The Surface of Mars Shown in Stunning 4K Resolution

Could you use a men­tal escape? Some­thing that trans­ports you beyond the con­fines of your pan­dem­ic-nar­rowed world? Maybe a trip to Mars will do the trick. Above and below, you can find high def­i­n­i­tion footage cap­tured by NASA’s three Mars rovers–Spirit, Oppor­tu­ni­ty and Curios­i­ty. The footage (also con­tributed by JPL-Cal­techMSSSCor­nell Uni­ver­si­ty and ASU) was stitched togeth­er by Elder­Fox Doc­u­men­taries, cre­at­ing what they call the most life­like expe­ri­ence of being on Mars.

Safe trav­els.

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 Laugh­ing Squid

Relat­ed Con­tent:

Carl Sagan Presents Six Lec­tures on Earth, Mars & Our Solar Sys­tem … For Kids (1977)

Mars Rover, Curios­i­ty, Will Face Sev­en Min­utes of Ter­ror on August 5

NASA Releas­es a Mas­sive Online Archive: 140,000 Pho­tos, Videos & Audio Files Free to Search and Down­load

Leonard Nimoy Nar­rates Short Film About NASA’s Dawn: A Voy­age to the Ori­gins of the Solar Sys­tem

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Travel from Rotterdam to Amsterdam in 10 Minutes by Boat: A 4k Timelapse

In 2013, a boat trav­eled from Rot­ter­dam to Ams­ter­dam, with a time­lapse cam­era installed 30 meters high. The result­ing film “gives a unique and stun­ning view of the old Dutch water­ways, in 4K.” And lots of bridges along the way.

All images were shot with a Canon 550d at an inter­val of 3 sec­onds. 30,000 pic­tures were tak­en in total. Ini­tial­ly, “the film could­n’t be pub­lished due to restric­tions. After a few years it was for­got­ten.” But now it has been res­ur­rect­ed, and it’s online.

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:

16th-Cen­tu­ry Ams­ter­dam Stun­ning­ly Visu­al­ized with 3D Ani­ma­tion

How Venice Works: 124 Islands, 183 Canals & 438 Bridges

The Rijksmu­se­um in Ams­ter­dam Has Dig­i­tized 709,000 Works of Art, Includ­ing Famous Works by Rem­brandt and Ver­meer

Revis­it Scenes of Dai­ly Life in Ams­ter­dam in 1922, with His­toric Footage Enhanced by Arti­fi­cial Intel­li­gence

Take a Road Trip Across America with Cartoonist Lynda Barry in the 90s Documentary, Grandma’s Way Out Party

Who wouldn’t love to take a road trip with beloved car­toon­ist and edu­ca­tor Lyn­da Bar­ry? As evi­denced by Grandma’s Way Out Par­ty, above, an ear­ly-90s doc­u­men­tary made for Twin Cities Pub­lic Tele­vi­sion, Bar­ry not only finds the humor in every sit­u­a­tion, she’s always up for a detour, whether to a time hon­ored des­ti­na­tion like Mount Rush­more or Old Faith­ful, or a more impul­sive pit­stop, like a Wash­ing­ton state car repair shop dec­o­rat­ed with sculp­tures made from cast off muf­flers or the Mon­tana State Prison Hob­by Store.

Alter­nat­ing in the driver’s seat with then-boyfriend, sto­ry­teller Kevin Kling, she makes up songs on her accor­dion, clowns around in a cheap cow­girl hat, sam­ples an over­sized gas sta­tion donut, and chats up every­one she encoun­ters.

At the World’s Only Corn Palace in Mitchell, South Dako­ta, she breaks the ice by ask­ing a beard­ed local guy in offi­cial Corn Palace cap and t‑shirt if his job is the ful­fill­ment of a long held dream.

“Nah,” he says. “I thought it was a joke … in Far­go, they call it the world’s biggest bird feed­er. We do have the biggest birds in South Dako­ta. They get fed good.”

