How Art Spiegelman Designs Comic Books: A Breakdown of His Masterpiece, Maus

Maus, car­toon­ist Art Spiegel­man’s ground­break­ing, Pulitzer Prize-win­ning account of his com­pli­cat­ed rela­tion­ship with his Holo­caust sur­vivor father, is a sto­ry that lingers.

Spiegel­man famous­ly chose to depict the Jews as mice and the Nazis as cats. Non-Jew­ish civil­ians of his father’s native Poland were ren­dered as pigs. He flirt­ed with the idea of depict­ing his French-born wife, the New Yorker’s art edi­tor, Françoise Mouly, as a frog or a poo­dle, until she con­vinced him that her con­ver­sion to Judaism mer­it­ed mouse­hood, too.

The char­ac­ters’ anthro­po­mor­phism is not the only visu­al inno­va­tion, as the Nerd­writer, Evan Puschak, points out above.

Draw­ing on inter­views in Meta­Maus: A Look Inside a Mod­ern Clas­sic, taped con­ver­sa­tions with Neil Gaiman, and the Uni­ver­si­ty of Washington’s Mar­cia Alvar, and oth­er sources, the Nerd­writer pans an eight-pan­el page from the first chap­ter for max­i­mum mean­ing.

On first glance, noth­ing much appears to be hap­pen­ing on that page—hoping to con­vince his elder­ly father to sub­mit to inter­views for the book that would even­tu­al­ly become Maus, Spiegel­man trails him to his child­hood bed­room, which the old­er man has equipped with an exer­cise bike that he ped­als in dress shoes and black socks.

But, as Spiegel­man him­self once point­ed out:

Those pan­els are each units of time. You see them simul­ta­ne­ous­ly, so you have var­i­ous moments in time simul­ta­ne­ous­ly made present. 

Read­ers must force them­selves to pro­ceed slow­ly in order to ful­ly appre­ci­ate the coex­is­tence of all those moments.

Left to our own devices, we might pick up on the senior Spiegelman’s con­cen­tra­tion camp tat­too, or the intro­duc­tion of Art’s late moth­er via the framed pho­to he shows him­self pick­ing up.

But Puschak takes us on an even deep­er dive, not­ing the sig­nif­i­cance of Art’s place­ment in the long mid-page pan­el. Watch out for the 4:30 mark, anoth­er visu­al stun­ner is teased out in a man­ner rem­i­nis­cent of the rev­e­la­tion of a mes­sage writ­ten in invis­i­ble ink.

So Maus con­ferred com­mer­cial suc­cess upon its cre­ator, while hang­ing onto some of the bold visu­al exper­i­ments from ear­li­er in his career, when he and Mouly helped dri­ve the under­ground comix scene—the past and present entwined yet again.

And this is just one page. Should you ven­ture forth in search of fur­ther visu­al cues lat­er in the text, please use the com­ments sec­tion to share your dis­cov­er­ies.

Relat­ed Con­tent:

R. Crumb Shows Us How He Illus­trat­ed Gen­e­sis: A Faith­ful, Idio­syn­crat­ic Illus­tra­tion of All 50 Chap­ters

23 Car­toon­ists Unite to Demand Action to Reduce Gun Vio­lence: Watch the Result

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

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

The Museum of Modern Art (MoMA) Presents a Free Online Class on Fashion: Enroll in Fashion as Design Today

Fash­ion as Design, a free online course by the Muse­um of Mod­ern Art (MoMA), begin­ning this com­ing week , may not equip you with the skills to bring a fab­u­lous gar­ment to fruition, but it will help you under­stand the con­text behind clothes both worka­day and wild.

Led by Depart­ment of Archi­tec­ture and Design Senior Cura­tor Pao­la Antonel­li, Cura­to­r­i­al Assis­tant Michelle Mil­lar Fish­er, and Research Assis­tant Stephanie Kramer—whose respec­tive fash­ion heroes are actor Cate Blanchett, design­er Claire McAr­dle, and activist Glo­ria Steinem—the course will con­sid­er the his­to­ry and impact of 70+ indi­vid­ual gar­ments.

