The New Enlightenment and the Fight to Free Knowledge: Part 2

Edi­tor’s Note: This month, MIT Open Learning’s Peter B. Kauf­man has pub­lished The New Enlight­en­ment and the Fight to Free Knowl­edge, a book that takes a his­tor­i­cal look at the pow­er­ful forces that have pur­pose­ly crip­pled our efforts to share knowl­edge wide­ly and freely. His new work also maps out what we can do about it. In the com­ing days, Peter will be mak­ing his book avail­able through Open Cul­ture by pub­lish­ing three short essays along with links to cor­re­spond­ing sec­tions of his book. Today, you can read his sec­ond essay “On Wikipedia, the Ency­clopédie, and the Ver­i­fi­a­bil­i­ty of Infor­ma­tion” (below), plus down­load the sec­ond chap­ter of his book here. Read his first essay, “The Mon­ster­verse” here, and pur­chase the entire book online.

When the ideas that mat­ter most to us – lib­er­als, democ­rats, pro­gres­sives, repub­li­cans, all in the orig­i­nal sense of the words – were first put for­ward in soci­ety in order to change soci­ety, they were advanced fore­most in print. The new rules, new def­i­n­i­tions, and new cod­i­cils of human and civ­il rights that under­gird many of the free­doms we val­ue today had as their heart text and its main deliv­ery mech­a­nism, the print­ing press.

In that sense the first Enlight­en­ment was based upon the foun­da­tion of the print­ed word. And of the 18th century’s con­tri­bu­tions to knowl­edge and soci­ety – Newton’s physics, Montesquieu’s laws, Linnaeus’s tax­onomies, Rousseau’s polit­i­cal phi­los­o­phy, the Dec­la­ra­tion of Inde­pen­dence, the Dec­la­ra­tion of the Rights of Man – there was per­haps no greater print­ed offer­ing than the 22-mil­lion-word Ency­clopédie that the French Enlight­en­ment philoso­phers start­ing writ­ing, com­pil­ing, and offer­ing to the pub­lic in 1750.

The Ency­clopédie was mon­u­men­tal. Not just from a con­tent-assem­bly per­spec­tive – an effort to gath­er all the world’s knowl­edge and to print and pub­lish it – but also from a sociopo­lit­i­cal one, giv­en the pow­er­ful forces sup­press­ing knowl­edge that such an effort would pro­voke. The Ency­clopédie found the state and the church ban­ning at one time or anoth­er almost every one of its 72,000 arti­cles, 18,000 pages, and 28 vol­umes and invok­ing a hun­dred ways to for­bid its dis­tri­b­u­tion.

The encyclopedia’s entire approach to col­lect­ing and pre­sent­ing knowl­edge was rad­i­cal.  The arti­cles pre­sent­ed truths – some hereti­cal, some blas­phe­mous – that aston­ished con­tem­po­rary read­ers.  And its inno­v­a­tive approach to the ver­i­fi­ca­tion its own con­tent, to prov­ing what could be proved, which was real­ly its nuclear core, rocked the West­ern world.

The Ency­clopédie smote 18th-cen­tu­ry ortho­doxy with ink-and-paper sledge­ham­mers. The arti­cle on “RAISON,” or “REASON,” for exam­ple, told every read­er who for cen­turies had been steeped in church doc­trine and the divine rights of roy­als that:

No propo­si­tion can be accept­ed as divine rev­e­la­tion if it con­tra­dicts what is known to us, either by imme­di­ate intu­ition, as in the case of self-evi­dent propo­si­tions, or by obvi­ous deduc­tions of rea­son, as in demon­stra­tions.  It would be ridicu­lous to give pref­er­ence to such rev­e­la­tions, because the evi­dence that caus­es us to adopt them can­not sur­pass the cer­tain­ty of our intu­itive or demon­stra­tive knowl­edge…

Cler­ics and kings, need­less to say, were not fans. Arti­cles on reli­gion, phi­los­o­phy, and pol­i­tics and soci­ety chal­lenged the gov­ern­ment and the church even as the cen­sors watched.  Direct swipes at the monar­chy and the church appeared even where you might not expect – in arti­cles on CONSCIENCE, LIBERTÉ DE; CROISADES; FANATISME; TOLÉRANCE; etc.  The entry for FORTUNE spot­light­ed the gross inequal­i­ties of wealth already evi­dent in 18th-cen­tu­ry Europe. And a zing­ing con­dem­na­tion of slav­ery in the arti­cle on the SLAVE TRADE made few friends among any who had a hand any­where in the busi­ness.

Slave trade is the pur­chase of Negroes made by Euro­peans on the coasts of Africa, who then employ these unfor­tu­nate men as slaves in their colonies. This pur­chase of Negroes to reduce them into slav­ery […] vio­lates all reli­gion, morals, nat­ur­al law, and human rights.

