen to these songs in order to appreciate the musicianship that went into them, but also to indulge in their emotions for ourselves. As for what exactly evokes these feelings within us, lyrics only do part of the job, and perhaps a small part at that. In search of a more rigorous conception of which sonic qualities trigger which emotions in listeners — and a measurement of how many kinds of emotions music can trigger — scientists at UC Berkeley have conducted a cross-cultural research project and used the data to make an interactive listening map.

The study’s creators, a group including psychology professor Dacher Keltner (founding director of the Greater Good Science Center) and neuroscience doctoral student Alan Cowen, “surveyed more than 2,500 people in the United States and China about their emotional responses to these and thousands of other songs from genres including rock, folk, jazz, classical, marching band, experimental and heavy metal.” So writes Berkley News’ Yasmin Anwar, who summarizes the broader findings as follows: “The subjective experience of music across cultures can be mapped within at least 13 overarching feelings: Amusement, joy, eroticism, beauty, relaxation, sadness, dreaminess, triumph, anxiety, scariness, annoyance, defiance, and feeling pumped up.”

Many listener responses can’t have been terribly surprising. “Vivaldi’s ‘Four Seasons’ made people feel energized. The Clash’s ‘Rock the Casbah’ pumped them up. Al Green’s ‘Let’s Stay Together’ evoked sensuality and Israel (Iz) Kamakawiwoʻole’s ‘Somewhere over the Rainbow’ elicited joy.

Meanwhile, heavy metal was widely viewed as defiant and, just as its composer intended, the shower scene score from the movie Psycho triggered fear.” The cultural influence of Hitchcock, one might object, has by now transcended all boundaries, but according to the study even Chinese classical music gets the same basic emotions across to Chinese and non-Chinese listeners alike.

Still, all respectable art, even or perhaps especially an abstract one such as music, leaves plenty of room for personal interpretation. You can check your own emotional responses against those of the Berkeley survey’s respondents with its interactive listening map. Just roll your cursor over any of point on its emotional territories, and you’ll hear a short clip of the song listeners placed there. On the peninsula of category H, “erotic, desirous,” you’ll hear Chris Isaak, Wham!, and a great many saxophonists; down in the netherlands of category G, “energizing, pump-up,” Rick Astley’s immortalized “Never Gonna Give You Up” and Alien Ant Farm’s novelty cover of “Smooth Criminal.” Anwar also notes that “The Shape of You,” Ed Sheeran’s inescapable hit, “sparks joy” — but if I have to hear it one more time at the gym, I can assure you my own emotional response won’t be quite so positive.

Watch Classical Music Get Perfectly Visualized as an Emotional Roller Coaster Ride

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Neurosymphony: A High-Resolution Look into the Brain, Set to the Music of Brain Waves

An Interactive Map of the 2,000+ Sounds Humans Use to Communicate Without Words: Grunts, Sobs, Sighs, Laughs & More

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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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A Data Visualization of Every Italian City & Town Founded in the BC Era

in Data, History | June 10th, 2021

Ancient people did not think about history the way most of us do. It made no difference to contemporary readers of the popular Roman historian, Livy (the “JK Rowling of his day”), that “most of the flesh and blood of [his] narrative is fictitious,” and “many of the stories are not really Roman but Greek stories reclothed in Roman dress,” historian Robert Ogilvie writes in an introduction to Livy’s Early History of Rome. Ancient historians did not write to document facts, but to illustrate moral, philosophical, and political truths about what they saw as immutable human nature.

Much of what we know about Roman antiquity comes not from ancient Roman history but from modern archeology (which is still making “amazing” new discoveries about Roman cities). The remains of Rome at its apogee date from the time of Livy, who was likely born in 59 BC and died circa 12 AD. A contemporary, and possibly a friend, of Augustus, the historian lived through a period of immense growth in which the new empire spread across the continent, founding, building, and conquering towns and cities as it went — a time, he wrote, when “the might of an imperial people is beginning to work its own ruin.”

Livy preferred to look back — “turn my eyes from the troubles,” he said — “more than seven hundred years,” to the date long given for the founding of Rome, 753 BC, which seemed ancient enough to him. Modern archeologists have found, however, that the city probably arose hundreds of years earlier, having been continuously inhabited since around 1000 BC. Livy’s own prosperous but provincial city of Padua only became incorporated into the Roman empire a few decades before his birth. According to Livy himself, Padua was first founded in 1183 BC by the Trojan prince Antenor… if you believe the stories….

The point is that ancient Roman dates are suspect when they come from literary sources (or “histories”) rather than artifacts and archaeological dating methods. What is the distribution of such dates across articles about ancient Rome on Wikipedia? Who could say. But the sheer number of documents and artifacts left behind by the Romans and the people they conquered and subdued make it easy to reconstruct the historical strata of European cities — though we should allow for more than a little exaggeration, distortion, and even fiction in the data.