The pieces can be exam­ined in per­son through the end of Jan­u­ary as part of MoMA’s Items: Is Fash­ion Mod­ern? exhi­bi­tion.

Some of the duds on the syl­labus ben­e­fit­ed from a celebri­ty boost, such as Bruce Lee’s icon­ic red track suit, recre­at­ed with its prop­er ear­ly 70’s cut, below.

Oth­ers, just as icon­ic, can be bought with­out fan­fare in a drug­store or supermarket—witness the plain white t‑shirt, intro­duced to MoMA’s col­lec­tion when Antonel­li was curat­ing 2004’s Hum­ble Mas­ter­pieces: Every­day Mar­vels of Design.

Stu­dents with no par­tic­u­lar inter­est in fash­ion may be intrigued to con­sid­er the threads on their backs through such lens­es as mar­ket­ing, dis­tri­b­u­tion, pol­i­tics, iden­ti­ty, and eco­nom­ics.

Stu­dents will also delve into the life­cy­cle of cloth­ing, fash­ion-relat­ed labor prac­tices, and sus­tain­abil­i­ty. The more con­sumers under­stand this side of the biz, the like­li­er it is that the fash­ion indus­try will be pushed toward adopt­ing more eth­i­cal prac­tices.

Enroll in the Muse­um of Mod­ern Art’s free Fash­ion as Design course here or stick a toe in with the com­pan­ion exhi­bi­tion’s Youtube playlist or the teach­ers’ delight­ful­ly can­did first-per­son com­men­tary in Sur­face Magazine’s behind-the-scenes cov­er­age:

The Hood­ie

The hood­ie is one of those items that has had a long and mul­ti­fac­eted life, and one that’s become so polit­i­cal­ly charged. But this sweater, with the hood and the string, with or with­out the zip­per, is from the 1930s, from a com­pa­ny that was called Knicker­bock­er Knit­ting Com­pa­ny, before it became Cham­pi­on. Ini­tial­ly the hood­ie was made for ath­letes, to keep them warm before or after train­ing. It was imme­di­ate­ly co-opt­ed by con­struc­tion and cold-stor­age work­ers. Then in the 1970s and ’80s it became city-dwelling kids’ gar­ment of choice when skate­board­ing ille­gal­ly or writ­ing graf­fi­ti or break­danc­ing. There’s an aspect of the hood­ie that’s become a kind of qui­et defi­ance of the system—of want­i­ng to be in the mid­dle of it but some­how away from it. The hood­ie gives you a false impres­sion of being invis­i­ble. All these dif­fer­ent his­to­ries bring us to today. The Trayvon Mar­tin and George Zim­mer­man inci­dent a few years ago trans­formed the hood­ie into this sym­bol of injus­tice. We’re going to have this red Cham­pi­on hood­ie from the 1980s—when it’s at the moment of tran­si­tion. But it’s going to be there by itself and we’re hop­ing it’s going to be real­ly res­o­nant. It shows the pow­er that cer­tain gar­ments have to become sym­bols for polit­i­cal strug­gle. —Pao­la Antonel­li

Relat­ed Con­tent:

Google Cre­ates a Dig­i­tal Archive of World Fash­ion: Fea­tures 30,000 Images, Cov­er­ing 3,000 Years of Fash­ion His­to­ry

1930s Fash­ion Design­ers Pre­dict How Peo­ple Would Dress in the Year 2000

Every Exhi­bi­tion Held at the Muse­um of Mod­ern Art (MoMA) Pre­sent­ed in a New Web Site: 1929 to Present

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

An Online Trove of Historic Sewing Patterns & Costumes

As Hal­loween draws nigh, our thoughts turn to cos­tumes.

Not those rub­bery, poor­ly con­struct­ed, sexy and/or gory off-the-rack ready­mades, but the sort of lav­ish, his­tor­i­cal­ly accu­rate, home-sewn affairs that would have earned praise and extra can­dy, if only our moth­er had been inclined to spend the bulk of Octo­ber chained to a sewing machine.

