What Makes the Art of Bonsai So Expensive?: $1 Million for a Bonsai Tree, and $32,000 for Bonsai Scissors

Dur­ing the past year’s stretch­es of time at home, quite a few of us have attempt­ed to intro­duce more plant life into our sur­round­ings. By some accounts, indoor gar­den­ing ranks among the most cost-effec­tive ways of increas­ing the qual­i­ty of one’s domes­tic life. But those of us who get too deep into it (aggres­sive pur­suit of inter­ests being a known char­ac­ter­is­tic of Open Cul­ture read­ers) may find them­selves get­ting more than they bar­gained for, or at any rate pay­ing more than they intend­ed to, espe­cial­ly if they go down the road of bon­sai. Though it has its ori­gins in the Chi­nese prac­tice of pen­zai, one must look to Japan to find the prac­ti­tion­ers who have made the great­est invest­ments in the art of grow­ing pro­por­tion­al­ly impec­ca­ble dwarf trees — invest­ments of time and mon­ey both.

Buy­ing a mature work of bon­sai can cost up to near­ly one mil­lion U.S. dol­lars, accord­ing to the episode above of Busi­ness Insid­er’s “So Expen­sive” series. That was the price of one tree at the 2012 Inter­na­tion­al Bon­sai Con­ven­tion, but oth­ers have received val­u­a­tions near­ly as impres­sive. This reflects the enor­mous amount of labor a prop­er bon­sai demands: not just dai­ly water­ing, but “years of prun­ing, wiring, repot­ting and graft­ing,” as the nar­ra­tor puts it.

“Many of these tech­niques require years to mas­ter, and any errors made can result in per­ma­nent­ly ruin­ing the shape, or even killing a plant that has been grow­ing for cen­turies.” The work of bon­sai is the work of gen­er­a­tions, a fact embod­ied by Chieko Yamamo­to, the fourth-gen­er­a­tion bon­sai mas­ter shown explain­ing the pur­suit in which she’s spent more than half a cen­tu­ry.

Even Yamamo­to’s rel­a­tive­ly sim­ple-look­ing bon­sai have tak­en fif­teen, per­haps 25 years to take their shape. When exe­cut­ing a new idea, she must wait about five years just to see how it turns out, and the out­come isn’t always to her sat­is­fac­tion. “There are no imme­di­ate answers,” she says, “so I need to live a long life to see the results.” Bon­sai has on its side the famous longevi­ty of the Japan­ese pop­u­la­tion, as well as the equal­ly famous ded­i­ca­tion of Japan­ese civ­i­liza­tion to cul­ti­vat­ing mas­ter crafts­man­ship. But even so, the now-dimin­ish­ing num­ber of bon­sai busi­ness­es aggra­vates an already severe lim­i­ta­tion of sup­ply ver­sus demand, and the trade itself has cer­tain for­mi­da­ble bar­ri­ers to entry. “The bon­sai parts and the tools are often hand­made,” says the Busi­ness Insid­er video’s nar­ra­tor, “and can cost thou­sands of dol­lars them­selves.”

In the case of Sasuke scis­sors, pro­filed in the Great Big Sto­ry doc­u­men­tary short just above, they can cost tens of thou­sands of dol­lars. In his shop of that name out­side Osa­ka, black­smith Yasuhi­ro Hira­ka — a fifth-gen­er­a­tion scis­sor­mak­er, and the last of his kind in Japan — works for a week or longer, ten hours a day, just to make one pair. A stan­dard mod­el runs about $1,100 and a deluxe one costs more than $32,000, but a full-fledged bon­sai mas­ter can­not set­tle for less. “I nev­er thought I would be able to have them,” says one such adept, Masakazu Yoshikawa, of his first Sasuke scis­sors. “It was very emo­tion­al.” But the mere act of tak­ing them in hand, he adds, “makes me want to make good bon­sai.” For Hiraka’s part, he says, after 50 years of scis­sor-mak­ing, “I final­ly think I am start­ing to reach my peak.” As we West­ern­ers say, you can’t rush qual­i­ty.