The Ency­clopédistes announced from day one that this new work would be, as we would say today, fact-based. There would be an under­ly­ing and over­ar­ch­ing com­mit­ment on the part of all con­trib­u­tors and the work as a whole to the ver­i­fi­ca­tion of all of its source mate­ri­als. Ver­i­fi­ca­tion is poten­tial­ly “a long and painful process,” Diderot wrote in his intro­duc­tion to the whole enter­prise – the famous “Pre­lim­i­nary Dis­course” that these philoso­phers used to sell in the whole project:

We have tried as much as pos­si­ble to avoid this incon­ve­nience by cit­ing direct­ly, in the body of the arti­cles, the authors on whose evi­dence we have relied and by quot­ing their own text when it is nec­es­sary.

We have every­where com­pared opin­ions, weighed rea­sons, and pro­posed means of doubt­ing or of escap­ing from doubt; at times we have even set­tled con­test­ed mat­ters.… Facts are cit­ed, exper­i­ments com­pared, and meth­ods elab­o­rat­ed … in order to excite genius to open unknown routes, and to advance onward to new dis­cov­er­ies, using the place where great men have end­ed their careers as the first step.

What this meant in prac­tice was rev­o­lu­tion­ary.  There would be no accept­ed truths but for those that could be proven and cit­ed. Fact-based ver­sus faith- and belief-based: the start and spark of the Enlight­en­ment.  One of Diderot’s biog­ra­phers explains that approx­i­mate­ly 23,000 arti­cles had at least one cross-ref­er­ence to anoth­er arti­cle in one of the encyclopedia’s 28 vol­umes. “The total num­ber of links – some arti­cles had five or six – reached almost 62,000.” And all while retain­ing a sly sense of humor.  The arti­cle on CANNIBALS end­ed with “the mis­chie­vous cross-ref­er­ence,” as anoth­er his­to­ri­an would lat­er describe it: “See Eucharist, Com­mu­nion, Altar, etc.”

That com­mit­ment to ref­er­ence cita­tion con­tin­ues in the Enlightenment’s most impor­tant suc­ces­sor project – Wikipedia, found­ed by Jim­my Wales and col­leagues 20 years ago this year. It’s the foun­da­tion of what today’s Wikipedia terms ver­i­fi­a­bil­i­ty, and in many key ways it’s the foun­da­tion for truth in knowl­edge and soci­ety today:

“Ver­i­fi­a­bil­i­ty” … mean[s] that mate­r­i­al added to Wikipedia must have been pub­lished pre­vi­ous­ly by a reli­able source. Edi­tors may not add their own views to arti­cles sim­ply because they believe them to be cor­rect, and may not remove sources’ views from arti­cles sim­ply because they dis­agree with them.

[V]erifiability is a nec­es­sary con­di­tion (a min­i­mum require­ment) for the inclu­sion of mate­r­i­al, though it is not a suf­fi­cient con­di­tion (it may not be enough).

In 1999, free-soft­ware activist Richard M. Stall­man called for this uni­ver­sal online ency­clo­pe­dia cov­er­ing all areas of knowl­edge, along with a com­plete library of instruc­tion­al cours­es – and, equal­ly impor­tant, a move­ment to devel­op it, “much as the Free Soft­ware Move­ment gave us the free oper­at­ing sys­tem GNU/Linux.”  That call (repro­duced in full as the appen­dix in my book) is cred­it­ed by Wikipedia as the ori­gins of the work that is now the largest knowl­edge resource in his­to­ry.

The free ency­clo­pe­dia will pro­vide an alter­na­tive to the restrict­ed ones that media cor­po­ra­tions will write.

Stall­man pub­lished a list of what that the ency­clo­pe­dia would need to do, what sort of free­doms it would need to give to the pub­lic, and how it could get start­ed.

An ency­clo­pe­dia locat­ed every­where.

An ency­clo­pe­dia open to anyone—but, most promis­ing­ly, to teach­ers and stu­dents.

An ency­clo­pe­dia built of small steps.

An ency­clo­pe­dia built on the long view: “If it takes twen­ty years to com­plete the free ency­clo­pe­dia, that will be but an instant in the his­to­ry of lit­er­a­ture and civ­i­liza­tion.”

An ency­clo­pe­dia con­tain­ing one or more arti­cles for any top­ic you would expect to find in anoth­er ency­clo­pe­dia – “for exam­ple, bird watch­ers might even­tu­al­ly con­tribute an arti­cle on each species of bird, along with pic­tures and record­ings of its calls” – and “cours­es for all aca­d­e­m­ic sub­jects.”

1999, and it sounds famil­iar. Wikipedia, of course, is one of the world’s most pop­u­lar web­sites (the world’s most pop­u­lar non­com­mer­cial one) now and an irre­place­able source of ver­i­fi­able infor­ma­tion – open to any and all.  Its process­es are trans­par­ent, and thanks to hack­ers affil­i­at­ed with the project, you now can watch and lis­ten to its edits live online:

