Behold Medieval Snowball Fights: A Timeless Way of Having Fun

You can’t get too much win­ter in the win­ter

– Robert Frost, “Snow”

Snowy win­ter then respond­ed with a voice severe:
May the cuck­oo not come, let it sleep in dark hol­lows.
He is accus­tomed to bring hunger with him.

– Anony­mous poem in Medieval Latin, trans­lat­ed by Heather Williams

Win­ter may starve and freeze, but in each place where snow accu­mu­lates, we also find depic­tions of infor­mal hol­i­days — snow days — and one of their most exu­ber­ant pur­suits. “Few sea­son­al activ­i­ties are as uni­ver­sal — across time, place, or cul­ture — as the snow­ball fight,” writes Pub­lic Domain Review. Some have even made it “into the annals of his­to­ry.… Accord­ing to what might be more fable than his­to­ry, the teenage Napoleon Bona­parte famous­ly orga­nized a ten day snow­ball fight at his mil­i­tary school, com­plete with trench­es, reg­i­mens, and rules of engage­ment.”

Snow­ball fights weren’t “con­fined to chil­dren either,” Arendse Lund writes. In the pages of illu­mi­nat­ed Medieval man­u­scripts, “peo­ple of all ages, men and women, can be seen heft­ing an icy ball.” Such images defy a “con­ven­tion­al topos” — “the threat of win­ter” found in Old Eng­lish poet­ry.

In one cal­en­dar poem, The Menologium, for exam­ple, “win­ter comes in like an invad­ing war­rior,” notes A Clerk of Oxford, “and puts autumn in chains, and the green fields which dec­o­rate the earth are per­mit­ted to stay with us no longer.… There are many, many exam­ples of win­ter as dan­ger and sor­row” in Medieval poet­ry.

The tra­di­tion of win­ter as a mar­tial invad­er con­tin­ues in mod­ern verse. In Robert Frost, snow forms “soft bombs.” Even when one is safe and warm at home, snow banked high around the walls out­side, win­ter threat­ens: the house is “frozen, brit­tle, all except this room you sit in.” But along­side these lit­er­ary scenes of unbear­able cold, we have the play­ful­ness and sub­lim­i­ty of win­ter, its abil­i­ty to ele­vate the ordi­nary, break up monot­o­ny, put a tem­po­rary end to dai­ly drudgery. Win­ter brings its own form of beau­ty, and its own fun: the soft bomb of the snow ball.

In one Mid­dle Eng­lish poem by Nico­las Bacon, titled “Of a Snow balle,” spring has noth­ing on win­ter even when it comes to love; the snow­ball fight becomes a pre­text for a roman­tic encounter:

A wan­ton wenche vppon a colde daye
With Snowe balles prouoked me to playe:
But the­is snowe balles soe hette my desy­er
That I maye calle them balles of wylde fyer.

In the delight­ful images here, culled from a num­ber of illu­mi­nat­ed man­u­scripts (and one fres­co, at the top), see Medieval Euro­peans play, flirt, and scoff at win­ter’s warn­ing in light­heart­ed snow­ball fights of yore.

via Pub­lic Domain Review

Relat­ed Con­tent: 

The Illu­mi­nat­ed Man­u­scripts of Medieval Europe: A Free Online Course from the Uni­ver­si­ty of Col­orado

Medieval Scribes Dis­cour­aged Theft of Man­u­scripts by Adding Curs­es Threat­en­ing Death & Damna­tion to Their Pages

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

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

An Introduction to the Painting of Caspar David Friedrich, Romanticism & the Sublime

When Denis Vil­leneuve was announced as the direc­tor of the lat­est cin­e­mat­ic adap­ta­tion of Dune, few could have object­ed on aes­thet­ic grounds. The blast­ed sand plan­et of Arrakis, with its storms and worms, demands a sense of the sub­lime; to a unique degree among film­mak­ers work­ing today, the auteur behind Arrival and Blade Run­ner 2049 seemed to pos­sess it. Though long since vul­gar­ized to mean lit­tle more than “high­ly enjoy­able,” sub­lime has his­tor­i­cal­ly denot­ed a rich­er, more com­plex set of qual­i­ties. The sub­lime can be beau­ti­ful, but it must also be in some way fear­some, pos­sessed of “a great­ness beyond all pos­si­bil­i­ty of cal­cu­la­tion, mea­sure­ment, or imi­ta­tion.”