Relat­ed Con­tent:

The Art & Phi­los­o­phy of Bon­sai

This 392-Year-Old Bon­sai Tree Sur­vived the Hiroshi­ma Atom­ic Blast & Still Flour­ish­es Today: The Pow­er of Resilience

A Dig­i­tal Ani­ma­tion Com­pares the Size of Trees: From the 3‑Inch Bon­sai, to the 300-Foot Sequoia

Daisu­gi, the 600-Year-Old Japan­ese Tech­nique of Grow­ing Trees Out of Oth­er Trees, Cre­at­ing Per­fect­ly Straight Lum­ber

See How Tra­di­tion­al Japan­ese Car­pen­ters Can Build a Whole Build­ing Using No Nails or Screws

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.

De-Mystifying Mindfulness: A Free Online Course by Leiden University

From Chris Goto-Jones–now Dean of Human­i­ties and Pro­fes­sor of Phi­los­o­phy at the Uni­ver­si­ty of Victoria–comes a free course which was named ‘one of the best online cours­es of all time’ in 2020. The course descrip­tion for De-Mys­ti­fy­ing Mind­ful­ness reads:

Inter­est in med­i­ta­tion, mind­ful­ness, and con­tem­pla­tion has grown expo­nen­tial­ly in recent years. Rather than being seen as mys­ti­cal prac­tices from ancient Bud­dhism or eso­teric phi­los­o­phy, they are increas­ing­ly seen as tech­nolo­gies root­ed in evi­dence from psy­chol­o­gy and neu­ro­science. Mind­ful­ness has become the basis for numer­ous ther­a­peu­tic inter­ven­tions, both as a treat­ment in health­care and as a means of enhanc­ing well-being and hap­pi­ness. For mil­lions around the world, mind­ful­ness has become a life-style choice, enhanc­ing and enrich­ing every­day expe­ri­ence. Mind­ful­ness is big busi­ness.

But, what actu­al­ly is mind­ful­ness? Is it real­ly good for you? Can any­one learn it? How can you rec­og­nize char­la­tans? Would you want to live in a mind­ful soci­ety, and would it smell like san­dal­wood? What does it feel like to be mind­ful? Are you mind­ful already, and how would you know?

Evolv­ing from the pop­u­lar Hon­ours Acad­e­my course at Lei­den Uni­ver­si­ty [in the Nether­lands], this inno­v­a­tive course com­bines con­ven­tion­al schol­ar­ly inquiry from mul­ti­ple dis­ci­plines (rang­ing from psy­chol­o­gy, through phi­los­o­phy, to pol­i­tics) with expe­ri­en­tial learn­ing (includ­ing spe­cial­ly designed ‘med­i­ta­tion labs,’ in which you’ll get chance to prac­tice and ana­lyze mind­ful­ness on your­self). In the end, the course aims to pro­vide a respon­si­ble, com­pre­hen­sive, and inclu­sive edu­ca­tion about (and in) mind­ful­ness as a con­tem­po­rary phe­nom­e­non.

You can take De-Mys­ti­fy­ing Mind­ful­ness for free by select­ing the audit option upon enrolling. If you want to take the course for a cer­tifi­cate, you will need to pay a fee.

De-Mys­ti­fy­ing Mind­ful­ness will be added to our list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Free Guid­ed Med­i­ta­tions From UCLA: Boost Your Aware­ness & Ease Your Stress

Philoso­pher Sam Har­ris Leads You Through a 26-Minute Guid­ed Med­i­ta­tion

How Mind­ful­ness Makes Us Hap­pi­er & Bet­ter Able to Meet Life’s Chal­lenges: Two Ani­mat­ed Primers Explain

Stream 18 Hours of Free Guid­ed Med­i­ta­tions

Lis­ten to Bill Mur­ray Lead a Guid­ed Med­i­ta­tion on How It Feels to Be Bill Mur­ray