The maps you see here use Wikipedia data to visualize towns and cities in modern-day Italy founded before the first century — that is, every Italian settlement of any kind with a “BC” cited in its associated article. Many of these were founded by the Romans in the 2nd or 3rd century BC. Many cities, like Pompeii, Milan, and Livy’s own Padua, were conquered or slowly taken over from earlier peoples. Another version of the visualization, above, shows a distribution by color of the dates from 10,000 BC to 10 BC. It makes for an equally striking way to illustrate the history, and prehistory, of Italy up to Livy’s time — that is, according to Wikipedia.

The creator of the visualizations obtained the data by scraping 8000 Italian Wikipedia articles for mentions of “BC” (or “AC” in Italian). Even if we all agreed the open online encyclopedia is an authoritative source (and we certainly do not), we’d still be left with the problem of ancient dating in creating an accurate map of ancient Roman and Italian history. Unreliable data does not improve in picture form. But data visualizations can, when combined with careful scholarship and good research, make dry lists of numbers come alive, as Livy’s stories made Roman history, as he knew it, live for his readers.

See the creator’s dataset below and learn more here.

count 1152

mean 929.47

std 1221.89

min 2

25% 196

50% 342.5

75% 1529.5

max 10000

Rome’s Colosseum Will Get a New Retractable Floor by 2023 — Just as It Had in Ancient Times

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

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Pretty Much Pop: A Culture Podcast #95 Considers Joss Whedon’s The Nevers

in Podcasts, Pretty Much Pop, Sci Fi, Television | June 10th, 2021

Mark, Erica, and Brian discuss the HBO Max show out Victorian-era super-powered feminine outcasts, helmed and now abandoned by the creator of Buffy the Vampire Slayer, Firefly, etc. It’s jam packed with steampunk gadgets, fisticuffs, social injustice, and far too many characters and plot threads to keep track of. Given that the season was reduced to a half season in light of the pandemic, does it still work? Does knowing the complaints about Joss Whedon affect our consumption of the show? Is this a faux feminism where women must undergo torture to gain strength?

Here are a few articles we considered:

“The Nevers Is an Unimpressive Monument to Joss Whedon’s Obsessions” by Kathryn VanArendonk
“Review: The Nevers Makes Abrupt Turn in Disorienting Midseason Finale” by Jennifer Oullette
“‘The Nevers’ Can’t Escape Joss Whedon’s Shadow, for Better or (Mostly) Worse” by Alison Herman
“A Complete Timeline of Every Joss Whedon Controversy” by Gabrielle Sanchez
“A Guide to the Growing Controversy Over Joss Whedon’s Avengers and Marvel’s Gender Problem” by Emily VanDerWerff
“‘The Nevers’ Star Laura Donnelly Was ‘Gutted’ by Joss Whedon’s Exit: ‘I Had a Wonderful Experience Working With Him’” by Jennifer Maas

Hear more of this podcast at prettymuchpop.com. This episode includes bonus discussion that you can access by supporting the podcast at patreon.com/prettymuchpop. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

by Mark Linsenmayer | Permalink | Make a Comment ( None ) |

Why Most Ancient Civilizations Had No Word for the Color Blue

in Literature, Psychology | June 9th, 2021

In an old Zen story, two monks argue over whether a flag is waving or whether it’s the wind that waves. Their teacher strikes them both dumb, saying, “It is your mind that moves.” The centuries-old koan illustrates a point Zen masters — and later philosophers, psychologists, and neuroscientists — have all emphasized at one time or another: human experience happens in the mind, but we share reality through language and culture, and these in turn set the terms for how we perceive what we experience.

Such observations bring us to another koan-like question: if a language lacks a word for something like the color blue, can the thing be said to exist in the speaker’s mind? We can dispense with the idea that there’s a color blue “out there” in the world. Color is a collaboration between light, the eye, the optic nerve, and the visual cortex. And yet, claims Maria Michela Sassi, professor of ancient philosophy at Pisa University, “every culture has its own way of naming and categorizing colours.”

The most famous example comes from the ancient Greeks. Since the 18th century, scholars have pointed out that in the thousands of words in the Iliad and Odyssey, Homer never once describes anything — sea, sky, you name it — as blue. It wasn’t only the Greeks who didn’t see blue, or didn’t see it as we do, Sassi writes:

There is a specific Greek chromatic culture, just as there is an Egyptian one, an Indian one, a European one, and the like, each of them being reflected in a vocabulary that has its own peculiarity, and not to be measured only by the scientific meter of the Newtonian paradigm.