That quote comes straight from the Wikipedia page on “Sub­lime (phi­los­o­phy),” which also promi­nent­ly fea­tures Cas­par David Friedrich’s paint­ing Der Wan­der­er ĂĽber dem Nebelmeer, or Wan­der­er above the Sea of Fog. Com­plet­ed around 1818, it has become a famil­iar image even to those who know noth­ing of Friedrich’s work — work to which they can receive an intro­duc­tion from the new video above by Evan Puschak, bet­ter known as the Nerd­writer.

Friedrich, he explains, was “asso­ci­at­ed with Ger­man Roman­ti­cism, a ris­ing intel­lec­tu­al and artis­tic move­ment” of the late 18th and ear­ly 19th cen­turies “that sought to recon­nect human­i­ty with feel­ing and spir­i­tu­al­i­ty” after the Enlight­en­ment so desta­bi­lized human­i­ty’s Weltan­schau­ung.

Friedrich’s land­scapes, real­is­ti­cal­ly paint­ed if not nec­es­sar­i­ly faith­ful to real places, “rep­re­sent the pin­na­cle of this move­ment.” They do this by con­vey­ing “the feel­ing he has in the pres­ence of the land­scape, the stag­ger­ing encounter with the divin­i­ty he sees in it. This is the essence of the sub­lime,” which took on spe­cial urgency in an era “when sec­u­lar­ism was threat­en­ing the core of Chris­tian­i­ty.”  More than reli­gion, the Roman­tics thus began to regard nature as awe­some (in the orig­i­nal sense), hum­bling them­selves before the great­ness of land­scapes real and imag­ined. The wan­der­er loom­ing above the sea of fog is actu­al­ly an excep­tion in Friedrich’s work, most of whose human fig­ures are small enough to empha­size “the vast­ness of the ter­rain” — a sub­lime-evok­ing tech­nique that we can still feel work­ing two cen­turies lat­er, Puschak points out, in Vil­leneu­ve’s Dune.

You can pre-order Nerd­writer’s upcom­ing book Escape into Mean­ing: Essays on Super­man, Pub­lic Bench­es, and Oth­er Obses­sions here.

Relat­ed Con­tent:

How Andrew Wyeth Made a Paint­ing: A Jour­ney Into His Best-Known Work Christina’s World

When Our World Became a de Chiri­co Paint­ing: How the Avant-Garde Painter Fore­saw the Emp­ty City Streets of 2020

Why Leonar­do da Vinci’s Great­est Paint­ing is Not the Mona Lisa

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

New Study: Immers­ing Your­self in Art, Music & Nature Might Reduce Inflam­ma­tion & Increase Life Expectan­cy

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Charles and Ray Eames’ Powers of Ten Updated to Reflect Our Modern Understanding of the Universe

We’ve expe­ri­enced some mind­blow­ing tech­no­log­i­cal advances in the years fol­low­ing design­ers Charles and Ray Eames’ 1977 film Pow­ers of Ten: A Film Deal­ing with the Rel­a­tive Size of Things in the Uni­verse and the Effect of Adding Anoth­er Zero.

Cryp­tocur­ren­cy…

Seg­ways…

E‑cigarettes…

And y’know, all sorts of inno­v­a­tive strides in the fields of med­i­cinecom­mu­ni­ca­tions, and envi­ron­men­tal sus­tain­abil­i­ty.

In the above video for the BBC, par­ti­cle physi­cist Bri­an Cox pays trib­ute to the Eames’ cel­e­brat­ed eight-and-a-half-minute doc­u­men­tary short, and uses the dis­cov­er­ies of the last four-and-a-half decades to kick the can a bit fur­ther down the road.

The orig­i­nal film helped ordi­nary view­ers get a han­dle on the universe’s out­er edges by tele­scop­ing up and out from a one-meter view of a pic­nic blan­ket in a Chica­go park at the rate of one pow­er of ten every 10 sec­onds.

Start with some­thing every­body can under­stand, right?