The Creation & Restoration of Notre-Dame Cathedral, Animated

With The Hunch­back of Notre-Dame, Vic­tor Hugo intend­ed less to tell a sto­ry than to mount a defense of Goth­ic archi­tec­ture, which in the ear­ly 19th cen­tu­ry was being demol­ished in cities all across France. The book’s orig­i­nal pur­pose is more clear­ly reflect­ed by its orig­i­nal title, Notre-Dame de Paris. 1482, and the tit­u­lar medieval cathe­dral’s impor­tance to the cap­i­tal for near­ly two cen­turies now owes a great deal to the nov­el­ist’s advo­ca­cy. Hugo would no doubt be pleased by the effort that has gone into pre­serv­ing Notre-Dame into the 21st cen­tu­ry, share in the feel­ings of dev­as­ta­tion that fol­lowed the fire of April 2019, and admire the spir­it that moti­vat­ed com­mence­ment of the restora­tion work imme­di­ate­ly there­after.

Or rather, the com­mence­ment of the sta­bi­liza­tion work imme­di­ate­ly there­after: giv­en the extent of the dam­age, the then-674-year-old struc­ture had first to be made safe to restore. The AFP News Agency video above explains and visu­al­izes that process, a com­plex and dif­fi­cult one in itself. The first pri­or­i­ty was to pro­tect the exposed areas of the cathe­dral from the ele­ments and shore up their fly­ing but­tress­es (a sig­na­ture struc­tur­al ele­ment of Goth­ic archi­tec­ture) to pre­vent col­lapse.

Melt­ed togeth­er by the fire, sec­tions of scaf­fold­ing that had been set up for pre­vi­ous restora­tion work also posed con­sid­er­able dif­fi­cul­ties to remove with­out harm­ing the build­ing. As for the rub­ble heaped inside, sort­ing through it required con­duct­ing a 3D scan, then bring­ing in remote-con­trolled robots and a team of archae­ol­o­gists.

“I saw the dis­as­ter unfold­ing before me,” says one such archae­ol­o­gist, Olivi­er Puaux, in the Radio France Inter­na­tionale video just above. “It was so sad that I went home before the spire fell.” But just a month lat­er he returned to work on the ambi­tious restora­tion project, sev­er­al of whose work­ers appear to share their expe­ri­ence with its chal­lenges, dan­gers, and per­haps unex­pect­ed learn­ing oppor­tu­ni­ties. Remov­ing and sort­ing through all the fall­en wood, stone, and oth­er mate­ri­als — some of which came through the blaze in re-usable con­di­tion — has pro­vid­ed new insights into the cathe­dral’s con­struc­tion. Even its very nails, says Puaux, turn out on close inspec­tion to be “very large, very well forged.” As dis­tressed as Vic­tor Hugo may have felt about Notre-Dame’s future, its orig­i­nal builders were sure­ly con­fi­dent that they were cre­at­ing a sur­vivor.

Relat­ed Con­tent:

How Dig­i­tal Scans of Notre Dame Can Help Archi­tects Rebuild the Burned Cathe­dral

A Vir­tu­al Time-Lapse Recre­ation of the Build­ing of Notre Dame (1160)

Paris in Beau­ti­ful Col­or Images from 1890: The Eif­fel Tow­er, Notre Dame, The Pan­théon, and More (1890)

Notre Dame Cap­tured in an Ear­ly Pho­to­graph, 1838

Take an Aer­i­al Tour of Medieval Paris

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.

Real D‑Day Landing Footage, Enhanced & Colorized with Artificial Intelligence (June 6, 1944)

Steven Spiel­berg’s Sav­ing Pri­vate Ryan drew great acclaim for its har­row­ing depic­tion of “D‑Day,” the 1944 Allied land­ing oper­a­tion that proved a deci­sive blow against Nazi Ger­many. More specif­i­cal­ly, Spiel­berg and his cre­ators recre­at­ed the land­ing on Oma­ha Beach, one of five code-named stretch­es of the Nor­mandy coast. The video above depicts the land­ing on anoth­er, Juno Beach. This, its uploader stress­es, “is not the famous movie D‑day the Sixth of June but actu­al and real footage.” No won­der it feels more real­is­tic than that 1956 Hen­ry Koster spec­ta­cle — and, in anoth­er way, more so than Spiel­berg’s pic­ture, whose use of not just col­or and widescreen dimen­sions but advanced visu­al effects made World War II vis­cer­al in a way even those who’d nev­er seen com­bat could feel.