Not that one needs the excuse of a hol­i­day to suit up in a fluffy 50’s crino­line, a Tudor-style kir­tle gown, or a 16th-cen­tu­ry Flem­ish out­fit with all the trim­mings.…

Accoun­tant Artemisia Moltaboc­ca, cre­ator of the his­tor­i­cal and cos­play cos­tum­ing blog Cos­tum­ing Diary, has primed our pump with a list of free his­tor­i­cal medieval, Eliz­a­bethan and Vic­to­ri­an pat­terns, includ­ing ones for the gar­ments men­tioned above.

Click through the many links on her site and you may find your­self tum­bling down a rab­bit hole of some oth­er cos-play­er’s gen­eros­i­ty.

That link to the cus­tom corset pat­tern gen­er­a­tor may set you on the road to cre­at­ing a per­fect­ly fit­ted Viking apron or a good-for-begin­ners tunic. (Bring out yer dead!)

Fan­cy even more choic­es? Moltabocca’s Free His­tor­i­cal Cos­tume Pat­terns Pin­ter­est board is a ver­i­ta­ble trove of dress-up fun.

The Los Ange­les Coun­ty Muse­um of Art’s Cos­tume and Tex­tiles Project has detailed down­load­able PDFs to walk you through con­struc­tion of such anachro­nis­tic fin­ery as a 1940’s Zoot Suit, a 19th-cen­tu­ry boy’s frock (above), and a man’s vest with remov­able chest pads (hub­ba hub­ba).

An 1812 Ohio Mili­tia Officer’s Coat from the Ohio His­tor­i­cal Soci­ety.

A pair of Nan­keen Trousers cour­tesy of the Roy­al Ontario Muse­um.

A bul­let bra (hub­ba bub­ba redux!)—pair it with a 1940s Vogue hat and hand­bag and you’re ready to go!

A Regency Drawn Bon­net and an Improved Seam­less Whale­bone Under­skirt from E. & J. Holmes & Co, Boston, 1857.

If you’re feel­ing less than con­fi­dent about your sewing abil­i­ties, you might make like an upper-class Roman in an Ion­ian chi­ton.

Or just curl a syn­thet­ic wig!

Press some­one else’s seams with a straight­en­ing iron, then kick back and enjoy the vin­tage ads, pho­tos of antique gar­ments, and the peri­od infor­ma­tion that often accom­pa­nies these how-tos. And check out the 1913 patent appli­ca­tion for Marie Perillat’s Bust Reduc­er, a mir­a­cle inven­tion designed to “pre­vent flesh bulging while pro­vid­ing self adjustable, com­fort­able, hygien­ic sup­port.”

Begin with some of Cos­tum­ing Diary’s his­tor­i­cal sewing pat­terns before delv­ing into its mas­sive pat­tern col­lec­tion board on Pin­ter­est.

Relat­ed Con­tent:

Browse a Col­lec­tion of Over 83,500 Vin­tage Sewing Pat­terns

Kandin­sky, Klee & Oth­er Bauhaus Artists Designed Inge­nious Cos­tumes Like You’ve Nev­er Seen Before

1930s Fash­ion Design­ers Pre­dict How Peo­ple Would Dress in the Year 2000

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her cur­rent sewing project is 19 head­pieces for Theater of the Apes Sub-Adult Division’s upcom­ing pro­duc­tion of Ani­mal Farm at the Tank in New York City. Fol­low her @AyunHalliday.

“The Philosopher’s Web,” an Interactive Data Visualization Shows the Web of Influences Connecting Ancient & Modern Philosophers

How do we begin to read phi­los­o­phy? Can we slide a book from the shelf, thumb through it casu­al­ly, pick­ing out the bits of wis­dom that make sense?

Should we find a well-known “impor­tant” work, sit in a qui­et study, read the pref­ace, translator’s intro­duc­tion, etc…

How soon we dis­cov­er we know less about the book than when we start­ed.