At 100 (102) meters — slight­ly less than the total length of an Amer­i­can foot­ball field, the pic­nick­ers become part of the urban land­scape, shar­ing their space with cars, boats at anchor in Lake Michi­gan, and a shock­ing dearth of fel­low pic­nick­ers.

One more pow­er of 10 and the pick­nick­ers dis­ap­pear from view, eclipsed by Sol­dier Field, the Shedd Aquar­i­um, the Field Muse­um and oth­er long­stand­ing down­town Chica­go insti­tu­tions.

At 1024 meters — 100 mil­lion light years away from the start­ing pic­nic blan­ket, the Eames butted up against the lim­its of the observ­able uni­verse, at least as far as 1977 was con­cerned.

They reversed direc­tion, hurtling back down to earth by one pow­er of ten every two sec­onds. With­out paus­ing for so much as hand­ful of fruit or a slice of pie, they dove beneath the skin of a doz­ing picnicker’s hand, con­tin­u­ing their jour­ney on a cel­lu­lar, then sub-atom­ic lev­el, end­ing inside a pro­ton of a car­bon atom with­in a DNA mol­e­cule in a white blood cell.

It still man­ages to put the mind in a whirl.

Sit tight, though, because, as Pro­fes­sor Cox points out, “Over 40 years lat­er, we can show a bit more.”

2021 relo­cates the pic­nic blan­ket to a pic­turesque beach in Sici­ly, and for­goes the trip inside the human body in favor of Deep Space, though the method of trav­el remains the same — expo­nen­tial, by pow­ers of ten.

1013 meters finds us head­ing into inter­stel­lar space, on the heels of Voy­agers 1 and 2, the twin space­crafts launched the same year as the Eames’ Pow­ers of Ten â€” 1977.

Hav­ing achieved their ini­tial objec­tive, the explo­ration of Jupiter and Sat­urn, these space­crafts’ mis­sion was expand­ed to Uranus, Nep­tune, and now, the out­er­most edge of the Sun’s domain. The data they, and oth­er explorato­ry crafts, have sent back allow Cox and oth­ers in the  sci­en­tif­ic com­mu­ni­ty to take us beyond the Eames’ out­er­most lim­its:

At 1026 meters, we switch our view to microwave. We can now see the cur­rent lim­it of our vision. This light forms a wall all around us. The light and dark patch­es show dif­fer­ences in tem­per­a­ture by frac­tions of a degree, reveal­ing where mat­ter was begin­ning to clump togeth­er to form the first galax­ies short­ly after the Big Bang. This light is known as the cos­mic microwave back­ground radi­a­tion. 

1027 meters…1,000,000,000,000,000,000,000,000,000. Beyond this point, the nature of the Uni­verse is tru­ly unchart­ed and debat­ed. This light was emit­ted around 380,000 years after the Big Bang. Before this time, the Uni­verse was so hot that it was not trans­par­ent to light. Is there sim­ply more uni­verse out there, yet to be revealed? Or is this region still expand­ing, gen­er­at­ing more uni­verse, or even oth­er uni­vers­es with dif­fer­ent phys­i­cal prop­er­ties to our own? How will our under­stand­ing of the Uni­verse have changed by 2077? How many more pow­ers of ten are out there?

Accord­ing to NASA, the Voy­ager crafts have suf­fi­cient pow­er and fuel to keep their “cur­rent suite of sci­ence instru­ments on” for anoth­er four years, at least. By then, Voy­ager 1 will be about 13.8 bil­lion miles, and Voy­ager 2 some 11.4 bil­lion miles from the Sun:

In about 40,000 years, Voy­ager 1 will drift with­in 1.6 light-years (9.3 tril­lion miles) of AC+79 3888, a star in the con­stel­la­tion of Camelopardalis which is head­ing toward the con­stel­la­tion Ophi­uchus. In about 40,000 years, Voy­ager 2 will pass 1.7 light-years (9.7 tril­lion miles) from the star Ross 248 and in about 296,000 years, it will pass 4.3 light-years (25 tril­lion miles) from Sir­ius, the bright­est star in the sky. The Voy­agers are destined—perhaps eternally—to wan­der the Milky Way.