Com­mu­ni­ties that work with Wikipedia are like­ly to ben­e­fit from this com­mit­ment to cita­tion, and new col­lab­o­ra­tions that take effect around it are like­ly to ben­e­fit soci­ety. The Inter­net Archive is work­ing with Wikipedia now, dig­i­tiz­ing books so that links to sources in Wikipedia link all the way through to the books them­selves – and ren­der images and text on the cit­ed pages. The ref­er­ence link to a biog­ra­phy by Tay­lor Branch at the bot­tom of a Wikipedia arti­cle on Mar­tin Luther King, Jr., for exam­ple, now hotlinks to the read­able book online at Archive.org.  That work is essen­tial.  “Only the use of foot­notes and the research tech­niques asso­ci­at­ed with them” – as Prince­ton his­to­ri­an Antho­ny Grafton writes – “makes it pos­si­ble to resist the efforts of mod­ern gov­ern­ments, tyran­ni­cal and demo­c­ra­t­ic alike, to con­ceal the com­pro­mis­es they have made, the deaths they have caused, the tor­tures they or their allies have inflict­ed.…  Only the use of foot­notes enables his­to­ri­ans to make their texts not mono­logues but con­ver­sa­tions, in which mod­ern schol­ars, their pre­de­ces­sors, and their sub­jects all take part.”

Can we take ver­i­fi­a­bil­i­ty fur­ther now, espe­cial­ly as our epis­temic cri­sis deep­ens?  Can we improve cita­tion for the medi­um that’s begin­ning to over­take us all, which is video?  Can we make resources on the web – also a new thing – ver­i­fi­able?  What is a cita­tion like in a … pod­cast?

The great his­to­ri­an of the Ency­clopédie, Robert Darn­ton, tells us in his new book, “When the print­ed word appeared in France in 1470, the state did not know what to make of it.”  So, 700 years from now, what will tomorrow’s his­to­ri­ans say about us?  Fur­ther thoughts about how we can start more con­scious­ly col­lab­o­rat­ing with one anoth­er and pro­duc­ing – but imme­di­ate­ly – for our bur­geon­ing knowl­edge net­works: next week.

Peter B. Kauf­man works at MIT Open Learn­ing and is the author of The New Enlight­en­ment and the Fight to Free Knowl­edge. This is the sec­ond of three arti­cles. You can find the first one in the Relat­eds below:

Relat­ed Con­tent:

The New Enlight­en­ment and the Fight to Free Knowl­edge: Part 1

An Ani­mat­ed Intro­duc­tion to Voltaire: Enlight­en­ment Philoso­pher of Plu­ral­ism & Tol­er­ance

The Diderot Effect: Enlight­en­ment Philoso­pher Denis Diderot Explains the Psy­chol­o­gy of Con­sumerism & Our Waste­ful Spend­ing

Social Media in the Age of Enlight­en­ment and Rev­o­lu­tion

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Google & Coursera Launch Career Certificates That Prepare Students for Jobs in 6 Months: Data Analytics, Project Management and UX Design

We live in an age of less-than-total agree­ment as to the pur­pose of high­er edu­ca­tion. Should it immerse stu­dents in the best that has been thought and said? Pro­vide an envi­ron­ment in which to come of age? Pro­duce “lead­ers”? Or should it, as increas­ing­ly many argue, first and fore­most secure pro­fes­sion­al futures? In the prac­tice of recent decades, high­er edu­ca­tion has done a bit of each, to the sat­is­fac­tion of some and the dis­sat­is­fac­tion of oth­ers. It has, in oth­er words, become an indus­try sub­ject to “dis­rup­tion” by oth­er play­ers offer­ing spe­cial­ized solu­tions of their own. Take for exam­ple the new Career Cer­tifi­cates offered by Google and the online edu­ca­tion plat­form Cours­era.

“Designed to pre­pare learn­ers for an entry-lev­el role in under six months,” as Cours­era CEO Jeff Mag­gion­cal­da explains it, these new­ly-unveiled Career Cer­tifi­cates “don’t have any pre­req­ui­sites,” which means that most any­one inter­est­ed in earn­ing them can do so right now. This goes for “new grads land­ing their first job, front-line work­ers seek­ing sta­ble employ­ment, mid-career pro­fes­sion­als mak­ing a piv­ot, or par­ents plan­ning their return to the work­force,” and pre­sum­ably myr­i­ad oth­er walks of life besides.

Avail­able in Data Ana­lyt­ics, Project Man­age­ment, and User Expe­ri­ence (UX) Design, “each cer­tifi­cate is com­plete­ly online, self-paced, and costs $39 per month” — sig­nif­i­cant­ly less than most exist­ing forms of high­er edu­ca­tion, even of the most pro­fes­sion­al­ly or tech­no­log­i­cal­ly ori­ent­ed vari­eties.

If you’ve dipped into our list of online cours­es, you’ve prob­a­bly encoun­tered Cours­era, a lead­ing plat­form for mas­sive online open cours­es (or MOOCs) used by some of the world’s best-known tra­di­tion­al uni­ver­si­ties. Its new pro­vi­sion of Google’s Career Cer­tifi­cates should go some way to mak­ing more famil­iar — at least to those us who’ve already learned online — a reimag­in­ing of pro­fes­sion­al edu­ca­tion. This pro­gram’s “dis­rup­tive” poten­tial, due not least to Google’s own con­sid­er­a­tion of these cer­tifi­cates as equiv­a­lent to a four-year degree, has already been well not­ed. “But while the new pro­grams offer a fast track to new skills and pos­si­bly even a new job in a frac­tion of the time of a degree pro­gram,” writes Inc.‘s Justin Bariso, “stu­dents should­n’t expect the cours­es to be a walk in the park.” And giv­en that they’re unlike­ly to get eas­i­er, any­one inter­est­ed in earn­ing a Career Cer­tifi­cate would do well to look into it today.