The tak­ing of Oma­ha Beach was assigned to the Unit­ed States Army, with sup­port from the U.S. Coast Guard as well as the U.S., British, Cana­di­an and Free French navies. As such, it made a suit­able inclu­sion indeed for an Amer­i­can war sto­ry like Sav­ing Pri­vate Ryan. Juno Beach, how­ev­er, was pri­mar­i­ly a Cana­di­an job: that coun­try’s army land­ed there under sup­port from the Roy­al Cana­di­an Navy (with addi­tion­al help from sev­er­al oth­er Allied navies).

As on Oma­ha Beach, the troops who first land­ed on Juno Beach came under heavy Ger­man fire and sus­tained seri­ous casu­al­ties. But with­in two hours the Allied forced man­aged to over­come these coastal defens­es and began mak­ing their way inland — a direc­tion in which the 3rd Cana­di­an Infantry Divi­sion man­aged to push far­ther than any of D‑Day’s oth­er land­ing forces.

These Juno Beach D‑Day clips ben­e­fit from a tech­nol­o­gy unavail­able even in Sav­ing Pri­vate Ryan’s day: arti­fi­cial intel­li­gence-based enhance­ment and col­oriza­tion process­es. Orig­i­nal­ly shot in black-and-white like most (but not all) Army footage of the 1940s, it’s been “motion-sta­bi­lized, con­trast- and bright­ness-enhanced, de-noised, upscaled, restored to full HD and arti­fi­cial­ly col­orized.” The result looks crisp enough that any­one with­out first-hand mem­o­ries of the West­ern Front — a gen­er­a­tion, alas, now fast leav­ing the stage — may well for­get that it isn’t a war film but a film of war. None of the par­tic­i­pants are re-enac­tors: not the Allied troops board­ing their boats by the hun­dreds, not Gen­er­al Dwight D. Eisen­how­er, not the Ger­man pris­on­ers of war, and cer­tain­ly not the wound­ed and dead. What’s more, none of their actions are rehearsed: as the 77th anniver­sary of D‑Day approach­es, we should remem­ber that, what­ev­er the brav­ery on their faces, not one of these men could have felt assured of vic­to­ry.

Relat­ed Con­tent:

The Nor­mandy Inva­sion Cap­tured on 16 mm Kodachrome Film (1944)

Pho­to Archive Lets You Down­load 4,300 High-Res Pho­tographs of the His­toric Nor­mandy Inva­sion

Watch Col­orized 1940s Footage of Lon­don after the Blitz: Scenes from Trafal­gar Square, Pic­cadil­ly Cir­cus, Buck­ing­ham Palace & More

Dra­mat­ic Col­or Footage Shows a Bombed-Out Berlin a Month After Germany’s WWII Defeat (1945)

Bryan Cranston Nar­rates the Land­ing on Oma­ha Beach on the 75th Anniver­sary of the D‑Day Inva­sion

David Lynch Recounts His Sur­re­al Dream of Being a Ger­man Solid­er Dying on D‑Day

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.

Who Decides What Words Get Into the Dictionary?

DICTIONARY, n. A malev­o­lent lit­er­ary device for cramp­ing the growth of a lan­guage and mak­ing it hard and inelas­tic. — Ambrose Bierce, The Devil’s Dic­tio­nary

Once upon a time, we were made to believe that words could nev­er acquire sticks and stones’ capac­i­ty to wound.

Talk about a max­im no longer worth the paper it was print­ed on!