If this dizzy­ing infor­ma­tion makes you yearn for 1987’s sim­ple plea­sures, this Way­back Machine link includes a fun inter­ac­tive for the orig­i­nal Pow­ers of Ten. Click the “show text” option on an expo­nen­tial slid­er tool to con­sid­er the scale of each stop in his­toric and tan­gi­ble con­text.

via Aeon

Relat­ed Con­tent:

Carl Sagan’s “The Pale Blue Dot” Ani­mat­ed

Watch Pow­ers of Ten and Let Design­ers Charles & Ray Eames Take You on a Bril­liant Tour of the Uni­verse

Watch Oscar-Nom­i­nat­ed Doc­u­men­tary Uni­verse, the Film that Inspired the Visu­al Effects of Stan­ley Kubrick’s 2001 and Gave the HAL 9000 Com­put­er Its Voice (1960)

Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Watch Laurie Anderson’s Hypnotic Harvard Lecture Series on Poetry, Meditation, Death, New York & More

These days the term mul­ti­me­dia sounds thor­ough­ly passé, like the apoth­e­o­sis of the 1990s tech­no-cul­tur­al buzz­word. But per­haps it also refers to a dimen­sion of art first opened in that era, of a kind in which trend-chasers dab­bled but whose poten­tial they rarely both­ered to prop­er­ly explore. But hav­ing estab­lished her­self as a for­mal­ly and tech­no­log­i­cal­ly dar­ing artist long before the 1990s, Lau­rie Ander­son was ide­al­ly placed to inhab­it the mul­ti­me­dia era. In a way, she’s con­tin­ued to inhab­it it ever since, con­tin­u­al­ly press­ing new audio­vi­su­al plat­forms into the ser­vice of her sig­na­ture qual­i­ties of expres­sion: con­tem­pla­tive, artic­u­late, high­ly digres­sive, and final­ly hyp­not­ic.

Ander­son­’s com­mit­ment to this enter­prise has brought her no few hon­ors. Biogra­phies often men­tion her time as NASA’s first (and, it seems, last) artist-in-res­i­dence; more recent­ly, she was named Har­vard Uni­ver­si­ty’s 2021 Charles Eliot Nor­ton Pro­fes­sor of Poet­ry. This posi­tion entails the deliv­ery of the Charles Eliot Nor­ton Lec­ture, a series meant to deal with poet­ry “in the broad­est sense,” encom­pass­ing “all poet­ic expres­sion in lan­guage, music, or the fine arts.”

Nor­ton lec­tur­ers pre­vi­ous­ly fea­tured here on Open Cul­ture include Leonard Bern­stein, Her­bie Han­cock, and Jorge Luis Borges. â€śI am pret­ty sure that the Nor­ton com­mit­tee at Har­vard made an enor­mous mis­take when they asked me to do this lec­ture series,” Ander­son told the Har­vard Gazette, “and it was real­ly my own sense of the absurd that made me want to say yes.”

Few could seri­ous­ly have doubt­ed Ander­son­’s abil­i­ty to rise to the occa­sion. She did, how­ev­er, face a unique chal­lenge in the his­to­ry of the Nor­ton Lec­tures: deliv­er­ing them on Zoom, that now-ubiq­ui­tous video-con­fer­enc­ing appli­ca­tion of the COVID-19 era. Despite belong­ing to a gen­er­a­tion not all of whose mem­bers demon­strate great pro­fi­cien­cy with such tech­nolo­gies, Ander­son her­self appears to have tak­en to Zoom like the prover­bial duck to water. Such, at least, is the impres­sion giv­en by “Spend­ing the War With­out You: Vir­tu­al Back­grounds,” her six-part Nor­ton Lec­ture series now avail­able to watch on Youtube. Its sub­ti­tle hints at one fea­ture of Zoom of which she makes rich use — but hard­ly the only fea­ture.