We go wan­der­ing, lose our­selves in sec­ondary sources, gloss­es, foot­notes, com­ments sec­tions, Wikipedia arti­cles…. The impor­tant book remains unread….

In-between these two extremes are a vari­ety of approach­es that work well for many an auto­di­dact. When data sci­en­tist Grant Louis Oliveira decid­ed he want­ed to under­take a self-guid­ed course of study to “more rig­or­ous­ly explore my ideas,” he began with the hon­est admis­sion, “I find the world of phi­los­o­phy a bit impen­e­tra­ble.”

Where some of us might make an out­line, a spread­sheet, or a hum­ble read­ing list, Oliveira cre­at­ed a com­plex “social net­work visu­al­iza­tion” of “a his­to­ry of phi­los­o­phy” to act as his guide.

“What I imag­ined,” he writes, “is some­thing like a tree arranged down a time­line. More influ­en­tial philoso­phers would be big­ger nodes, and the size of the lines between the nodes would per­haps be vari­able by strength of influ­ence.”

The project, called “Philosopher’s Web,” shows us an impres­sive­ly dense col­lec­tion of names—hundreds of names—held togeth­er by what look like the bendy fil­a­ments in a fiber-optic cable. Each blue dot rep­re­sents a philoso­pher, the thin gray lines between the dots rep­re­sent lines of influ­ence.

The data for the project comes not from aca­d­e­m­ic schol­ar­ship but from Wikipedia, whose “seman­tic com­pan­ion” dbpe­dia Oliveira used to con­struct the web of “influ­enced” and “influ­enced by” con­nec­tions. (Read about his method here.)

As you zoom in, click around, and access dif­fer­ent views, the dots and lines wave like ten­drils of a sea anemone. Oliveira describes the process thus: “the more influ­en­tial the philoso­pher, the thick­er and more numer­ous the lines ema­nat­ing from him. You can click on any one of these nodes to see which philoso­pher it rep­re­sents. If you click and hold, it will dis­play the net­work of philoso­phers he has been influ­enced by, and has influ­enced. Each line has an arrow at the end to denote the direc­tion of the rela­tion­ship.” (Despite his use of the mas­cu­line pro­noun, Oliveira’s web of con­nec­tions is not exclu­sive­ly male.)

Both the pro­jec­t’s site and Dai­ly Nous have more nuanced, detailed instruc­tions. While at first glance the Philosopher’s Web can itself seem a bit impen­e­tra­ble, it reveals more of its inner work­ings the more you use it. Press and hold on one of the blue dots, and it expands into a small­er clus­ter of its own, show­ing a cloud of con­nec­tions hov­er­ing around the cen­tral fig­ure. Tog­gle the “focus” and you get sec­ondary and ter­tiary rela­tion­ships.

 

Click on the lines of influ­ence and see, instead of an expla­na­tion, a some­what mys­ti­fy­ing “influ­ence score.” Click on the “Fil­ter” tab under “Set­tings” and find a range of fil­ters that allow you to nar­row or widen the scope of the map to cer­tain his­tor­i­cal peri­ods.

In addi­tion to indi­vid­ual philoso­phers, the web also con­tains the names of sev­er­al writ­ers, jour­nal­ists, colum­nists, and pop­u­lar pub­lic intel­lec­tu­als, like Paul Krug­man and Ayaan Hir­si Ali. It also dis­plays sev­er­al move­ments or schools of thought as blue dots. Want to know the big names in “Insur­rec­tionary Anar­chism”? Click on the node and chose your lev­els of speci­fici­ty.

The weak­ness­es of the approach are per­haps imme­di­ate­ly appar­ent. What good is a clus­ter of unfa­mil­iar names to the begin­ner, espe­cial­ly since each one appears devoid of his­tor­i­cal and intel­lec­tu­al con­text? Oliveira dis­clos­es some oth­er prob­lems, includ­ing an issue with the soft­ware ren­der­ing accents and for­eign char­ac­ters (as you can see in Slavoj Žižek’s entry above.)