Lan­guage is organ­ic. Def­i­n­i­tions, usage, and our response to par­tic­u­lar words evolve over time.

Lex­i­cog­ra­ph­er Ilan Sta­vans’ TED-Ed les­son, Who Decides What’s in the Dic­tio­nary?, rolls the clock back to 1604, when school­mas­ter Robert Caw­drey assem­bled the first Eng­lish lan­guage dic­tio­nary “for the ben­e­fit of Ladies, Gen­tle­women, and oth­er unskilled folk.”

Oth­er Eng­lish dic­tio­nar­ies soon fol­lowed, expand­ing on the 2,543 words Caw­drey had seen fit to include. His fel­low authors shared Caw­drey’s pre­scrip­tive goal of edu­cat­ing the rab­ble, to keep them from butcher­ing the high-mind­ed tongue the self-appoint­ed guardian con­sid­ered it his duty to pro­tect.

Word­smith Samuel John­son, the pri­ma­ry author of 1775’s mas­sive A Dic­tio­nary of the Eng­lish Lan­guage, described his mis­sion as one in which “the pro­nun­ci­a­tion of our lan­guage may be fixed, and its attain­ment facil­i­tat­ed; by which its puri­ty may be pre­served, its use ascer­tained, and its dura­tion length­ened.”

Lest we think John­son over­ly impressed with the impor­tance of his lofty mis­sion, he sub­mit­ted the fol­low­ing gen­tly self-mock­ing def­i­n­i­tion of Lex­i­cog­ra­ph­er:

A writer of dic­tio­nar­ies; a harm­less drudge that busies him­self in trac­ing the orig­i­nal, and detail­ing the sig­ni­fi­ca­tion of words.

150 years lat­er, Ambrose Bierce offered an oppos­ing view in his delight­ful­ly wicked dic­tio­nary:

LEXICOGRAPHER, n. A pesti­lent fel­low who, under the pre­tense of record­ing some par­tic­u­lar stage in the devel­op­ment of a lan­guage, does what he can to arrest its growth, stiff­en its flex­i­bil­i­ty and mech­a­nize its meth­ods.

Sta­vans points to broth­ers George and Charles Merriam’s acqui­si­tion of the rights to Noah Webster’s An Amer­i­can Dic­tio­nary of the Eng­lish Lan­guage (1828) as a moment when our con­cept of what a dic­tio­nary should be began to shift.

Web­ster, work­ing by him­self, set out to col­lect and doc­u­ment Eng­lish as it was used on these shores.

The Mer­ri­ams engaged a group of lan­guage experts to curate sub­se­quent edi­tions, strik­ing a blow for the idiom by includ­ing slang and region­al vari­ants.

A good start, though they exclud­ed any­thing they found unfit for the gen­er­al con­sump­tion at the time, includ­ing expres­sions born in the Black com­mu­ni­ty.

Their edi­to­ri­al­iz­ing was of a piece with pre­vail­ing views — see “wife.”

But humans, like lan­guage, evolve.

These days, lex­i­cog­ra­phers mon­i­tor the Inter­net for new words to be con­sid­ered for upcom­ing edi­tions, includ­ing pro­fan­i­ty and racial slurs.

If a word’s use is judged to be wide­spread, sus­tained and mean­ing­ful, in it goes… even though some might find it objec­tion­able, or even, yes, hurt­ful.

Sta­vans wraps his les­son up by draw­ing our atten­tion to Merriam-Webster’s tra­di­tion of anoint­ing one entry to Word of the Year, drawn from sta­tis­ti­cal analy­sis of the words peo­ple look up in extreme­ly high num­bers.

“They” got the nod in 2019, a tes­ta­ment to how deeply non-bina­ry gen­der expres­sion has per­me­at­ed the col­lec­tive con­scious­ness and nation­al con­ver­sa­tion.

The run­ner up?

Impeach.

Care to guess which word 2020 placed in the dictionary’s path?

