Project Initiation: Starting a Successful Project
Project Planning: Putting It All Together
Project Execution: Running the Project
Agile Project Management
Capstone: Applying Project Management in the Real World
Above, a Program Manager talks about “her path from dropping out of high school and earning a GED, joining the military, and working as a coder, to learning about program management and switching into that career track.” An introduction to the Project Management certificate appears below.
The Project Management program takes about six months to complete, and should cost about $250 in total. Students get charged $39 per month until they complete the program.
Note: Open Culture has a partnership with Coursera. If readers enroll in certain Coursera courses and programs, it helps support Open Culture.
To recent news stories about 3D printed guns, prosthetics, and homes, you can add Scan the World’s push to create “an ecosystem of 3D printable objects of cultural significance.”
Items that took the ancients untold hours to sculpt from marble and stone can be reproduced in considerably less time, provided you’ve got the technology and the know-how to use it.
Since we last wrote about this free, open source initiative in 2017, Scan the World has added Google Arts and Culture to the many cultural institutions with whom it partners, expanding both its audience and the audience of the museums who allow items in their collections to be scanned prior to 3D printing.
China and India are actively courting participants to make some of their treasures available.
Although Scan the World is searchable by collection, artist, and location, with so many options, the community blog is a great place to start.
Here you will find helpful tips for beginners hoping to produce realistic looking skulls and sculptures — control your temperature, shake your resin, and learn from your mistakes.
Got an unreachable object you’re itching to print? Take a look at the drone photogrammetry tutorial to prep yourself for taking a good scan — rotate slowly, remember the importance of light, and get up to speed on your drone by test-driving it in an open location.
Keep an eye peeled for competitions, like this one, which was won by a photo editor and retoucher with no formal 3‑D training.
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.
Note: Open Culture has a partnership with Coursera. If readers enroll in certain Coursera courses and programs, it helps support Open Culture.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletterBooks 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.
The machine learning experiment takes its cues from four opera singers—soprano Olivia Doutney, mezzo-soprano Joanna Gamble, tenor Christian Joel, and bass Freddie Tong—who provided it with 16 hours of recorded material.
The result is truly an all-ages activity that’s much easier on the ears than most digital diversions.
Click and drag one of the gummy-bodied blobs up and down to change its pitch.
Pull them forwards and backwards to vary their vowel sounds.
Once all four are in position, the three you’re not actively controlling will harmonize like a heavenly host.
You can disable individual blobs’ audio to create solos, duets and trios within your composition.
Press record and you can share with the world.
The blobs don’t sing in any discernible language, but they can do legato, staccato, and shoot up to incredibly high notes with a minimum of effort. Their eyes pinwheel when they harmonize.
As Li describes to co-producer Google Arts & Culture below, it’s not the original singers’ voices we’re channeling, but rather the machine learning model’s understanding of the operatic sound.
Click the pine tree icon and the blobs will serenade you with the most-searched Christmas carols.
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.
Sometimes the miraculous time-saving conveniences we’ve come to depend on can have the opposite effect, as artist Simon Wickert recently demonstrated, ambling about the streets of Berlin at a Huck Finn-ish pace, towing a squeaky-wheeled red wagon loaded with 99 secondhand smartphones.
Each phone had a SIM card, and all were running the Google Maps app.
The result?
A near-instantaneous “virtual traffic jam” on Google Maps, even though bicyclists seem to vastly outnumber motorists along Wickert’s route.
As a Google spokesperson told 9to5 Google’s Ben Schoon shortly after news of Wickert’s stunt began to spread:
Traffic data in Google Maps is refreshed continuously thanks to information from a variety of sources, including aggregated anonymized data from people who have location services turned on and contributions from the Google Maps community.
In other words, had you checked your phone before heading out to the Baumhaus an der Mauer(Treehouse on the Wall), the Urban Art Clash Gallery, OMA’s Café, or some other spot close to Wickert’s little red wagon’s trail of terror—like Google’s Berlin office—you might have thought twice about your intended path, or even going at all, seeing bridges and streets change from a free and easy green to an ostensibly gridlocked red.