Through­out “Spend­ing the War With­out You,” Ander­son also super­im­pos­es a vari­ety of vir­tu­al faces over her own: Sig­mund Freud, Gertrude Stein, Loni Ander­son, and even her musi­cal col­lab­o­ra­tor Bri­an Eno. This sort of thing would­n’t have been pos­si­ble even in the long­time fan­ta­sy she cites as an inspi­ra­tion for these lec­tures: host­ing a radio show at 4:00 a.m., “a time when real­i­ty and dreams just sort of merge and it’s hard to tell the dif­fer­ence between them.” That’s just the right head­space in which to lis­ten to Ander­son make her ele­gant­ly spaced-out way through such top­ics as her life in New York, tai chi and med­i­ta­tion, lan­guage as a virus, the death of John Lennon, the cul­ture of the inter­net, Cather­ine the Great, the com­bi­na­tion of sound and image, The Wind in the Wil­lows, non-fun­gi­ble tokens, and Amer­i­can cheese. Tak­ing advan­tage of her dig­i­tal medi­um, she also plays the vio­lin, explores vir­tu­al realms, and dances along­side her younger self.

The col­li­sion of all these ele­ments feels not unlike Good Morn­ing, Mr. Orwell, Nam June Paik’s tele­vi­sion broad­cast of New Year’s Day 1984. Ander­son also took part in that project, shar­ing with Paik an artis­tic will­ing­ness to embrace new media. “I’ve almost always been a wire­head,” she says in these lec­tures 38 years lat­er. “But it’s become a night­mare in some ways, with peo­ple attached now to their devices, with a death grip on their phones. At the same time, it’s the same machine that cre­at­ed celebri­ty cul­ture.” Look­ing back on a “humil­i­at­ing” clip of her­self and Peter Gabriel per­form­ing on Good Morn­ing, Mr. Orwell, she recalls her state of mind dur­ing the com­mer­cial and tech­no­log­i­cal onrush of the 1980s: “Every­thing was mov­ing fast, and I just was­n’t think­ing. That’s my excuse, any­way.” See the full lec­ture series here, or up top. The lec­tures will be added to our col­lec­tion: 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Hear Lau­rie Ander­son Read from The Tibetan Book of the Dead on New Album Songs from the Bar­do

Lau­rie Ander­son Intro­duces Her Vir­tu­al Real­i­ty Instal­la­tion That Lets You Fly Mag­i­cal­ly Through Sto­ries

Lou Reed and Lau­rie Anderson’s Three Rules for Liv­ing Well: A Short and Suc­cinct Life Phi­los­o­phy

Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

Her­bie Han­cock Presents the Pres­ti­gious Nor­ton Lec­tures at Har­vard Uni­ver­si­ty: Watch Online

Leonard Bernstein’s Mas­ter­ful Lec­tures on Music (11+ Hours of Video Record­ed at Har­vard in 1973)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Jon Hamm Narrates a Modernized Version of Plato’s Allegory of the Cave, Helping to Diagnose Our Social Media-Induced Narcissism

The Matrix gave a gen­er­a­tion or two rea­son to recon­sid­er, or indeed first to con­sid­er, Pla­to’s alle­go­ry of the cave. That era-defin­ing block­buster’s cav­al­cade of slick visu­al effects came deliv­ered atop a plot about human­i­ty’s hav­ing been enslaved — plugged into a colos­sal machine, as I recall, like an array of liv­ing bat­ter­ies — while con­vinced by a direct-to-brain sim­u­la­tion that it was­n’t. Here in real life, about two and a half mil­len­nia ear­li­er, one of Pla­to’s dia­logues had con­jured up a not-dis­sim­i­lar sce­nario. You can see it retold in the video above, a clip drawn from a form as rep­re­sen­ta­tive of the ear­ly 21st cen­tu­ry as The Matrix’s was of the late 20th: Legion, a dra­mat­ic tele­vi­sion series based on a com­ic book.

“Imag­ine a cave, where those inside nev­er see the out­side world,” says nar­ra­tor Jon Hamm (him­self an icon of our Gold­en Age of Tele­vi­sion, thanks to his lead per­for­mance in Mad Men). “Instead, they see shad­ows of that world pro­ject­ed on the cave wall. The world they see in the shad­ows is not the real world, but it’s real to them. If you were to show them the world as it actu­al­ly is, they would reject it as incom­pre­hen­si­ble.” Then, Hamm sug­gests trans­pos­ing this rela­tion­ship to real­i­ty into life as we know it — or rather, as we two-dimen­sion­al­ly per­ceive it on the screens of our phones. But “unlike the alle­go­ry of the cave, where the peo­ple are real and the shad­ows are false, here oth­er peo­ple are the shad­ows.”