He leads them to Cal Schultz, the art teacher who designed over 25 years worth of murals fes­toon­ing the exte­ri­or walls. Nudged by Bar­ry to pick a favorite, Schultz choos­es one that his 9th grade stu­dents worked on.

“I would have loved to have been in his class,” Bar­ry, a teacher now her­self, says emphat­i­cal­ly. “I would have giv­en any­thing to have worked on a Corn Palace when I was 14-years-old.”

This point is dri­ven home with a quick view of her best known cre­ation, the pig­tailed, bespec­ta­cled Marlys, osten­si­bly ren­dered in corn—an hon­or Marlys would no doubt appre­ci­ate.

Bar­ry has long been laud­ed for her under­stand­ing of and respect for children’s inner lives, and we see this nat­ur­al affin­i­ty in action when she befriends Desmond and Jake, two young par­tic­i­pants in the Crow Fair Pow Wowjust south of Billings, Mon­tana.

Frus­trat­ed by her inabil­i­ty to get a han­dle on the pro­ceed­ings (“Why didn’t I learn it in school!? Why wasn’t it part of our cur­ricu­lum?”), Bar­ry retreats to the com­fort of her sketch­book, which attracts the curi­ous boys. Even­tu­al­ly, she draws their por­traits to give them as keep­sakes, get­ting to know them bet­ter in the process.

The draw­ings they make in return are trea­sured by the recip­i­ent, not least for the win­dow they pro­vide on the cul­ture with which they are so casu­al­ly famil­iar.

Bar­ry and Kling also chance upon the Stur­gis Motor­cy­cle Ral­ly, and after a bite at the Road Kill Cafe (“from your grill to ours”), Bar­ry wax­es philo­soph­i­cal about the then-unusu­al sight of so much tat­tooed flesh:

There’s some­thing about the fact that they want some­thing on them that they can’t wash off, that even on days when they don’t want peo­ple to know they’re a bik­er, it’s still there. And I have always loved that about peo­ple, like …drag queens who will shave off their eye­brows so they can draw per­fect eye­brows on, or any­body who knows they’re dif­fer­ent and does some­thing to them­selves phys­i­cal­ly so that even on their bad days, they can’t deny it. Because I think that in the end, that’s sort of what saves your life, that you wear your col­ors. You can’t help it.

The afore­men­tioned muf­fler store prompts some mus­ings that will be very famil­iar to any­one who has immersed them­selves in Mak­ing ComicsPic­ture This, or any oth­er of Barry’s instruc­tion­al books con­tain­ing her won­der­ful­ly loopy, intu­itive cre­ative exer­cis­es:

I think this urge to cre­ate is actu­al­ly our ani­mal instinct. And what’s sad is if we don’t let that come through us, I don’t think we have a full life on this earth. And I think we get sick because of it. I mean, it’s weird that it’s an instinct, but it’s an option, just like you can take a wild ani­mal, a beau­ti­ful, wild ani­mal and put him in a zoo. They live, they’re fine in their cage, but you don’t get to see them do the thing that a chee­tah does best, which is, you know, just run like the wind and be able to jump and do the things… I mean, it’s our instinct, it’s instinc­tu­al, it’s our beau­ti­ful, beau­ti­ful, mag­i­cal, poet­ic, mys­te­ri­ous instinct. And every once in a while, you see the flower of it come right up out of a gas sta­tion. 

After 1653 miles and one squab­ble after over­shoot­ing a sched­uled stop (“You don’t want me to go to Butte!”), the two arrive at their final des­ti­na­tion, Barry’s child­hood home in Seat­tle. The occa­sion? Barry’s Fil­ipino grandmother’s 83rd birth­day, and plans are afoot for a potluck bash at the local VFW hall. Fans will swoon to meet this ven­er­at­ed lady and the rest of Barry’s extend­ed clan, and hear Barry’s reflec­tions on what it was like to grow up in a work­ing class neigh­bor­hood where most of the fam­i­lies were mul­ti-racial.