But the more one uses the Philosopher’s Web, the more its util­i­ty becomes appar­ent. “Hope­ful­ly based on con­text,” writes Oliveira, “you should be able to fig­ure out who these peo­ple are with a lit­tle bit of google.” Visu­al­iz­ing the con­nec­tions between them gives one an instant sense of the com­mu­ni­ties and con­ti­nu­ities to which they belong, and among each clus­ter will always be at least one or two famil­iar names, at least in pass­ing, to act as an anchor.

All in all, the Philosopher’s Web should prove to be a use­ful appli­ca­tion for a cer­tain kind of learn­er, and it rep­re­sents a step-up from the rit­u­al of click­ing through Wikipedia links to try and put the puz­zle pieces togeth­er one at a time. The Philoso­pher’s Web joins a num­ber of oth­er sim­i­lar visu­al­iza­tions (see the links below) that aim at cre­at­ing sim­i­lar maps of the dis­ci­pline.

Should you find the approach a lit­tle ster­ile and schemat­ic, well… there’s always that book you put down a few hours ago.…

via Dai­ly Nous

Relat­ed Con­tent:

The Entire Dis­ci­pline of Phi­los­o­phy Visu­al­ized with Map­ping Soft­ware: See All of the Com­plex Net­works

The His­to­ry of Phi­los­o­phy, from 600 B.C.E. to 1935, Visu­al­ized in Two Mas­sive, 44-Foot High Dia­grams

The His­to­ry of Phi­los­o­phy Visu­al­ized

Intro­duc­tion to Phi­los­o­phy: A Free Online Course

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

An Oral History of the Bauhaus: Hear Rare Interviews (in English) with Walter Gropius, Ludwig Mies van der Rohe & More

Image by Detief Mewes, via Wiki­me­dia Com­mons

The Bauhaus, which oper­at­ed as an influ­en­tial school in Ger­many between 1919 and 1933 but lives on as a kind of aes­thet­ic ide­al, has its strongest asso­ci­a­tions with high­ly visu­al work, like tex­tiles, graph­ic design, indus­tri­al design, and espe­cial­ly archi­tec­ture. But a good deal of thought went into estab­lish­ing the kind of ratio­nal­i­ty- and func­tion­al­i­ty-ori­ent­ed philo­soph­i­cal basis that would pro­duce all that visu­al work, and you can hear some of the lead­ing lights of the Bauhaus dis­cuss it, in Eng­lish, on the record Bauhaus Reviewed: 1919 to 1933, now avail­able on Spo­ti­fy. (If you don’t have Spo­ti­fy’s soft­ware, you can down­load it here.) You can also pur­chase your own copy online.

“The bulk of the nar­ra­tive is by [Wal­ter] Gropius, an artic­u­late and pas­sion­ate advo­cate for this remark­able exper­i­ment in edu­ca­tion,” writes All Music Guide’s Stephen Eddins. “Artist Josef Albers and archi­tect [Lud­wig] Mies van der Rohe also con­tribute com­men­tary. [LTM Records founder] James Nice is cred­it­ed with ‘curat­ing’ the CD, and it must be his edit­ing that gives the album such a clear and infor­ma­tive nar­ra­tive struc­ture — one comes away with a vivid under­stand­ing of the devel­op­ment of the move­ment, both philo­soph­i­cal­ly and prag­mat­i­cal­ly.”

In between the spo­ken pas­sages on the ori­gins of the Bauhaus, form and total­i­ty, han­dling and tex­ture, utopi­anism, and oth­er top­ics besides, Bauhaus Reviewed 1919–1933 offers musi­cal com­po­si­tions by such Bauhaus-asso­ci­at­ed com­posers as Arnold Schoen­berg, Josef Matthias Hauer, and George Antheil. You can hear some of the sound from the record repur­posed in Archi­tec­ture as Lan­guage, the short about Mies by Swiss film­mak­er Alexan­dre Favre just below. In it that pio­neer of mod­ernism dis­cuss­es the Bauhaus as well as his own indi­vid­ual work, all of it inter­est­ing to any­one with an incli­na­tion toward mid­cen­tu­ry Euro­pean-Amer­i­can archi­tec­ture and design, none of it ulti­mate­ly more rel­e­vant than the final words the mas­ter speaks: “I don’t want to be inter­est­ing. I want to be good.”