Below, you can find a list of the new Career Cer­tifi­cates.

  • User Expe­ri­ence (UX) Design Pro­fes­sion­al Cer­tifi­cate – UX design jobs are pro­ject­ed to steadi­ly grow over the com­ing years, with medi­an salaries for an entry-lev­el role around $82,000. This sev­en-course cer­tifi­cate explores UX prin­ci­ples, UX terms, and indus­try-stan­dard tools, includ­ing Fig­ma and Adobe XD. By the time they com­plete the pro­gram, learn­ers will have three port­fo­lio projects to use in their job appli­ca­tions.
  • Data Ana­lyt­ics Pro­fes­sion­al Cer­tifi­cate – In the U.S., there are near­ly 15,000 open entry-lev­el data ana­lyt­ics roles, with an annu­al medi­an entry-lev­el salary of more than $63,000. This sev­en-course cer­tifi­cate explores ana­lyt­i­cal skills, con­cepts, and tools used in many intro­duc­to­ry data ana­lyt­ics roles – includ­ing SQL, Tableau, RStu­dio, and Kag­gle.
  • Project Man­age­ment Pro­fes­sion­al Cer­tifi­cate – Employ­ers will need to fill near­ly 2.2 mil­lion new project-ori­ent­ed roles each year through 2027, accord­ing to the Project Man­age­ment Insti­tute. This six-course cer­tifi­cate pre­pares learn­ers to launch a project man­age­ment career. It cov­ers indus­try-stan­dard tools and meth­ods, includ­ing the agile project man­age­ment sys­tem, and key soft skills, such as stake­hold­er man­age­ment, prob­lem-solv­ing, and influ­enc­ing.
  • IT Sup­port Pro­fes­sion­al Cer­tifi­cate — Pre­pare for an entry-lev­el job as an IT sup­port spe­cial­ist. In this pro­gram, you’ll learn the fun­da­men­tals of oper­at­ing sys­tems and net­work­ing, and how to trou­bleshoot prob­lems using code to ensure com­put­ers run cor­rect­ly. This is for you if you enjoy solv­ing prob­lems, learn­ing new tools, and help­ing oth­ers.
  • IT Automa­tion Pro­fes­sion­al Cer­tifi­cate — This is an advanced pro­gram for learn­ers who have com­plet­ed the Google IT Sup­port Pro­fes­sion­al Cer­tifi­cate. This is for you if you want to build on your IT skills with Python and automa­tion.

The new cer­tifi­cates have been added to our col­lec­tion, 200 Online Cer­tifi­cate & Micro­cre­den­tial Pro­grams from Lead­ing Uni­ver­si­ties & Com­pa­nies.

Note: Open Cul­ture has a part­ner­ship with Cours­era. If read­ers enroll in cer­tain Cours­era cours­es and pro­grams, it helps sup­port Open Cul­ture.

Relat­ed Con­tent:

Online Degrees & Mini Degrees: Explore Mas­ters, Mini Mas­ters, Bach­e­lors & Mini Bach­e­lors from Top Uni­ver­si­ties.

Google Intro­duces 6‑Month Career Cer­tifi­cates, Threat­en­ing to Dis­rupt High­er Edu­ca­tion with “the Equiv­a­lent of a Four-Year Degree”

Cours­era and Google Launch an Online Cer­tifi­cate Pro­gram to Help Stu­dents Become IT Pro­fes­sion­als & Get Attrac­tive Jobs

New Deep Learn­ing Cours­es Released on Cours­era, with Hope of Teach­ing Mil­lions the Basics of Arti­fi­cial Intel­li­gence

Cours­era Part­ners with Lead­ing Uni­ver­si­ties to Offer Master’s Degrees at a More Afford­able Price

Free Online Com­put­er Sci­ence Cours­es

1,500 Free Online Cours­es from Top Uni­ver­si­ties

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.

Watch Cartoonist Lynda Barry’s Two-Hour Drawing Workshop

We know you’re Zoomed out, but might you make an excep­tion for the pre-record­ed draw­ing and writ­ing ses­sion above with leg­endary car­toon­ist and illus­tra­tor Lyn­da Bar­ry?

Under the aus­pices of Graph­ic Med­i­cine’s par­tic­i­pa­to­ry online series, Draw­ing Togeth­er, the noto­ri­ous­ly play­ful Bar­ry led par­tic­i­pants through a series of exer­cis­es from her book, Mak­ing Comics, and seemed gen­uine­ly pleased to be back in teach­ing mode. (All of her in-per­son class­es at the Uni­ver­si­ty of Wis­con­sin have been can­celled until fur­ther notice due to the Covid-19 pan­dem­ic, as has her usu­al sum­mer stint at the Omega Insti­tute.)