It was once thought cultural color differences had to do with stages of evolutionary development — that more “primitive” peoples had a less developed biological visual sense. But differences in color perception are “not due to varying anatomical structures of the human eye,” writes Sassi, “but to the fact that different ocular areas are stimulated, which triggers different emotional responses, all according to different cultural contexts.”

As the AsapSCIENCE video above explains, the evidence of ancient Greek literature and philosophy shows that since blue was not part of Homer and his readers’ shared vocabulary (yellow and green do not appear either), it may not have been part of their perceptual experience, either. The spread of blue ink across the world as a relatively recent phenomenon has to do with its availability. “If you think about it,” writes Business Insider’s Kevin Loria, “blue doesn’t appear much in nature — there aren’t blue animals, blue eyes are rare, and blue flowers are mostly human creations.”

The color blue took hold in modern times with the development of substances that could act as blue pigment, like Prussian Blue, invented in Berlin, manufactured in China and exported to Japan in the 19th century. “The only ancient culture to develop a word for blue was the Egyptians — and as it happens, they were also the only culture that had a way to produce a blue dye.” Color is not only cultural, it is also technological. But first, perhaps, it could be a linguistic phenomenon.

One modern researcher, Jules Davidoff, found this to be true in experiments with a Namibian people whose language makes no distinction between blue and green (but names many finer shades of green than English does). “Davidoff says that without a word for a colour,” Loria writes, “without a way of identifying it as different, it’s much harder for us to notice what’s unique about it.” Unless we’re color blind, we all “see” the same things when we look at the world because of the basic biology of human eyes and brains. But whether certain colors appear, it seems, has to do less with what we see than with what we’re already primed to expect.

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

by Josh Jones | Permalink | Make a Comment ( 25 ) |

Sci-Fi “Portal” Connects Citizens of Lublin & Vilnius, Allowing Passersby Separated by 376 Miles to Interact in Real Time

in Art, Technology, Travel | June 9th, 2021

Can we ever transcend our tendency to divide up the world into us and them? The history of Europe, which political theorist Kenneth Minogue once called “plausibly summed up as preparing for war, waging war, or recovering from war,” offers few consoling answers. But perhaps it isn’t for history, much less for theory or politics, to dictate the future prospects for the unity of mankind. Art and technology offer another set of views on the matter, and it’s art and technology that come together in Portal, a recently launched project that has connected Vilnius, Lithuania and Lublin, Poland with twin installations. More than just a sculptural statement, each city’s portal offers a real-time, round-the-clock view of the other.

“In both Vilnius and Lublin,” writes My Modern Met’s Sara Barnes, “the portals are within the urban landscape; they are next to a train station and in the city central square, respectively. This allows for plenty of engagement, on either end, with the people of a city 376 miles apart. And, in a larger sense, the portals help to humanize citizens from another place.”

Images released of the interaction between passerby and their local portal show, among other actions, waving, camera phone-shooting, synchronized jumping, and just plain staring. Though more than one comparison has been made to the Stargate, the image also comes to mind of the apes around the monolith in 2001: A Space Odyssey, reacting as best they can to a previously unimagined presence in their everyday environment.

Ironically, the basic technology employed by the Portal project is nothing new. At this point we’ve all looked into our phone and computer screens and seen a view from perhaps much farther than 376 miles away, and been seen from that distance as well. But the coronavirus-induced worldwide expansion of teleconferencing has, for many, made the underlying mechanics seem somewhat less than miraculous. Conceived years before travel restrictions rendered next to impossible the actual visiting of human beings elsewhere on the continent, let alone on the other side of the world, Portal has set up its first installations at a time when they’ve come to feel like something the world needs. “Residents in Reykjavik, Iceland, and London, England can expect a portal in their city in the future,” notes Barnes — and if those two can feel truly connected with Europe, there may be hope for the oneness of the human race yet.

via Colossal/MyModernMet

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, 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.

by Colin Marshall | Permalink | Make a Comment ( None ) |

How Egyptian Papyrus Is Made: Watch Artisans Keep a 5,000-Year-Old Art Alive

in Art, History | June 9th, 2021

In 2013, French Egyptologist Pierre Tallet discovered in an excavation site near the Red Sea “entire rolls of papyrus, some a few feet long and still relatively intact, written in hieroglyphics as well as hieratic, the cursive script the ancient Egyptians used for everyday communication,” Alexander Stille writes at Smithsonian. The scrolls contained the “Diary of Merer,” the journals of an official who led a transportation crew, and who observed the building of the largest of the pyramids. It has been called “the greatest discovery in Egypt in the 21st century.”