via Mono­skop

Relat­ed Con­tent:

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: Gropius, Klee, Kandin­sky, Moholy-Nagy & More

The Female Pio­neers of the Bauhaus Art Move­ment: Dis­cov­er Gertrud Arndt, Mar­i­anne Brandt, Anni Albers & Oth­er For­got­ten Inno­va­tors

32,000+ Bauhaus Art Objects Made Avail­able Online by Har­vard Muse­um Web­site

The Nazi’s Philis­tine Grudge Against Abstract Art and The “Degen­er­ate Art Exhi­bi­tion” of 1937

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.

To Read This Experimental Edition of Ray Bradbury’s Fahrenheit 451, You’ll Need to Add Heat to the Pages

The Jan van Eyck Acad­e­mie, a “mul­ti­form insti­tute for fine art, design and reflec­tion” in Hol­land, has come up with a nov­el way of pre­sent­ing Ray Brad­bury’s 1953 work of dystopi­an fic­tion, Fahren­heit 451. On Insta­gram, they write:

This week our col­leagues from Super Ter­rain are work­ing in the Lab as a last stop on their all-over-Europe print­ing adven­tures. They showed us this remark­able book they made “Fahren­heit 451”. —

Want to see how the nov­el unfolds? Just add heat. That’s the idea.

Appar­ent­ly they actu­al­ly have plans to mar­ket the book. When asked on Insta­gram, “How can I pur­chase one of these?,” they replied “We’re work­ing on it! Stay tuned.”

When that day comes, please han­dle the book with care.

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!

via Twist­ed Sifter

Relat­ed Con­tent:

Ray Brad­bury Reveals the True Mean­ing of Fahren­heit 451: It’s Not About Cen­sor­ship, But Peo­ple “Being Turned Into Morons by TV”

Father Writes a Great Let­ter About Cen­sor­ship When Son Brings Home Per­mis­sion Slip to Read Ray Bradbury’s Cen­sored Book, Fahren­heit 451

Who Was Afraid of Ray Brad­bury & Sci­ence Fic­tion? The FBI, It Turns Out (1959)

Ray Brad­bury: “I Am Not Afraid of Robots. I Am Afraid of Peo­ple” (1974)

Ray Brad­bury: Lit­er­a­ture is the Safe­ty Valve of Civ­i­liza­tion

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A Virtual Tour of Japan’s Inflatable Concert Hall

After the mas­sive Fukushi­ma earth­quake in 2011, archi­tect Ara­ta Isoza­ki and artist Anish Kapoor cre­at­ed the Ark Nova, an inflat­able mobile con­cert hall, designed to bring music to dev­as­tat­ed parts of Japan. Made of a stretchy plas­tic mem­brane, the Ark Nova can be inflat­ed with­in two hours. Add air in the after­noon. At night, enjoy a con­cert in a 500-seat per­for­mance hall. After­wards, deflate, pack on truck, and move the gift of music to the next city.

Marc Kush­n­er, author of The Future of Archi­tec­ture in 100 Build­ings, takes us on a vir­tu­al tour of the con­cert hall in the video above. Over on the web­site Dezeen, you can see an array of pho­tos, show­ing both the inte­ri­or and exte­ri­or of this inge­nious struc­ture.

via Swiss Miss

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:

The World Con­cert Hall: Lis­ten To The Best Live Clas­si­cal Music Con­certs for Free

The His­to­ry of Clas­si­cal Music in 1200 Tracks: From Gre­go­ri­an Chant to Górec­ki (100 Hours of Audio)

Stan­ford Prof Makes Ukule­les from Wood Floor of New Con­cert Hall

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The Smithsonian Design Museum Digitizes 200,000 Objects, Giving You Access to 3,000 Years of Design Innovation & History