“I walked in and it was every­thing Lyn­da said,” Kling mar­vels.

Indeed.

The jour­ney is every­thing we could have hoped for, too.

Lis­ten to a post-trip inter­view with Kling on Min­neso­ta Pub­lic Radio.

H/t to read­er Char­lotte Book­er

Relat­ed Con­tent:

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

Car­toon­ist Lyn­da Bar­ry Shows You How to Draw Bat­man in Her UW-Madi­son Course, “Mak­ing Comics”

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

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine — cur­rent issue: #63 Fol­low her @AyunHalliday.

Watch 36 Short Animations That Tell the Origin Stories of Mexico’s Indigenous Peoples in Their Own Languages

In our efforts to pre­serve endan­gered species we seem to over­look some­thing equal­ly impor­tant. To me it is a sign of a deeply dis­turbed civ­i­liza­tion where tree hug­gers and whale hug­gers in their weird­ness are accept­able while no one embraces the last speak­ers of a lan­guage.

 — Wern­er Her­zog, Encoun­ters at the End of the World

Trees and whales aside, we sus­pect the ever quotable Her­zog would warm to fel­low direc­tor Gabriela Badil­lo’s 68 Voic­es, 68 Hearts, a series of one-minute ani­ma­tions that pre­serve indige­nous Mex­i­can sto­ries with nar­ra­tion pro­vid­ed by native speak­ers.

“It was cre­at­ed in order to help fos­ter pride, respect, and the use of indige­nous Mex­i­can lan­guages between speak­ers and non-speak­ers, as well as to help reduce dis­crim­i­na­tion and fos­ter a sense of pride towards all com­mu­ni­ties and cul­tures that are part of the cul­tur­al rich­ness that makes up Mex­i­co,” Badil­lo says in an inter­view with Awasqa.

The project stemmed from a real­iza­tion in the wake of the death of her grand­fa­ther, a Max­canu from Yucatan:

Aside from los­ing a loved one, I real­ized that an enor­mous wis­dom had also been lost: a lan­guage, sto­ries, tra­di­tions and cus­toms, a whole world had dis­solved with him.

Each ani­ma­tion involves col­lab­o­ra­tion with the Nation­al Insti­tute of Indige­nous Lan­guage and the com­mu­ni­ty whose sto­ry is being shared. Com­mu­ni­ty mem­bers choose the sub­ject, then sup­ply nar­ra­tion and trans­la­tion. Their chil­dren draw scenes from the select­ed sto­ry, which steers the style of ani­ma­tion.

Pri­or to being released to the gen­er­al pub­lic, each film is pre­sent­ed to its com­mu­ni­ty of ori­gin, along with a book­let of sug­gest­ed edu­ca­tion­al activ­i­ties for par­ents and teach­ers to use in con­junc­tion with screen­ings. Box­es of post­cards fea­tur­ing art­work from the series are donat­ed to the com­mu­ni­ty school.

Some of the entries, like the above About Earth­quakes and the Ori­gin of Life on Earth, nar­rat­ed in Ch’ol by Euge­nia Cruz Mon­te­jo, pack a mas­sive amount of sto­ry into the allot­ted minute:

They say many years ago Ch’u­j­ti­at, the Heav­en’s lord, cre­at­ed the Earth with 12 immor­tal men to car­ry it. And it is when they get tired that the Earth moves, pro­vok­ing earth­quakes.

At the same time he cre­at­ed the first men, who were ungrate­ful, so Ch’u­j­ti­at sent the flood and turned the sur­vivors into mon­keys, and the inno­cent chil­dren into stars. He then cre­at­ed our first par­ents, na’al, Ixic y Xun’Ok, who mul­ti­plied and pop­u­lat­ed the Earth. 

That’s how life on Earth began.That’s how the Ch’oles tell it.