The discovery of the diary entries and other papyri at the site “provide a never-before-seen snapshot of the ancients putting finishing touches on the Great Pyramid.” It is also significant since Tallet found “the oldest known papyri in the world” and has helped give researchers greater insight into how papyrus was used by ancient Egyptians for careful record-keeping — in both the language of priests and scribes and that of ordinary merchants — since around 3000 BC.

Papyrus was “produced exclusively in Egypt, where the papyrus plant grew” notes University of Michigan Libraries, but “papyrus (the writing material) was exported throughout the classical world, and it was the most popular writing material for the ancient Greeks and Romans,” becoming the most used platform for writing by the first century AD. That changed with the introduction of parchment and, later, paper; “the large plantations in Egypt which used to cultivate high-grade papyrus for manufacture disappeared,” as did the knowledge of papyrus-making for around 1000 years.

But papyrus (the paper) has come back, even if wild papyri plants are disappearing as Egypt’s climate changes. While scholars in the 20th century tried, unsuccessfully, to reconstruct papyrus-making using ancient sources like Pliny’s Natural History, Egyptian craftspeople in the 1970s reinvented the process using their own methods, as you can see in the Business Insider video above. “The industry thrived, selling papyrus art to tourists,” the video notes, but it has fallen on hard times as the plants go extinct and demand falls away.

Learn above how modern Egyptian papyrus-makers, scribes, and illustrators ply their trade — a fairly good indicator of how the ancients must have done it. There may be little demand for papyrus, or for parchment, for that matter, and maybe paper will finally go the way of these obsolete communications technologies before long. But as long as there are those who retain the knowledge of these arts, we’ll have an intimate physical connection to the writers, artists, and bureaucrats of empires past.

Harvard’s Digital Giza Project Lets You Access the Largest Online Archive on the Egyptian Pyramids (Including a 3D Giza Tour)

Who Built the Egyptian Pyramids & How Did They Do It?: New Archeological Evidence Busts Ancient Myths

Learn to Play Senet, the 5,000-Year Old Ancient Egyptian Game Beloved by Queens & Pharaohs

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

by Josh Jones | Permalink | Make a Comment ( 1 ) |

An Illustrated History of Depeche Mode by Anton Corbijn

in Music, Photography | June 8th, 2021

Last year, photographer Anton Corbijn released a new book, MOOD/MODE, showcasing work outside the boundaries of the rock photography world in which he’d made his name. But no matter whom he’s photographing, Corbijn brings a high seriousness to the endeavor that he explains as part of his religious upbringing in the book’s introduction. “My Protestant background always marked & influenced my portrait photography. Mankind. Humanity. Empathy,” he writes, were the ideals he absorbed as a child. Such beliefs “kept me from doing work that lacked a deeper purpose.”

Corbijn grew up in a small village outside Rotterdam, Jean-Jacques Naudet writes. “His father and many other male members of his family were pastors. Life was strict and simple, on Sunday everybody dressed in black. Religion was omnipresent.”

He moved away to the city and began taking photos of the music scene at 17. But the look and feel of his early life never left him. It was this aesthetic that attracted Depeche Mode, one of Corbijn’s longest-running musical collaborators and a band who were no strangers to brooding in black and making religious references and appeals to humanity.

“We were seen as just a pop band,” says Depeche Mode’s Martin Gore. “We thought that Anton had a certain seriousness, a certain gravity to his work, that would help us get away from that.” Corbijn first helped them refine their look in mid-80s and “was able to give the Depeche Mode sound, that we were beginning to create, a visual identity,” says singer Dave Gahan. That identity is now the subject of a new book from Taschen that collects “over 500 photographs from Anton Corbijn’s personal archives,” notes the arts publisher, “some never seen before, as well as stage set designs, sketches, album covers, and personal observations” about the “world’s biggest cult band.”

Corbijn became such an integral part of Depeche Mode’s success, the band considered him “a veritable unseen member of the group,” writes Post-Punk.com, mediating their image not only through photography but also live projections and, of course, music videos. They were able to achieve “a kind of cult status,” says Gore in the mini-documentary above, which also has an interview with Corbijn. The photographer walks us through his history with the legendary synth pioneers (whom he did not like at first), beginning with the first image he shot of them in 1981, when founder Vince Clarke was still in the band.

Clarke leans behind Gahan’s left shoulder, the full band framed by a stone arch. To Gahan’s right is an enormous crucifix. It set a tone for the working relationship to come. “There has to be an element of the person in the photograph,” says Corbijn of his portraiture, “but there also has to be an element of the photographer.” It took another few years after that first shoot, he tells The Guardian, but he realized “how good their music and my visuals actually went together.… They had soul.” You can order a copy of the new book, Depeche Mode by Anton Corbijn from Taschen here.