As long as Wickert kept moving, he was able to continue fooling the algorithm into thinking 99 humans were all using their phone’s Maps app for navigational purposes in a small, congested area.
Obviously, a couple of buses could easily be responsible for carrying 99 smartphones in active use, but it’s unlikely those phones owners would be consulting the map app in the passenger seats, when they could be scrolling through Instagram or playing Candy Crush.
Wickert also discovered that his virtual traffic jam disappeared whenever a car passed his wagonload.
The spokesperson who engaged with Schoon put a good-natured face on Google’s response to Wickert’s hack, saying, “We’ve launched the ability to distinguish between cars and motorcycles in several countries including India, Indonesia and Egypt, though we haven’t quite cracked traveling by wagon. We appreciate seeing creative uses of Google Maps like this as it helps us make maps work better over time.”
Meanwhile, the artist’s puckish stunt, which he describes as a “performance and installation,” seems anchored by sincere philosophical questions, as evidenced by the inclusion on his website of the below excerpt from “The Power of Virtual Maps,” urban researcher Moritz Ahlert’s recent essay in theHamburger Journal für Kulturanthropologie, :
The advent of Google’s Geo Tools began in 2005 with Maps and Earth, followed by Street View in 2007. They have since become enormously more technologically advanced. Google’s virtual maps have little in common with classical analog maps. The most significant difference is that Google’s maps are interactive – scrollable, searchable and zoomable. Google’s map service has fundamentally changed our understanding of what a map is, how we interact with maps, their technological limitations, and how they look aesthetically.
In this fashion, Google Maps makes virtual changes to the real city. Applications such as Airbnb and Carsharing have an immense impact on cities: on their housing market and mobility culture, for instance. There is also a major impact on how we find a romantic partner, thanks to dating platforms such as Tinder, and on our self-quantifying behavior, thanks to the nike jogging app. Or map-based food delivery apps like deliveroo or foodora. All of these apps function via interfaces with Google Maps and create new forms of digital capitalism and commodification. Without these maps, car sharing systems, new taxi apps, bike rental systems and online transport agency services such as Uber would be unthinkable. An additional mapping market is provided by self-driving cars; again, Google has already established a position for itself.
With its Geo Tools, Google has created a platform that allows users and businesses to interact with maps in a novel way. This means that questions relating to power in the discourse of cartography have to be reformulated. But what is the relationship between the art of enabling and techniques of supervision, control and regulation in Google’s maps? Do these maps function as dispositive nets that determine the behavior, opinions and images of living beings, exercising power and controlling knowledge? Maps, which themselves are the product of a combination of states of knowledge and states of power, have an inscribed power dispositive. Google’s simulation-based map and world models determine the actuality and perception of physical spaces and the development of action models.
Some films achieve the rare feat of being both colorful escapist fantasy and artful means of reconnecting us with our imperiled humanity. Pixar’s wonderful, animated Coco is such a film, “an exploration of values,” writes Jia Tolentino at The New Yorker, “a story of a multigenerational matriarchy, rooted in the past—whereas real life, these days, feels like an atemporal, structureless nightmare ruled by men.” Central to its fictionalized celebration of Mexican culture and history is a historical figure every grown-up viewer knows—that foremother of Mexican modernism, Frida Kahlo, an artist who seems as necessary to remember now as ever.
Not that Frida Kahlo is in danger of being forgotten. She is adored around the world, an icon for millions of people who see themselves in the various intersections of her identity: Mexican, mestiza, queer, disabled, feminist, uncompromisingly radical, etc….
Kahlo’s identities matter, and she made them matter. She would not be erased or let her edges be planed away and sanded down. Like other confessional artists to whom she is often compared, Kahlo turned her tragically painful, joyously vibrant life into enduring art. To crib Audre Lorde’s description of poetry, her work is a “revelatory distillation of experience.”