Vari­ants of “that’s how we tell it” are a com­mon refrain, as in the Cora (also known as Náay­eri) sto­ry of how the Moth­er God­dess cre­at­ed earth (and oth­er gods), nar­rat­ed by Pedro Muñiz López.

Here is the writ­ten ver­sion, in Cora:

E’itɨ tiuséi­jre cháana­ka

Yaapú ti’nyúukari tɨkɨn a’najpú ɨtyáj nái­mi ajnáana Náa­sisaa, Téijkame jemín ɨ cháana­ka ajtá ɨ máxkɨrai, góutaaguaka’a ɨ tabóu­jsimua yaati’xáata tɨkɨn mata’a já guatéchaɨn majtá tyuipuán iyakúi cháana­ka japuá.

Muxáj kɨmen­pú góutaaguaka’a tɨ’kí nájkɨ’ta gojoutyáj­tua. Áuna me’séira aɨjme tabou­jsimua matákua’naxɨ.

Tɨ’kí aɨj­na tanáana Náa­sisaa, ukɨpuapú guatákɨɨnitya’a, yán guajaikagua’xɨjre uyóu­j­mua matɨ’jmí jet­sán guatyáakɨ yán miye’ntiné tajapuá. Kapú aɨn jé’i, matákua’naxɨ máj akábibɨɨ yán juté’e, makaupɨxɨɨ ujet­sé matɨ’jmí chuéj kɨj ten­tyóu metya’úrara, ajtá ɨ Taja’as xu’rabe’táana tiuɨrɨj tyau­tyáj­tua ajpúi tanáana Náa­sisaa tsíikɨri guatyákɨs­ta­ka ukɨpuá kɨmen. Japuan­pú aɨj­na chuéj utía­j­ka tɨ’kí goutaíjte aɨjme tabóu­jsimua guatái­jte máj atapa’tsaren metya’tanya’tɨkɨ’káa ayaapú tiutéjbe máj tiunéi­tan.

Ayaapú tiuséi­jre cháana­ka. Ayáj tigua’nyúukari Náay­eri.

Badillo’s edu­ca­tion­al mis­sion is well served by one of our favorites, The Ori­gin of the Moun­tains. In addi­tion to moun­tains, this Cucapá sto­ry, nar­rat­ed by Inocen­cia González Sainz, delves into the ori­gin of oceans and the Col­orado Riv­er, though fair warning—it may be dif­fi­cult to restore class­room order once the stu­dents hear that tes­ti­cles and ear­wax fig­ure promi­nent­ly.

To watch a playlist of the 36 ani­ma­tions com­plet­ed so far with Eng­lish sub­ti­tles, click here.

68 Voic­es, 68 Heart’s Kick­starter page has more infor­ma­tion about this ongo­ing project. Con­tri­bu­tions will go toward ani­mat­ing sto­ries in the three lan­guages that are at the high­est risk of dis­ap­pear­ing—AkatekoPopolo­ca, and Ku’ahl.

As Badil­lo writes:

When a lan­guage dis­ap­pears, not only a sound, a way of writ­ing, a let­ter or a word goes away. Some­thing much deep­er than just a form of com­mu­ni­ca­tion dis­ap­pears — a way of see­ing and con­ceiv­ing the world, sto­ries, tales, a way of nam­ing and relat­ing to things, an enor­mous knowl­edge that we should relearn because of its deep respect with nature.

via Boing Boing

Relat­ed Con­tent: 

200+ Films by Indige­nous Direc­tors Now Free to View Online: A New Archive Launched by the Nation­al Film Board of Cana­da

Peru­vian Schol­ar Writes & Defends the First The­sis Writ­ten in Quechua, the Main Lan­guage of the Incan Empire

Opti­cal Scan­ning Tech­nol­o­gy Lets Researchers Recov­er Lost Indige­nous Lan­guages from Old Wax Cylin­der Record­ings

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.