Relat­ed Con­tent: 

How a Word Enters the Dic­tio­nary: A Quick Primer

A Dic­tio­nary of Words Invent­ed to Name Emo­tions We All Feel, But Don’t Yet Have a Name For: Vemö­dalen, Son­der, Chrysal­ism & Much More

The Largest His­tor­i­cal Dic­tio­nary of Eng­lish Slang Now Free Online: Cov­ers 500 Years of the “Vul­gar Tongue”

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

Creative Thinking: A Free Online Course from Imperial College London

From Peter Childs (Head of the Dyson School of Design Engi­neer­ing at Impe­r­i­al Col­lege Lon­don) comes a free course that explores cre­ative think­ing tech­niques, and how to apply them to every­day prob­lems and glob­al chal­lenges. The course descrip­tion for Cre­ative Think­ing: Tech­niques and Tools for Suc­cess reads:

In today’s ever-grow­ing and chang­ing world, being able to think cre­ative­ly and inno­v­a­tive­ly are essen­tial skills. It can some­times be chal­leng­ing to step back and reflect in an envi­ron­ment which is fast paced or when you are required to assim­i­late large amounts of infor­ma­tion. Mak­ing sense of or com­mu­ni­cat­ing new ideas in an inno­v­a­tive and engag­ing way, approach­ing prob­lems from fresh angles, and pro­duc­ing nov­el solu­tions are all traits which are high­ly sought after by employ­ers.

The great­est inno­va­tors aren’t nec­es­sar­i­ly the peo­ple who have the most orig­i­nal idea. Often, they are peo­ple- or teams- that have har­nessed their cre­ativ­i­ty to devel­op a new per­spec­tive or more effec­tive way of com­mu­ni­cat­ing an idea. You can train your imag­i­na­tion to seize oppor­tu­ni­ties, break away from rou­tine and habit, and tap into your nat­ur­al cre­ativ­i­ty.

This course will equip you with a ‘tool-box’, intro­duc­ing you to a selec­tion of behav­iours and tech­niques that will aug­ment your innate cre­ativ­i­ty. Some of the tools are suit­ed to use on your own and oth­ers work well for a group, enabling you to lever­age the pow­er of sev­er­al minds.

You can take Cre­ative Think­ing: Tech­niques and Tools for Suc­cess for free by select­ing the audit option upon enrolling. If you want to take the course for a cer­tifi­cate, you will need to pay a fee.

Cre­ative Think­ing will be added to our list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

The Long Game of Cre­ativ­i­ty: If You Haven’t Cre­at­ed a Mas­ter­piece at 30, You’re Not a Fail­ure

How Walk­ing Fos­ters Cre­ativ­i­ty: Stan­ford Researchers Con­firm What Philoso­phers and Writ­ers Have Always Known

David Lynch Explains How Sim­ple Dai­ly Habits Enhance His Cre­ativ­i­ty

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

Senet gam­ing board inscribed for Amen­hotep III with sep­a­rate slid­ing draw­er, via Wiki­me­dia Com­mons

Games don’t just pass the time, they enact bat­tles of wits, proxy wars, train­ing exer­cis­es…. And his­tor­i­cal­ly, games are cor­re­lat­ed with, if not insep­a­ra­ble from, forms of div­ina­tion and occult knowl­edge. We might point to the ancient prac­tice of “astra­ga­lo­man­cy,” for exam­ple: read­ing one’s fate in ran­dom throws of knuck­le­bones, which were the orig­i­nal dice. Games played with bones or dice date back thou­sands of years. One of the most pop­u­lar of the ancient world, the Egypt­ian Senet, may not be the old­est known, but it could be “the orig­i­nal board game of death,” Col­in Bar­ras writes at Sci­ence, pre­dat­ing the Oui­ja board by mil­len­nia.

Begin­ning as “a mere pas­time,” Senet evolved “over near­ly 2 mil­len­nia… into a game with deep links to the after­life, played on a board that rep­re­sent­ed the under­world.” There’s no evi­dence the Egyp­tians who played around 5000 years ago believed the game’s dice rolls meant any­thing in par­tic­u­lar.