But the confessional understanding of Kahlo can present a critical problem, namely the emergence of what Stephanie Mencimer calls “the Kahlo Cult.”
…her fans are largely drawn by the story of her life, for which her paintings are often presented as simple illustration…. But, like a game of telephone, the more Kahlo’s story has been told, the more it has been distorted, omitting uncomfortable details that show her to be a far more complex and flawed figure than the movies and cookbooks suggest.
In any case, we may not need more hagiography of Frida. We find her life, flaws and all, in her work. From the ravages of childhood polio and a horrific traffic accident at 18 (depicted in the drawing below but never in a painting), from love affairs, a deep immersion in Mexican folk art, and a commitment to socialism and the Mexican Revolution, Kahlo created an autobiographical oeuvre like no other. That said, Kahlo herself is so undeniably fascinating a character that “no one need appreciate art to justify being a Kahlo fan or even a Kahlo cultist,” as Peter Schjeldahl once wrote. “Why not? The world will have cults, and who better merits one?”
For the art appreciators and Kahlo cultists alike, Google Arts & Culture has created a project that brings together her life and work in ways that illuminate both, with biographical and critical essays, and a thorough exhibit of her work from museums all over the world, including many little-known pieces like her sketches, drawings, and early works; a look at her letters and many photographs of her throughout her life; an online exhibition of her famous wardrobe; several features of her influence on LGBTQ artists, musicians, fashion designers, and much, much more. It’s “the largest Kahlo curation ever assembled,” notes My Modern Met. “The best part? No need to pay a museum fee—it’s available online for anyone to enjoy for free.”
A collaboration “between the tech giant and a worldwide network of experts and 33 partner museums in seven countries,” notes Hyperallergic, Faces of Frida contains 800 artifacts, “including 20 ultra-high resolution images… never digitized till now.” Some of these artifacts are extremely rare, such as “early versions of her work, sketched and etched onto the backs of finished paintings, unseen by anyone without the ability to touch them.” You can also see the places that most influenced her career through five Google Street view tours, “including the famous Blue House in Mexico City in which she was born and died.”
This comprehensive online gallery seeks to encompass every part of Frida’s life, but rarely takes the focus from her work. “Of the 150 or so of her works that have survived,” notes Mencimer, “most are self-portraits. As she later said, ‘I paint myself because I am so often alone, because I am the subject I know best.’” Working outward from herself, she also painted the specific resonances of her time and place, and explored human experiences that transcend personality. “As with all the best artists,” says author Frances Borzello in one of the Google Arts features, “Kahlo’s art is not a diary ingeniously presented in paint but a recreation of personal beliefs, feelings and events through her particular lens into something unique and universal.”
Though a superstar in the land of the dead, during her life Kahlo’s work was greatly overshadowed by that of her famous husband Diego Rivera. She only had two shows in her lifetime, one of them arranged by surrealist Andre Breton, who called her painting “a ribbon around a bomb.” After her death in 1954, she “largely disappeared from the mainstream art world.” There is a certain irony in pointing out that fascination with Kahlo’s work sometimes reduces down to interest in her biography, since it took a 1983 biography by Hayden Herrera to bring her back into the public consciousness. “When it was published” Mercimer writes, “there wasn’t a single monograph of Kahlo’s work to show people what it looked like, but the biography, which could have been the basis for a Univision telenovela, sparked a Frida frenzy.”
How things have changed. No reader of Herrera’s book, or any of the many treatments of Kahlo’s life since then, will come to it sight unseen. Frida’s face—defiant, mustachioed, monobrowed—stares out at us from everywhere. The Google exhibit guides us through a comprehensive contextualization of that haunting, yet familiar gaze. The letters and biographical entries contain insight after insight into the artist’s private and public lives. But ultimately, it’s the paintings that speak. As Borzello puts it, when we really confront Frida’s work, we may be struck by “how helpless words are in the face of the strange richness of those images.” She invented new visual vocabularies of pain, pleasure, pride, and perseverance. Visit Faces of Frida here.