Rick Steves’ Europe: Binge Watch 11 Seasons of America’s Favorite Traveler Free Online

“Peo­ple who are addict­ed to Euro­pean trav­el, this is kind of a frus­trat­ing time for them,” says Rick Steves in a pod­cast inter­view with The New York Times’ Sam Ander­son from this past spring. He should know: since becom­ing a pro­fes­sion­al trav­el guide and edu­ca­tor in the late 1970s, Steves has har­nessed his own Euro­pean trav­el addic­tion to build a busi­ness empire. To his fel­low Europhiles — and espe­cial­ly his fel­low Europhile but monoglot Amer­i­cans mak­ing their first leap across the Atlantic — Steves has sold a great many class­es, tours, guide­books, mon­ey belts, and neck pil­lows. Over the past three decades, almost every­one who’s got to know him has done so through his trav­el shows on pub­lic tele­vi­sion, espe­cial­ly Rick Steves’ Europe.

“Steves is a joy­ful and jaun­ty host, all eager-beaver smiles and expres­sive head tilts,” writes Ander­son of the show, whose star “gush­es poet­i­cal­ly about England’s Lake Dis­trict (‘a lush land steeped in a rich brew of his­to­ry, cul­ture and nature’) and Erfurt, Ger­many (‘this half-tim­bered medieval town with a shal­low riv­er gur­gling through its cen­ter’) and Istan­bul (‘this sprawl­ing metrop­o­lis on the Bosporus’) and Lis­bon (‘like San Fran­cis­co, but old­er and grit­ti­er and less expen­sive’).”

In recent years, sea­sons of Rick Steves’ Europe have become free to watch on Youtube. The eleven full sea­sons now avail­able also include “Ger­many’s Roman­tic Rhine”; Nor­mandy, “War-Torn Yet Full of Life”; “Feisty and Poet­ic” North Wales; “Lit­tle Europe: Five Micro-Coun­tries”; Basque coun­try; and The Best of Slove­nia.

As well known for his prac­ti­cal-mind­ed­ness as he is for his cheer­ful­ness, Steves has also pro­duced such spe­cial broad­casts as a three-part series on the trav­el skills nec­es­sary to cross huge swaths of Europe safe­ly and enjoy­ably. Giv­en the ongo­ing coro­n­avirus pan­dem­ic, how­ev­er, it will be a while before any of us can once again put our trav­el skills to the test. “This virus can stop our trav­el plans, but it can­not stop our trav­el dreams,” Steves declares on the pod­cast with Ander­son, lead­ing into the announce­ment of a new game: Rick Steves’ Europe Bin­go, “where the cards have all of the lit­tle goofy clichés that show up in almost every one of my shows,” from “Rick vis­its a church” and “Rick enjoys a local drink” to sig­na­ture lines like “Oh, baby!” and “Keep on trav­elin’.”

“You can turn it into a drink­ing game if you want,” Steves notes. And indeed, with or with­out the aid of alco­hol, there are much worse ways for trav­el­ers to pass the remain­der of the pan­dem­ic than with an extend­ed binge-watch of Rick Steves’ Europe, whose sea­sons are orga­nized into playlists below:

Relat­ed Con­tent:

The Sto­ry of Fas­cism: Rick Steves’ Doc­u­men­tary Helps Us Learn from the Hard Lessons of the 20th Cen­tu­ry

Explore the Entire World–from the Com­fort of Quar­an­tine — with 4K Walk­ing Tours

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

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, on Face­book, or on Insta­gram.

The Deadliest Garden in the World: Visit Alnwick’s Poison Garden in Northumberland, England

The mind reels to think of all the ear­ly humans who sac­ri­ficed them­selves, unwit­ting­ly, in the pre­his­toric quest to learn which plants were safe to eat, which were suit­able for heal­ing, and which would maim or kill who­ev­er who touched them. Even now, of course, the great major­i­ty of us rely on experts to make these dis­tinc­tions for us. Unless we’re steeped in field train­ing and/or folk knowl­edge, it’s safe to say most of us wouldn’t have a clue how to avoid poi­son­ing our­selves in the wild.