This prop­a­gates “the delu­sion of the nar­cis­sist, who believes that they alone are real. Their feel­ings are the only feel­ings that mat­ter, because oth­er peo­ple are just shad­ows, and shad­ows don’t feel.” And “if every­one lived in caves, then no one would be real. Not even you.” With the rise of dig­i­tal com­mu­ni­ca­tion in gen­er­al and social media in par­tic­u­lar, a great many of us have ensconced our­selves, by degrees and for the most part uncon­scious­ly, inside caves of our own. Over the past decade or so, increas­ing­ly sober­ing glimpses of the out­side world have moti­vat­ed some of us to seek diag­noses of our col­lec­tive con­di­tion from thinkers of the past, such as social the­o­rist Christo­pher Lasch.

“The new nar­cis­sist is haunt­ed not by guilt but by anx­i­ety,” Lasch writes The Cul­ture of Nar­cis­sism. “Lib­er­at­ed from the super­sti­tions of the past, he doubts even the real­i­ty of his own exis­tence” — won­ders, in oth­er words, whether he isn’t one of the shad­ows him­self. Nev­er­the­less, he remains “facile at man­ag­ing the impres­sions he gives to oth­ers, rav­en­ous for admi­ra­tion but con­temp­tu­ous of those he manip­u­lates into pro­vid­ing it,” and depen­dent on “con­stant infu­sions of approval and admi­ra­tion.” Social media has revealed traces of this per­son­al­i­ty, belong­ing to one who “sees the world as a mir­ror of him­self and has no inter­est in exter­nal events except as they throw back a reflec­tion of his own image,” in us all. It thus gives us pause to remem­ber that Lasch was writ­ing all this in the 1970s; but then, Pla­to was writ­ing in the fifth cen­tu­ry B.C.

Relat­ed Con­tent:

Hear John Malkovich Read Plato’s “Alle­go­ry of the Cave,” Set to Music Mixed by Ric Ocasek, Yoko Ono & Sean Lennon, OMD & More

Two Ani­ma­tions of Plato’s Alle­go­ry of the Cave: One Nar­rat­ed by Orson Welles, Anoth­er Made with Clay

Plato’s Cave Alle­go­ry Ani­mat­ed Mon­ty Python-Style

New Ani­ma­tion Explains Sher­ry Turkle’s The­o­ries on Why Social Media Makes Us Lone­ly

The Case for Delet­ing Your Social Media Accounts & Doing Valu­able “Deep Work” Instead, Accord­ing to Com­put­er Sci­en­tist Cal New­port

A 1947 French Film Accu­rate­ly Pre­dict­ed Our 21st-Cen­tu­ry Addic­tion to Smart­phones

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Alberto Giacometti: A Documentary Look at the Life & Work of the Great Modernist Artist

Actor Stan­ley Tuc­ci has had a long­stand­ing inter­est in the great mod­ernist artist Alber­to Gia­comet­ti, so much so that he cre­at­ed a film about Gia­comet­ti called Final Project (2018). In this doc­u­men­tary, the Tuc­ci “reveals why Gia­comet­ti was one of the most relent­less­ly hon­est and enquir­ing artis­tic minds to have ever lived — a man riv­en by doubt in his own abil­i­ties, yet com­pelled to keep pro­duc­ing sculp­tures and paint­ings that are now hailed as some of the great­est of the 20th cen­tu­ry.” You can watch it above.  You can also view 1,000+ works (sculp­tures, paint­ings, draw­ings and dec­o­ra­tive art objects) by Gia­comet­ti in this online data­base.

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 

1,700 Free Online Cours­es from Top Uni­ver­si­ties.

An Inti­mate Look at Alber­to Gia­comet­ti in His Stu­dio, Mak­ing His Icon­ic Sculp­tures (1965)

Watch as Alber­to Gia­comet­ti Paints and Pur­sues the Elu­sive “Appari­tion” (1965)

 

The Bialetti Moka Express: The History of Italy’s Iconic Coffee Maker, and How to Use It the Right Way

I am sure that many an Open Cul­ture read­er has a Bialet­ti Moka Express in their kitchen. I know I do, but I must add that I knew lit­tle about its his­to­ry and appar­ent­ly even less about how to prop­er­ly use one. Cof­fee expert and author of The World Atlas of Cof­fee James Hoff­mann intro­duces us to the appli­ance we think we know in the above video.