Bar­ry endeav­ored to loosen her stu­dents up right away, bran­dish­ing toys and danc­ing to an amaz­ing playlist in a friend’s bor­rowed attic, con­fid­ing that the wifi sit­u­a­tion here was far supe­ri­or to that in her old farm­house.

Teacher divid­ed the large group in half by birth­days, as a way to orga­nize view­ing each other’s work after each timed exer­cise.

This couldn’t quite repli­cate the expe­ri­ence of the live class­room, where stu­dents have the oppor­tu­ni­ty to han­dle each other’s work, and more time to take it in, but still fun to see the incred­i­ble diversity—and in the case of closed-eye exercises—thrilling sim­i­lar­i­ties on dis­play.

Barry’s delight extend­ed beyond the con­fines of the page, imi­tat­ing the way some stu­dents beam like sway­ing sun­flow­ers through­out the 60-sec­ond closed eye ses­sions, while oth­ers knit their brows, low­er their chins and pow­er through.

A series of self-por­traits fol­lowed, with prompts designed to tap into the sort of imag­i­na­tive pow­ers that fre­quent­ly seep away in adolescence—draw your­self as an ani­mal, an astro­naut, a mem­ber of a march­ing band, any fruit that’s not a banana…

Longer exer­cis­es involved turn­ing ran­dom squig­gles into mon­sters, with an extra minute grant­ed after the timer went off to add what­ev­er miss­ing things the artist felt each draw­ing need­ed, then choos­ing one of those mon­sters to star in a fam­i­ly album of sorts.

Bar­ry, who has, over the course of her career, filled a num­ber of pan­els with hilar­i­ous­ly out-of-touch teach­ers mak­ing life a hell for child char­ac­ters, is audi­bly appre­cia­tive of her stu­dents’ efforts, fre­quent­ly con­grat­u­lat­ing them for bring­ing some­thing into the world that didn’t exist a few min­utes pri­or:

This is the thing about comics! They come intact, they come all togeth­er and the most impor­tant thing you need to do is just make time to draw them, the unin­ter­rupt­ed time, even if it’s just 2 min­utes.

Truth!

The final exer­cise of the day drew on some of the writ­ing tech­niques Bar­ry fea­tured in Syl­labus, with par­tic­i­pants, quick­ly jot­ting down mem­o­ries after a prompt, then choos­ing one  to explore more deeply, with spe­cial atten­tion devot­ed to sen­so­ry recall.

To play along from home after the fact, you’ll need a cou­ple of hours, ten or so sheets of paper, a pen­cil or pen (Bar­ry favors black felt tips), and your “orig­i­nal dig­i­tal devices” (hint: they’re attached to the ends of your arms).

Find infor­ma­tion on how to par­tic­i­pate in upcom­ing free Draw­ing Togeth­er ses­sions here.

All draw­ings used with the per­mis­sion of par­tic­i­pant Ayun Hal­l­i­day.

Relat­ed Con­tent:

Lyn­da Barry’s New Book Offers a Mas­ter Class in Mak­ing Comics

Lyn­da Bar­ry on How the Smart­phone Is Endan­ger­ing Three Ingre­di­ents of Cre­ativ­i­ty: Lone­li­ness, Uncer­tain­ty & Bore­dom

Lyn­da Barry’s Illus­trat­ed Syl­labus & Home­work Assign­ments from Her New UW-Madi­son Course, “Mak­ing Comics”

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She most recent­ly appeared as a French Cana­di­an bear who trav­els to New York City in search of food and mean­ing in Greg Kotis’ short film, L’Ourse.  Fol­low her @AyunHalliday.

How Museum Gift Shops Shape the Way We Look at Art

The 2010 doc­u­men­tary Exit Through the Gift Shop seemed to crit­ics both too con­trived to be real­i­ty and too bizarre to be a hoax: Frenchman-in‑L.A. Thier­ry Guet­ta obses­sive­ly films graf­fi­ti artists and begins pur­su­ing Banksy, who takes over the project and makes a film about Guet­ta, who, at Banksy’s sug­ges­tion, takes up street art, becomes an overnight sen­sa­tion and — to the some­what hor­ri­fied aston­ish­ment of Banksy — sells a mil­lion dol­lars worth of his work at his first show as “Mr. Brain­wash.”

Worth, in the art world, is a rel­a­tive term, as Roger Ebert point­ed out. So what if Guet­ta was doing mediocre riffs on Warhol, among oth­ers? “Sure­ly Warhol’s mes­sage was that Their­ry Guet­ta has an absolute right to call his work art, and sell it for as much as he can.” If he can get away with it, more pow­er to him, but sure­ly there’s a high­er author­i­ty that real­ly deter­mines what we think of as art? Some hon­est body of schol­ars with rig­or­ous stan­dards and gen­er­ous tastes? Sure­ly there’s some­thing more than sales to deter­mine the val­ue of art?