This need not over­ly con­cern us on a vis­it to The Poi­son Gar­den, how­ev­er. Nes­tled in man­i­cured lanes at Alnwick Gar­den, “one of north England’s most beau­ti­ful attrac­tions,” Natasha Geil­ing writes at Smith­son­ian, the Poi­son Gar­den includes such infa­mous killers as hem­lock, Atropa bel­ladon­na (a.k.a. Dead­ly Night­shade), and Strych­nos nux-vom­i­ca, the source of strych­nine, in its col­lec­tions. Just don’t touch the plants and you should be fine. Oh, and also, guides tell vis­i­tors, “don’t even smell them.” It should go with­out say­ing that tast­ing is out.

The Poi­son Gar­den is hard­ly the main attrac­tion at Alnwick, in Northum­ber­land. The cas­tle itself was used as the set­ting for Hog­warts in the first two Har­ry Pot­ter films. The 14 acres of con­tro­ver­sial mod­ern land­scape gardens–designed by the flam­boy­ant Jane Per­cy, Duchess of Northum­ber­land–have become famous in their own right, in part for vio­lat­ing “England’s archi­tec­tur­al pat­ri­mo­ny,” a scan­dal you can read about here. (One gar­den design­er and crit­ic called it a “pop­u­lar enter­tain­ment, the dream of a girl who looks like Posh and lives at Hog­warts.”)

The duchess responds to crit­i­cism of her extrav­a­gant designs with a shrug. “A lot of my ideas come from Las Vegas and Euro Dis­ney,” she admits. The Poi­son Gar­den has a much more ven­er­a­ble source, the Orto Botan­i­co in Pad­ua, the old­est extant aca­d­e­m­ic botan­i­cal gar­den, found­ed in 1545, with its own poi­son gar­den that dates to the time of the Medicis. After a vis­it, Per­cy “became enthralled with the idea of cre­at­ing a gar­den of plants that could kill instead of heal,” writes Geil­ing. She thought of it, specif­i­cal­ly, as “a way to inter­est chil­dren.” As the duchess says:

Chil­dren don’t care that aspirin comes from the bark of a tree. What’s real­ly inter­est­ing is to know how a plant kills you, and how the patient dies, and what you feel like before you die.

What child doesn’t won­der about such things? And if we teach kids how to avoid poi­so­nous plants, they can keep the rest of us alive should we have to retreat into the woods and become for­agers again. The Poi­son Gar­den also grows plants from which com­mon recre­ation­al drugs derive, like cannabis and cocaine, “as a jump­ing-off point for drug edu­ca­tion,” Geil­ing points out.

Pro­vid­ed vis­i­tors fol­low the rules, the gar­den is safe, “although some peo­ple still occa­sion­al­ly faint from inhal­ing tox­ic fumes,” Alnwick Garden’s web­site warns. And while it’s designed to attract and edu­cate kids, there’s a lit­tle some­thing for every­one. Percy’s favorite poi­so­nous plant, for exam­ple, Brug­man­sia, or angel’s trum­pet, acts as a pow­er­ful aphro­disi­ac before it kills. She explains with glee that “Vic­to­ri­an ladies would often keep a flower from the plant on their card tables and add small amounts of its pollen to their tea to incite an LSD-like trip.” You can learn many oth­er fas­ci­nat­ing facts about plants that kill, and do oth­er things, at Alnwick’s Poi­son Gar­den when the world opens up again.