John Lennon poster by Richard Ave­don

When we think of design, each of us thinks of it in our own way, focus­ing on our own inter­ests: illus­tra­tion, fash­ion, archi­tec­ture, inter­faces, man­u­fac­tur­ing, or any of a vast num­ber of sub-dis­ci­plines besides. Those of us who have paid a vis­it to Coop­er Hewitt, also known as the Smith­son­ian Design Muse­um, have a sense of just how much human inno­va­tion, and even human his­to­ry, that term can encom­pass. Now, thanks to an ambi­tious dig­i­ti­za­tion project that has so far put 200,000 items (or 92 per­cent of the muse­um’s col­lec­tion) online, you can expe­ri­ence that real­iza­tion vir­tu­al­ly.

Con­cept car designed by William McBride

The video below explains the sys­tem, an impres­sive feat of design in and of itself, with which Coop­er Hewitt made this pos­si­ble. “In col­lab­o­ra­tion with the Smithsonian’s Dig­i­ti­za­tion Pro­gram Office, the mass dig­i­ti­za­tion project trans­formed a phys­i­cal object (2‑D or 3‑D) from the shelf to a vir­tu­al object in one con­tin­u­ous process,” says its about page. “At its peak, the project had four pho­to­graph­ic set ups in simul­ta­ne­ous oper­a­tion, allow­ing each to han­dle a cer­tain size, range and type of object, from minute but­tons to large posters and fur­ni­ture. A key to the project’s suc­cess was hav­ing a com­plete­ly bar­cod­ed col­lec­tion, which dra­mat­i­cal­ly increased effi­cien­cy and allowed all object infor­ma­tion to be auto­mat­i­cal­ly linked to each image.”

Giv­en that the items in Coop­er Hewit­t’s col­lec­tion come from all across a 3000-year slice of his­to­ry, you’ll need an explo­ration strat­e­gy or two. Have a look at the col­lec­tion high­lights page and you’ll find curat­ed sec­tions hous­ing the items pic­tured here, includ­ing psy­che­del­ic posters, designs for auto­mo­biles, archi­tec­t’s eye, and designs for the Olympics — and that’s just some of the rel­a­tive­ly recent stuff. Hit the ran­dom but­ton instead and you may find your­self behold­ing, in high res­o­lu­tion, any­thing from a drag­o­nish frag­ment of a pan­el orna­ment from 18th-cen­tu­ry France to a late 19th-cen­tu­ry col­lar to a Swedish vase from the 1980s.

Mex­i­co 68 designed by Lance Wyman

Coop­er Hewitt has also begun inte­grat­ing its online and offline expe­ri­ences, hav­ing installed a ver­sion of its col­lec­tion brows­er on tables in its phys­i­cal gal­leries. There vis­i­tors can “select items from the ‘object riv­er’ that flows down the cen­ter of each table” about which to learn more, as well as use a “new inter­ac­tive Pen” that “fur­ther enhances the vis­i­tor expe­ri­ence with the abil­i­ty to “col­lect” and “save” infor­ma­tion, as well as cre­ate orig­i­nal designs on the tables.” So no mat­ter how much time you spend with Coop­er Hewit­t’s online col­lec­tion — and you could poten­tial­ly spend a great deal — you might, should you find your­self on Man­hat­tan’s Muse­um Mile, con­sid­er stop­ping into the muse­um to see how phys­i­cal and dig­i­tal design can work togeth­er. Enter the Coop­er Hewit­t’s online col­lec­tion here.

Tem­ple of Curios­i­ty by Eti­enne-Louis Boul­lée

Relat­ed Con­tent:

Free: A Crash Course in Design Think­ing from Stanford’s Design School

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Abstract: Netflix’s New Doc­u­men­tary Series About “the Art of Design” Pre­mieres Today

The Smith­son­ian Picks “101 Objects That Made Amer­i­ca”

Smith­son­ian Dig­i­tizes & Lets You Down­load 40,000 Works of Asian and Amer­i­can Art

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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