Over the course of a few hun­dred years, how­ev­er, images of Senet began appear­ing in tombs, show­ing the dead play­ing against sur­viv­ing friends and fam­i­ly. “Texts from the time sug­gest the game had begun to be seen as a con­duit through which the dead could com­mu­ni­cate with the liv­ing” through moves over a grid of 30 squares arranged in three rows of ten.

Fac­sim­i­le copy of ca. 1279–1213 B.C. paint­ing of Queen Nefer­ti­ti play­ing Senet, via the Met­ro­pol­i­tan Muse­um of Art

“Beloved by such lumi­nar­ies as the boy pharaoh Tutankhamun and Queen Nefer­tari, wife of Ramess­es II,” Meilan Sol­ly notes at Smith­son­ian, Senet was played on “ornate game boards, exam­ples of which still sur­vive today.” (Four boards were found in Tut’s tomb.) “Those with few­er resources at their dis­pos­al made do with grids scratched on stone sur­faces, tables or the floor.” As the game became a tool for glimps­ing one’s fate, its last five spaces acquired hiero­glyph­ics sym­bol­iz­ing “spe­cial play­ing cir­cum­stances. Pieces that land­ed in square 27’s ‘waters of chaos,’ for exam­ple, were sent all the way back to square 15 — or removed from the board entire­ly,” sort of like hit­ting the wrong square in Chutes and Lad­ders.

Senet game­play was com­pli­cat­ed. “Two play­ers deter­mined their moves by throw­ing cast­ing sticks or bones,” notes the Met. The object was to get all of one’s pieces across square 30 — each move rep­re­sent­ed an obsta­cle to the after­life, tri­als Egyp­tians believed the dead had to endure and pass or fail (the game’s name itself means “pass­ing”). “Because of this con­nec­tion, senet was not just a game; it was also a sym­bol for the strug­gle to obtain immor­tal­i­ty, or end­less life,” as well as a means of under­stand­ing what might get in the way of that goal.

The game’s rules like­ly changed with its evolv­ing pur­pose, and might have been played sev­er­al dif­fer­ent ways over the course 2500 years or so. As Bran­deis Uni­ver­si­ty pro­fes­sor Jim Stor­er notes in an expla­na­tion of pos­si­ble game­play, “the exact rules are not known; schol­ars have stud­ied old draw­ings to spec­u­late on the rules” — hard­ly the most reli­able guide. If you’re inter­est­ed, how­ev­er, in play­ing Senet your­self, res­ur­rect­ing, so to speak, the ancient tra­di­tion for fun or oth­er­wise, you can eas­i­ly make your own board. Storer’s pre­sen­ta­tion of what are known as Jequier’s Rules can be found here. For anoth­er ver­sion of Senet play, see the video above from Egyp­tol­ogy Lessons.

Relat­ed Con­tent: 

Watch a Playthrough of the Old­est Board Game in the World, the Sumer­ian Roy­al Game of Ur, Cir­ca 2500 BC

A Brief His­to­ry of Chess: An Ani­mat­ed Intro­duc­tion to the 1,500-Year-Old Game

A 3,000-Year-Old Painter’s Palette from Ancient Egypt, with Traces of the Orig­i­nal Col­ors Still In It

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

Watch 1,000 Musicians Play the Foo Fighters’ “Learn to Fly,” Nirvana’s “Smells Like Teen Spirit,” Queen’s “We Will Rock You,” Bowie’s “Rebel Rebel,” and The Who’s “Won’t Get Fooled Again”

In the 1980s, avant-garde com­pos­er, gui­tarist Glenn Bran­ca began writ­ing sym­phonies for elec­tric gui­tars — dozens of them, all play­ing at once, cre­at­ing unprece­dent­ed psy­choa­coustic effects — some­times beau­ti­ful har­mo­ny, some­times unset­tling dis­so­nance — that reduced Bran­ca him­self to tears. “I remem­ber one rehearsal where I actu­al­ly had to stop and cry,” he once said. “I could not believe that I was get­ting this sound.” Bran­ca brought togeth­er hun­dreds of elec­tric gui­tarists and per­cus­sion­ists, but he nev­er real­ized his ambi­tion of bring­ing togeth­er 2,000 gui­tarists at once in Paris for cel­e­bra­tions of the year 2000, set­tling for 100.