Relat­ed Con­tent: 

Oliv­er Sacks Pro­motes the Heal­ing Pow­er of Gar­dens: They’re “More Pow­er­ful Than Any Med­ica­tion”

Denmark’s Utopi­an Gar­den City Built Entire­ly in Cir­cles: See Astound­ing Aer­i­al Views of Brønd­by Have­by

What Voltaire Meant When He Said That “We Must Cul­ti­vate Our Gar­den”: An Ani­mat­ed Intro­duc­tion

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

The Anti-Gluttony Door in Portugal’s Alcobaça Monastery Shamed Plump Monks to Start Fasting

Con­sid­er that you eat the sins of the peo­ple

—inscrip­tion carved above the entrance to the Monastery of Alcobaça’s refec­to­ry

Appar­ent­ly, the Monastery of Alcobaça’s res­i­dent monks were eat­ing plen­ty of oth­er things, too.

Even­tu­al­ly their rep­u­ta­tion for exces­sive plump­ness became prob­lem­at­ic.

A hefty physique may have sig­ni­fied pros­per­i­ty and health in 1178 when con­struc­tion began on the UNESCO World Her­itage site, but by the 18th-cen­tu­ry, those extra rolls of flesh were con­sid­ered at odds with the Cis­ter­cian monks’ vows of obe­di­ence, pover­ty and chasti­ty.

Its larders were well stocked, thanks in part to the rich farm­land sur­round­ing the monastery.

18th-cen­tu­ry trav­el­er William Beck­ford described the kitchen in Rec­ol­lec­tions of an Excur­sion to the Monas­ter­ies of Alcobaça and Batal­ha:

On one side, loads of game and veni­son were heaped up; on the oth­er, veg­eta­bles and fruit in end­less vari­ety. Beyond a long line of stoves extend­ed a row of ovens, and close to them hillocks of wheat­en flour whiter than snow, rocks of sug­ar, jars of the purest oil, and pas­try in vast abun­dance, which a numer­ous tribe of lay broth­ers and their atten­dants were rolling out and puff­ing up into a hun­dred dif­fer­ent shapes, singing all the while as blithe­ly as larks in a corn-field.

Lat­er he has the oppor­tu­ni­ty to sam­ple some of the dish­es issu­ing from that kitchen:

The ban­quet itself con­sist­ed of not only the most excel­lent usu­al fare, but rar­i­ties and del­i­ca­cies of past sea­sons and dis­tant coun­tries; exquis­ite sausages, pot­ted lam­preys, strange mess­es from the Brazils, and oth­ers still stranger from Chi­na (edi­ble birds’ nests and sharks’ fins), dressed after the lat­est mode of Macao by a Chi­nese lay broth­er. Con­fec­tionery and fruits were out of the ques­tion here; they await­ed us in an adjoin­ing still more spa­cious and sump­tu­ous apart­ment, to which we retired from the efflu­via of viands and sauces.

Lat­er in his trav­els, he is tak­en to meet a Span­ish princess, who inquires, “How did you leave the fat wad­dling monks of Alcobaça? I hope you did not run races with them.”

Per­haps such tat­tle is what con­vinced the brass that some­thing must be done.

The rem­e­dy took the form of a por­ta pega-gor­do (or “fat catch­er door”), 6′ 6″ high, but only 12.5” wide.

Keep in mind that David Bowie, at his most slen­der, had a 26” waist.

Alleged­ly, each monk was required to pass through it from the refec­to­ry to the kitchen to fetch his own meal. Those who couldn’t squeeze through were out of luck.

Did they have to sit in the refec­to­ry with their faces to the walls, silent­ly eat­ing the sins of the peo­ple (respicite quia pec­ca­ta pop­uli comedi­tis) while their slim­mer brethren filled their bel­lies, also silent­ly, face-to-the-wall, as a read­er read reli­gious texts aloud from a pul­pit?

His­to­ry is a bit unclear on this point, though Beckford’s enthu­si­asm waned when he got to the refec­to­ry:

…a square of sev­en­ty or eighty feet, begloomed by dark-coloured paint­ed win­dows, and dis­graced by tables cov­ered with not the clean­est or least unc­tu­ous linen in the world.

Accord­ing to a Ger­man Wikipedia entry, the monks passed through the por­ta pega-gor­do month­ly, rather than dai­ly, a more man­age­able mor­ti­fi­ca­tion of the flesh for those with healthy appetites.