As part of an effort to make Artificial Intelligence more comprehensible to the broader public, Google has created an educational website Learn with Google AI, which includes, among other things, a new online course called Machine Learning Crash Course. The course provides “exercises, interactive visualizations, and instructional videos that anyone can use to learn and practice [Machine Learning] concepts.” To date, more than 18,000 Googlers have enrolled in the course. And now it’s available for everyone, everywhere. You can supplement it with other AI courses found in the Relateds below.
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!
On the other hand, if this low-brow innovation leads great hordes of millennials and iGen-ers to cross the thresholds of museums in over 70 countries, who are we to criticize?
So what if their primary motivation is snapping another selfie with their Flemish Renaissance twin? As long as one or two develop a passion for art, or a particular museum, artist, or period, we’re good.
Alas, some disgruntled users (probably Gen X‑ers and Baby Boomers) are giving the Google Arts & Culture app (iPhone-Android) one-star reviews, based on their inability to find the only feature for which they downloaded it.
Allow us to walk you through.
After installing the app (iPhone-Android) on your phone or tablet, scroll down the homepage to the question “Is your portrait in a museum?”
The sampling of artworks framing this question suggest that the answer may be yes, regardless of your race, though one need not be a Guerilla Girl to wonder if Caucasian users are drawing their matches from a far larger pool than users of color…
Click “get started.” (You’ll have to allow the app to access your device’s camera.)
Take a selfie. (I suppose you could hedge your bets by switching the camera to front-facing orientation and aiming it at a pleasing pre-existing headshot.)
The app will immediately analyze the selfie, and within seconds, boom! Say hello to your five closest matches.
In the name of science, I subjected myself to this process, grinning as if I was sitting for my fourth grade school picture. I and received the following results, none of them higher than 47%:
Victorio C. Edades’ Mother and Daughter (flatteringly, I was pegged as the daughter, though at 52, the resemblance to the mother is a far truer match.)
Gustave Courbet’s Jo, la Belle Irlandaise (Say what? She’s got long red hair and skin like Snow White!)
Henry Inman’s portrait of President Martin Van Buren’s daughter-in-law and defacto White House hostess, Angelica Singleton Van Buren (Well, she looks ….congenial. I do enjoy parties…)
Hoping that a different pose might yield a higher match I channeled artist Nina Katchadourian, and adopted a more painterly pose, unsmiling, head cocked, one hand lyrically resting on my breastbone… for good measure, I moved away from the window. This time I got:
Joseph Stella’s Boy with a Bagpipe (Maybe this wasn’t such a hot idea with regard to my self-image?)
and Anders Zorn’s Madonna (This is where the mean cheerleader leaps out of the bathroom stall and calls me the horse from Guernica, right?)
Mercifully, none of these results topped the 50% mark, nor did any of the experiments I conducted using selfies of my teenage son (whose 4th closest match had a long white beard).
If such folderol is beneath you, please avail yourself of the app’s original features:
Zoom Views — Experience every detail of the world’s greatest treasures
Virtual Reality — Grab your Google Cardboard viewer and immerse yourself in arts and culture
Browse by time and color — Explore artworks by filtering them by color or time period
Virtual tours — Step inside the most famous museums in the world and visit iconic landmarks
Personal collection — Save your favorite artworks and share your collections with friends
Nearby — Find museums and cultural events around you
Exhibits — Take guided tours curated by experts
Daily digest — Learn something new every time you open the app
Art Recognizer — Learn more about artworks at select museums by pointing your device camera at them, even when offline
Notifications — subscribe to receive updates on the top arts & culture stories
Download Google Arts and Culture or update to Version 6.0.17 here (for Mac) or here (for Android).
Note: We’re getting reports that the app doesn’t seem to be available in every geographical location. If it’s not available where you live, we apologize in advance.
We're hoping to rely on loyal readers, rather than erratic ads. Please click the Donate button and support Open Culture. You can use Paypal, Venmo, Patreon, even Crypto! We thank you!
Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.