Alfon­so Bialet­ti didn’t orig­i­nal­ly get into the cof­fee busi­ness. In 1919, the Bialet­ti com­pa­ny was an alu­minum man­u­fac­tur­er, with the Moka Express invent­ed some­where around 1933 by Lui­gi de Pon­ti, who worked for the com­pa­ny. Accord­ing to Decon­struct­ing Prod­uct Design by William Lid­well and Ger­ry Man­casa, the inspi­ra­tion came from Bialetti’s wife’s old-fash­ioned wash­ing machine: “a fire, a buck­et, and a lid with a tube com­ing out of it. The buck­et was filled with soapy water, sealed with the lid, and then brought to a boil over the fire, at which point the vapor­ized soapy water was pushed up through the tube and expelled on to the laun­dry.”

As Hoff­mann shows, ear­li­er cof­fee-mak­ers did use steam and a drip tech­nique, but the Moka Express was the first all-in-one mak­er that could sit on the stove top and do the work. All the user has to lis­ten for was the tell-tale gur­gle when it fin­ish­es brew­ing.

In 1945, Alfonso’s son Rena­to returned from a pris­on­er-of-war camp and took over the fam­i­ly busi­ness. He was instru­men­tal in focus­ing on the Moka Express and turn­ing it into an inter­na­tion­al cof­fee brand. He hired car­toon­ist Paul Cam­pani to design l’omino coi baf­fi, “the mus­ta­chioed lit­tle man” whose image is on the side of every Moka Express, and dur­ing the 1950s was in a series of humor­ous ani­mat­ed com­mer­cials. Bialet­ti was the pride of Italy, and for Ital­ian immi­grants liv­ing abroad, it was a trea­sured object in the kitchen.

Such was the iden­ti­fi­ca­tion of Rena­to Bialet­ti with the Moka Express that when he died in 2016, his ash­es were interred in a giant repli­ca pot. Hoff­mann details the fate of the com­pa­ny after­wards, how it has fared against com­peti­tors in Italy and out­side. Will it still be around in decades? Who knows. But it does make a great cup of cof­fee.

And he shows the cor­rect way to brew a cup with the Moka Express in this oth­er video. Here’s a few things I was doing wrong: not using hot water in the bot­tom to start; try­ing to pack in the ground cof­fee like I was mak­ing an espres­so. (Note: a Moka Express cof­fee is some­where between an espres­so and a pour-over.) Using too fine a grind; and not cool­ing the bot­tom as soon as it’s done work­ing its mag­ic. (All these tips I’m going to try tomor­row morn­ing.) Maybe you have been mak­ing your Bialet­ti cup the right way all along. Let me know in the com­ments. I’ll read them over a fresh­ly brewed cup.

Relat­ed Con­tent:

Life and Death of an Espres­so Shot in Super Slow Motion

How to Make the World’s Small­est Cup of Cof­fee, from Just One Cof­fee Bean

The Birth of Espres­so: How the Cof­fee Shots The Fuel Our Mod­ern Life Were Invent­ed

An Espres­so Mak­er Made in Le Corbusier’s Bru­tal­ist Archi­tec­tur­al Style: Raw Con­crete on the Out­side, High-End Parts on the Inside

Philoso­phers Drink­ing Cof­fee: The Exces­sive Habits of Kant, Voltaire & Kierkegaard

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

How Did the Mona Lisa Become the World’s Most Famous Painting?: It’s Not What You Think

Leonar­do da Vinci’s unfin­ished, five cen­tu­ry-old por­trait of a Flo­ren­tine silk merchant’s wife, Lisa del Gio­con­do (nĂ©e Gher­ar­di­ni), is, quite pos­si­bly, the most famous paint­ing in the world.