Or maybe, the Vox video above sug­gests, it real­ly is the epony­mous gift shop, whose care­ful­ly curat­ed tchotchkes and sou­venirs include such col­lec­tions as “an ear-shaped eras­er,” writes Micaela Mari­ni Hig­gs, “a $495 Ver­sace t‑shirt… and of course, the clas­sics: post­cards, mugs, and mag­nets.” And that’s not to men­tion all those won­der­ful books…. Muse­um gift shops have con­vinced us that if it sells, it’s art. “Basi­cal­ly, stores are like the ulti­mate cheat sheet — the more you see a piece of art ref­er­enced, the more impor­tant it prob­a­bly is.”

Some vis­i­tors even choose to enter through the gift shop, which may, after all, be no stranger than walk­ing through an exhi­bi­tion the wrong way. Pro­fes­sor of Anthro­pol­o­gy Sharon Mac­don­ald describes the retail area of a muse­um as a show’s final exhib­it. Vis­i­tors may feel a lack if they can’t con­spic­u­ous­ly con­sume what they have seen. The more they do so, the more they act as adver­tise­ments for the art on their tote bags. This is by design, of course.

Muse­um gift shops not only see them­selves as rev­enue sources — some pro­vid­ing up to a quar­ter of an institution’s funds — but also as art edu­ca­tors. Store buy­ers col­lab­o­rate with cura­tors, who want to give poten­tial vis­i­tors a sense of their exhi­bi­tions’ main ideas. There is no sin­is­ter plot at work, only the rein­forc­ing, through com­merce, of the museum’s pre-exist­ing cri­te­ria for what qual­i­fies as impor­tant art. But you might see a prob­lem — it’s all a bit cir­cu­lar, isn’t it? — and thanks to the “mere-expo­sure effect,” the cir­cle rip­ples out­ward through repeat­ed view­ings.

It’s a phe­nom­e­non not unlike hear­ing the same song over and over on the radio and grow­ing to like it through sheer famil­iar­i­ty. Do we “appre­ci­ate” art by con­sum­ing its like­ness­es on key­chains and mousepa­ds? Maybe we’re also par­tic­i­pat­ing in a rit­u­al of com­mer­cial con­sent to the val­ue of cer­tain works over oth­ers, most­ly unaware of how over­priced gift shop swag meme-ifies art and ampli­fies cul­tur­al val­ues we could think about more crit­i­cal­ly.

Relat­ed Con­tent: 

Sal­vador Dalí’s Tarot Cards, Cook­book & Wine Guide Re-Issued as Beau­ti­ful Art Books

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

Down­load 584 Free Art Books from The Met­ro­pol­i­tan Muse­um of Art

Hierony­mus Bosch Fig­urines: Col­lect Sur­re­al Char­ac­ters from Bosch’s Paint­ings & Put Them on Your Book­shelf

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

Rare Vincent van Gogh Painting Goes on Public Display for the First Time: Explore the 1887 Painting Online

Images cour­tesy of Sothe­bys

Not every Vin­cent van Gogh paint­ing hangs at the Van Gogh Muse­um, or indeed in a muse­um at all. Though many pri­vate col­lec­tors loan their Van Goghs to art insti­tu­tions that make them avail­able for pub­lic view­ing, some have nev­er let such prized pos­ses­sions out of their sight. Such, until recent­ly, was the case with Scène de rue à Mont­martre (Impasse des Deux Frères et le Moulin à Poivre), paint­ed in 1887 but not shown to the world until this year — in prepa­ra­tion for its auc­tion on March 25. Dur­ing its cen­tu­ry of pos­ses­sion by a sin­gle French fam­i­ly, the paint­ing count­ed as one of the few pri­vate­ly-held entries in Van Gogh’s Mont­martre series, which he paint­ed in the epony­mous neigh­bor­hood dur­ing the two years spent in Paris with his broth­er Theo.

“Unlike oth­er artists of his era, like Toulouse-Lautrec, Van Gogh was attract­ed to the pas­toral side of Mont­martre and would tran­scribe this ambi­ence rather than its balls and cabarets.” So says Aurélie Van­de­vo­orde, head of the Impres­sion­ist and Mod­ern Art depart­ment at Sotheby’s Paris to The Art News­pa­per’s Anna San­son.

The land­scape “marks van Gogh’s turn to his dis­tinc­tive Impres­sion­ist style,” writes Colos­sal’s Grace Ebert, and its “live­ly street is thought to be the same as that in Impasse des Deux Frères, which cur­rent­ly hangs at the Van Gogh Muse­um in Ams­ter­dam, and sim­i­lar­ly depicts a mill and flags pro­mot­ing the cabaret and bar through the gates.”