These num­bers pale next to the largest gui­tar ensem­ble on record, 6,346 peo­ple in Poland in 2009. In 2018, the year of Branca’s death, anoth­er record attempt saw 457 gui­tarists come togeth­er in Can­ber­ra, Aus­tralia to play AC/DC’s “High­way to Hell.” Not exact­ly Branca’s cup of tea, but he prob­a­bly had some hand in the inspi­ra­tion, if only indi­rect­ly. Stand­ing amidst those hun­dreds of ring­ing gui­tars while they banged out the song’s famed open­ing chords sure­ly made many an Angus Young devo­tee cry that day.

What, then, would it feel like to stand amidst the cacoph­o­ny of 1000 musi­cians — drum­mers, gui­tarists, bassists, and singers — bash­ing out a cov­er of Foo Fight­ers’ “Learn to Fly”? Assem­bled in 2015 in Italy, the Rockin’1000 was orig­i­nal­ly intend­ed as a one-off project to accom­plish “four mir­a­cles,” notes the project’s site: “find one thou­sand musi­cians, get them to play simul­ta­ne­ous­ly of the biggest Rock show ever, col­lect enough mon­ey to make it real, con­vince the Foo Fight­ers to play a gig in Cese­na.” (You can see their impas­sioned plea to Dave Grohl at the video’s end.)

After accom­plish­ing their goals “with a bang” (the Foo Fight­ers lat­er played a 3‑hour con­cert ded­i­cat­ed to the project), the core team decid­ed to get “the biggest Rock Band on Earth” back togeth­er for an entire con­cert the fol­low­ing year: “17 songs played all togeth­er at Manuzzi Sta­di­um.” The full show has been released on CD and vinyl, but I’d haz­ard that music writ­ten for four peo­ple and played by 1000 doesn’t sound quite as inter­est­ing on record as in per­son, where the sheer mas­sive­ness might make lis­ten­ers weep. As the band­lead­ers them­selves admit, “with­out an audi­ence, who’s been a part of the whole process, Rockin’1000 wouldn’t make sense.”

They’ve per­formed for audi­ences, in var­i­ous con­fig­u­ra­tions, every year since their found­ing until 2020. See them here play Nirvana’s “Smells Like Teen Spir­it,” Queen’s “We Will Rock You,” and David Bowie’s “Rebel Rebel.” If you sing or play a rock instru­ment, you can sign up to be a part of Rockin’1000’s next gig, in Paris, in May 2022, here.

With a band com­posed of 1000 peo­ple, the musi­cians are also the audi­ence, and the musi­cians can be any­one. What sep­a­rates Rockin’1000 from some oth­er cel­e­bra­tions of pop­u­lar music is that it does posi­tion itself as a road to fame and for­tune or a way to meet celebri­ties. “No rank­ings, no prizes, no win­ners, no losers,” they write: “every­one can be part of this, either an audi­ence or a mem­ber of ‘the biggest Rock Band on Earth.’ No bar­ri­ers here, all emo­tions are equal, same inten­si­ty.” But what emo­tions do we expe­ri­ence as a vir­tu­al audi­ence of the Biggest Band on Earth?

Relat­ed Con­tent: 

Watch a Tow­er­ing Orches­tral Trib­ute to Kate Bush: A 40th Anniver­sary Cel­e­bra­tion of Her First Sin­gle, “Wuther­ing Heights”

Foo Fight­ers Per­form “Back in Black” with AC/DC’s Bri­an John­son: When Live Music Returns

Dave: The Best Trib­ute to David Bowie That You’re Going to See

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

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Open Culture was founded by Dan Colman.