And its sub­ject pos­sess­es the world’s most cap­ti­vat­ing smile, inspir­ing rhap­sodies and par­o­dies in seem­ing equal mea­sure. (Its Ital­ian title, La Gio­con­da, is a nod to the sitter’s mar­ried name, and depend­ing on whom you ask, trans­lates as â€śjoy­ous,” “light heart­ed,” or  â€śmer­ry.”)

The Lou­vre, where the paint­ing has resided since 1804 (fol­low­ing stints in Fontainebleau, the Grand Palace of Ver­sailles, and Napoleon Bona­parte’s bed­room), reserves a spe­cial mail­box for paeans from Mona Lisa fans.

Ask a ran­dom per­son on the street how this com­par­a­tive­ly dinky oil on wood came to be so uni­ver­sal­ly cel­e­brat­ed, and they’ll log­i­cal­ly con­clude it’s got some­thing to do with that smile.

Those with a back­ground in visu­al art may also cite Renais­sance inno­va­tions in paint­ing tech­nique — atmos­pher­ic per­spec­tive and sfu­ma­to, both of which Leonar­do employed to mem­o­rable effect.

Those are good guess­es, but the real rea­son for the Mona Lisa’s endur­ing glob­al renown?

The pub­lic’s love of a good crime sto­ry.

As art his­to­ri­an Noah Char­ney, author of The Thefts of the Mona Lisa: On Steal­ing the World’s Most Famous Paint­ing, recounts in the ani­mat­ed TED-Ed les­son above, La Gio­can­da owes her block­buster rep­u­ta­tion to a sticky-fin­gered Lou­vre employ­ee named Vin­cen­zo Perug­gia.

In 1911, Perug­gia, a painter whose day job involved build­ing crates for works in the Lou­vre’s col­lec­tion, hid in a cup­board for hours after clos­ing, then escaped via a back door, the unframed can­vas tucked beneath his arm.

The police papered the streets of Paris with the Mona Lisa’s like­ness on miss­ing fly­ers, and the press fanned inter­est in both the crime and the paint­ing. Read­ers devoured updates that iden­ti­fied poet Guil­laume Apol­li­naire and painter Pablo Picas­so as sus­pects, and steamy the­o­ries regard­ing the nature of the rela­tion­ship between Leonar­do and the lady in the por­trait.

As art crit­ic Lau­ra Cum­ming writes in The Guardian, “Mil­lions of peo­ple who might not have seen it, might nev­er even have heard of it, soon became experts on Leonar­do’s stolen paint­ing.”

For two years, its where­abouts remained unknown:

(Perug­gia) kept her in a cup­board, then under a stove in the kitchen, and final­ly in (a) false-bot­tomed trunk. For a while, he rather cock­i­ly propped her post­card on the man­tel­piece… But fair­ly soon he seems to have found her hard to look at, impos­si­ble to live with; there is evi­dence of repeat­ed attempts to sell her.

The thief even­tu­al­ly arranged to repa­tri­ate the pur­loined paint­ing to Italy, strik­ing a deal with Flo­ren­tine art deal­er Alfred Geri, who sum­moned the police as soon as he ver­i­fied the work’s authen­tic­i­ty.

The Mona Lisa was restored to the Lou­vre, where eager crowds clam­ored for a look at a new­ly mint­ed house­hold name they could all rec­og­nize by sight, as “news­pa­pers took the sto­ry for a vic­to­ry lap.”

Find a quiz and cus­tomiz­able les­son plan on the rea­sons behind the Mona Lisa’s fame here.

Hats off to ani­ma­tor Avi Ofer for his puck­ish sug­ges­tion that Leonar­do might have tak­en some flat­ter­ing lib­er­ties with Lisa del Gio­con­do’s appear­ance.

Relat­ed Con­tent:

When Pablo Picas­so and Guil­laume Apol­li­naire Were Accused of Steal­ing the Mona Lisa (1911)

Leonar­do da Vinci’s Note­books Get Dig­i­tized: Where to Read the Renais­sance Man’s Man­u­scripts Online

How Leonar­do da Vin­ci Made His Mag­nif­i­cent Draw­ings Using Only a Met­al Sty­lus, Pen & Ink, and Chalk

Leonar­do Da Vinci’s To-Do List from 1490: The Plan of a Renais­sance Man

Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

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