As depict­ed by Van Gogh more than 130 years ago, Mont­martre looks near­ly rur­al — quite unlike it does now, as any­one who’s fre­quent­ed the neigh­bor­hood in liv­ing mem­o­ry can attest. But the sta­tus of the paint­ing has changed even more than the sta­tus of the place: Scène de rue à Mont­martre “is expect­ed to sell for between $6 mil­lion and $9.7 mil­lion (€5 mil­lion to €8 mil­lion),” writes Smithsonian.com’s Isis Davis-Marks. Still, like most of Van Gogh’s Paris paint­ings, its val­ue does­n’t touch that of the work he did in his sub­se­quent Provençal sojourn (under the influ­ence of Japan­ese ukiyo‑e). “One such paint­ing, Laboureur dans un champ (1889),” adds Davis-Marks, “sold at Christie’s in 2017 for $81.3 mil­lion.” Well-heeled read­ers should thus keep an eye on Sothe­by’s site: this could be your chance to keep a (rel­a­tive­ly) afford­able Van Gogh in your own fam­i­ly for the next cen­tu­ry.

via Colos­sal

Relat­ed Con­tent:

Near­ly 1,000 Paint­ings & Draw­ings by Vin­cent van Gogh Now Dig­i­tized and Put Online: View/Download the Col­lec­tion

Down­load Vin­cent van Gogh’s Col­lec­tion of 500 Japan­ese Prints, Which Inspired Him to Cre­ate “the Art of the Future”

Van Gogh’s Ugli­est Mas­ter­piece: A Break Down of His Late, Great Paint­ing, The Night Café (1888)

13 Van Gogh’s Paint­ings Painstak­ing­ly Brought to Life with 3D Ani­ma­tion & Visu­al Map­ping

Expe­ri­ence the Van Gogh Muse­um in 4K Res­o­lu­tion: A Video Tour in Sev­en Parts

In a Bril­liant Light: Van Gogh in Arles – A Free Doc­u­men­tary

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.

Intimate Live Performances of Radiohead, Sonic Youth, the White Stripes, PJ Harvey & More: No Host, No Audience, Just Pure Live Music

It should be clear by now that rock and roll pos­es no dan­ger to the sta­tus quo. Fair enough: It’s going on 70 years since Elvis and Chuck Berry freaked out par­ents of scream­ing teens, and 50 years since Iggy and the Stooges ripped up stages in Detroit and the denizens of CBGB made rock sub­ver­sive again. That’s a long time for an edge to dull, and dull it has. Per­haps nowhere is this more in evi­dence than rock films like CBGB, which “some­how man­ages to make punk rock bor­ing,” and Netflix’s The Dirt, a movie about Möt­ley Crüe that gives us as much insight into the band as a cou­ple spins of “Dr. Feel­go­od,” argues crit­ic Bri­an Tal­leri­co.

Yes, we can chalk up bad rock films to lazy film­mak­ing and stu­dio greed, but there’s also a gen­er­al sense that the cul­ture now under­stands rock only as a mat­ter of ges­tures and anec­dotes: the mak­ing of the music reduced to styl­is­tic quirks and kitschy arti­fice.

This is in con­trast, Radio­head pro­duc­er Nigel Godrich felt, to ear­li­er media like the live per­for­mances on The Old Grey Whis­tle Test. (It’s cer­tain­ly in con­trast to John Peel’s raw ses­sions and films like Urgh! A Music War.) In mak­ing his From the Base­ment series, Godrich said, “I’m a sad fan try­ing to bring the mag­ic back to music TV.”

Just as rock pho­tog­ra­phy was reduced from “total access all the time” to well-kept mar­ket­ing and PR (or so claimed the late, leg­endary Baron Wol­man), rock per­for­mance has become over­pro­duced spec­ta­cle in which it can be dif­fi­cult to tell pre-record­ed tracks from real play­ing. Add to this the loss of inti­ma­cy in live venues in the time of COVID, and we get even far­ther away from the music’s cre­ation. Godrich and pro­duc­er Dil­ly Gent con­ceived of From the Base­ment years before the pan­dem­ic, but it’s almost as if they antic­i­pat­ed a cul­tur­al cri­sis of our moment, the enforced sep­a­ra­tion from the mak­ing of live music.

Like the best Zoom con­certs, From the Base­ment, pro­duced between 2006 and 2009, eschews the trap­pings of host, audi­ence, and stu­dio light­ing for an imme­di­ate expe­ri­ence of live cre­ation. It’s a safe, ster­ile envi­ron­ment — miss­ing are mosh pits, fans swarm­ing the stage, and the sex, drugs, and vio­lence of old. But to pre­tend that rock is dan­ger­ous in the 21st cen­tu­ry is noth­ing more than pre­tense. There’s no need to turn the music into the edgy spec­ta­cle it isn’t any­more (and has­n’t been since “Creep” ruled the radio), Godrich and Gent’s con­cept sug­gests. In doing so, we miss what it is now.

Or as Thom Yorke — whose band got first dibs, play­ing “Video­tape” and “Down is the New Up” in the debut episode — remarked, the show “was excit­ing because it came from the desire to cut out the crap that lies between the music and the view­er. To get plugged straight into the mains. No pro­duc­er or direc­tor egos mess­ing it up.” See From the Base­ment per­for­mances from Radio­head, Son­ic Youth, the White Stripes, and PJ Har­vey above and many more archived at the From the Base­ment YouTube chan­nel here.