Image via Wiki­me­dia Com­mons

If you are assem­bling a buck­et list of des­ti­na­tions for when we can trav­el freely again, con­sid­er adding this beau­ti­ful Goth­ic monastery (and the cel­e­brat­ed pas­try shop across the street). Your choice whether or not to suck it in for a pho­to in front of the por­ta pega-gor­do.

Relat­ed Con­tent:

Medieval Monks Com­plained About Con­stant Dis­trac­tions: Learn How They Worked to Over­come Them

Moun­tain Monks: A Vivid Short Doc­u­men­tary on the Monks Who Prac­tice an Ancient, Once-For­bid­den Reli­gion in Japan

How Tibetan Monks Use Med­i­ta­tion to Raise Their Periph­er­al Body Tem­per­a­ture 16–17 Degrees

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.

Rome’s Colosseum Will Get a New Retractable Floor by 2023 — Just as It Had in Ancient Times

Rome was­n’t built in a day. But one of its most renowned attrac­tions could be returned to its first-cen­tu­ry glo­ry in just two years — or at least, part of one of its most famous attrac­tions could be. In our time, the Colos­se­um has long been a major Roman tourist des­ti­na­tion–one that lacks even a prop­er floor. Vis­i­tors today see right through to its under­ground hypogeum, an impres­sive mechan­i­cal labyrinth used to con­vey glad­i­a­tors into the are­na, as well as a vari­ety of oth­er per­form­ers, will­ing and unwill­ing, human and oth­er­wise. “Eye­wit­ness­es describe how ani­mals appeared sud­den­ly from below, as if by mag­ic, some­times appar­ent­ly launched high into the air,” writes Smith­son­ian’s Tom Mueller.

“The hypogeum allowed the orga­niz­ers of the games to cre­ate sur­pris­es and build sus­pense,” the Ger­man Archae­o­log­i­cal Insti­tute in Rome’s Heinz-Jür­gen Beste tells Mueller. “A hunter in the are­na wouldn’t know where the next lion would appear, or whether two or three lions might emerge instead of just one.”

Now, the Ital­ian gov­ern­ment has announced plans to return the ele­ment of sur­prise to the Colos­se­um with a restora­tion of its elab­o­rate “retractable floor.” This has drawn the atten­tion of media con­cerned with his­to­ry and trav­el, but also the world of archi­tec­ture and design. With €10 mil­lion already pledged by the state, the world­wide call is out for archi­tec­tur­al pro­pos­als, due by Feb­ru­ary 1 of this year for a ten­ta­tive com­ple­tion date of 2023.

The Colos­se­um, which once seat­ed 50,000 spec­ta­tors, has­n’t put on a bat­tle since the fifth cen­tu­ry. The hypogeum’s long expo­sure to the ele­ments means that any archi­tec­tur­al firm eager to take on this project will have its work cut out for it. Few restora­tions could demand the strik­ing of a trick­i­er bal­ance between his­tor­i­cal faith­ful­ness and mod­ern func­tion­al­i­ty. What­ev­er design gets select­ed, its trap doors and hid­den ele­va­tors will be employed for rather dif­fer­ent enter­tain­ments than, say, the death match­es between slaves and beasts to which so many ancient Romans thrilled. The Ital­ian gov­ern­ment intends to use the Colos­se­um’s new floor to put on the­ater pro­duc­tions and con­certs – which should turn it into an even more pop­u­lar attrac­tion when we can all once again go to the the­ater, con­certs, and indeed Italy.

via Smith­son­ian

Relat­ed Con­tent:

Rome Reborn: Take a Vir­tu­al Tour of Ancient Rome, Cir­ca 320 C.E.

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

Build­ing the Colos­se­um: The Icon of Rome

Mag­nif­i­cent Ancient Roman Mosa­ic Floor Unearthed in Verona, Italy

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, on Face­book, or on Insta­gram.

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