Relat­ed Con­tent: 

An Archive of 1,000 “Peel Ses­sions” Avail­able Online: Hear David Bowie, Bob Mar­ley, Elvis Costel­lo & Oth­ers Play in the Stu­dio of Leg­endary BBC DJ John Peel

Radio­head Will Stream Con­certs Free Online Until the Pan­dem­ic Comes to an End

Radiohead’s Thom Yorke Per­forms Songs from His New Sound­track for the Hor­ror Film, Sus­piria

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

Saturday Night Live’s Very First Sketch: Watch John Belushi Launch SNL in October, 1975

How do you kick off the longest run­ning live sketch com­e­dy show in tele­vi­sion his­to­ry? If you’re in the cast and crew for the first episode of Sat­ur­day Night Live, you have no idea you’re doing any­thing of the kind. Still the pressure’s on, and the new­ly hired “Not Ready for Prime­time Play­ers” had a lot of com­pe­ti­tion on their own show that night. When Sat­ur­day Night, the orig­i­nal title for SNL, made its debut on Octo­ber 11, 1975, doing live com­e­dy on tele­vi­sion was an extreme­ly risky propo­si­tion.

So, what do you do if you’re pro­duc­ers Dick Eber­sol and Lorne Michaels? Put your riski­est foot for­ward — John Belushi, the “first rock & roll star of com­e­dy” writes Rolling Stone, and “the ‘live’ in Sat­ur­day Night Live.” The man who would be comedy’s king, for a time, before he left the stage too soon. His first sketch, and the first on-air for SNL, reveals “a ten­den­cy toward the time­less­ly pecu­liar,” Time mag­a­zine writes, that made the show an instant cult hit.

Rather than skew­er­ing top­i­cal issues or imper­son­at­ing celebri­ties, the first sketch, “The Wolver­ines” goes after the ripe tar­gets of an immi­grant (Belushi) learn­ing Eng­lish and his teacher, played by head writer Michael O’Donoghue, who insists on mak­ing Belushi repeat the tit­u­lar word in non­sen­si­cal phras­es like “I would like to feed your fin­ger­tips to the wolver­ines.”

Belushi’s accent has shades of Andy Kaufman’s “for­eign man” from Caspi­ar, and he gets a brief moment to dis­play his phys­i­cal com­e­dy skills when he keels over in imi­ta­tion of his teacher hav­ing a heart attack. “The Wolver­ines” is short, non­sen­si­cal, and weird­ly sweet. “No one would know what kind of show this was from see­ing that,” Michaels remem­bered. We can still look back at that wild­ly uneven first sea­son and won­der what kind of show SNL would be now if it had held on to the anar­chic spir­it of the ear­ly years. But that’s a lot to ask of a 45-year-old live com­e­dy show.

The night’s guest was George Car­lin, who did not appear in any sketch­es, but who did get three sep­a­rate mono­logues. The show also fea­tured two musi­cal guests, Bil­ly Pre­ston and Janis Ian. Andy Kauf­man made an appear­ance doing his famous Mighty Mouse bit, and the Mup­pets were there (not the fun Mup­pets, but a “dark and grumpy ver­sion” Jim Hen­son dis­owned after the first sea­son.)

The first episode was also the first to fea­ture the icon­ic intro, “Live from New York, it’s Sat­ur­day Night!” — deliv­ered by Chevy Chase. Though it has become a cel­e­bra­to­ry announce­ment, at the time “it’s Sat­ur­day Night!” was a dark reminder of the live com­e­dy vari­ety show, Sat­ur­day Night Live with Howard Cosell, then fail­ing through its first and only sea­son before its 18-episode run came to an end the fol­low­ing year.

See more from that weird first night above, includ­ing Carlin’s Foot­ball and Base­ball mono­logue and the for­got­ten SNL Mup­pets, just above.

via Ulti­mate Clas­sic Rock

Relat­ed Con­tent: 

Cre­at­ing Sat­ur­day Night Live: Behind-the Scenes Videos Reveal How the Icon­ic Com­e­dy Show Gets Made

Lorne Michaels Intro­duces Sat­ur­day Night Live and Its Bril­liant First Cast for the Very First Time (1975)

Clas­sic Punk Rock Sketch­es from Sat­ur­day Night Live, Cour­tesy of Fred Armisen

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

A Spellbinding Drone Journey Through a Bowling Alley

A now for some­thing that’s right up your alley…

Using an FPV drone, YouTu­ber “jay­byrd­films” takes you on a some­what dizzy­ing tour of Bryant Lake Bowl, a vin­tage bowl­ing alley in Min­neapo­lis. As CNET puts it, “It’s an impres­sive bit of film­mak­ing as the … drone flies down bowl­ing lanes, nuz­zles close to the pins and then soars back toward the bowlers. Crisp, atmos­pher­ic audio — of peo­ple chat­ting, bowl­ing balls rolling on wood, pins clang­ing, glass­es clink­ing — adds to the imme­di­a­cy.” Enjoy.

via Kot­tke

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:

A Haunt­ing Drone’s‑Eye View of Cher­nobyl

A Drone’s Eye View of the Ancient Pyra­mids of Egypt, Sudan & Mex­i­co

See the Expan­sive Ruins of Pom­peii Like You’ve Nev­er Seen Them Before: Through the Eyes of a Drone

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Open Culture was founded by Dan Colman.