The Biodiversity Heritage Library Makes 150,000 High-Res Illustrations of the Natural World Free to Download

You may have heard of “plant blind­ness,” a con­di­tion defined about 20 years ago that has start­ed to get more press in recent years. As its name sug­gests, it refers to an inabil­i­ty to iden­ti­fy or even notice the many plant species around us in our every­day lives. Some have con­nect­ed it to a poten­tial­ly more wide­spread afflic­tion they call “nature deficit dis­or­der,” which is also just what it sounds like: a set of impair­ments brought on by insuf­fi­cient expo­sure to the nat­ur­al world. One might also draw a line from these con­cepts to our atti­tudes about cli­mate change, or to our ever-less-inter­rupt­ed immer­sion in the dig­i­tal world. But if any part of that dig­i­tal world can open our eyes to nature once again, it’s the Bio­di­ver­si­ty Her­itage Library (present also on Flickr and Insta­gram.)

Pre­vi­ous­ly fea­tured here on Open Cul­ture for its vast archive of two mil­lion illus­tra­tions of the nat­ur­al world, the BHL has received more cov­er­age this year for the more than 150,000 it’s made avail­able for copy­right-free down­load. Hyper­al­ler­gic’s Hakim Bishara quotes Hen­ry David Thore­au — “We need the ton­ic of wild­ness. We can nev­er get enough of nature” — before writ­ing of how thrilled Thore­au would have been by the exis­tence of such a resource for images of nature.

These images include “ani­mal sketch­es, his­tor­i­cal dia­grams, botan­i­cal stud­ies, and sci­en­tif­ic research col­lect­ed from hun­dreds of thou­sands of jour­nals and libraries across the world,” some dat­ing to the 15th cen­tu­ry. He high­lights “Joseph Wolf’s 19th-cen­tu­ry book Zoo­log­i­cal Sketch­es, con­tain­ing about 100 lith­o­graphs depict­ing wild ani­mals in London’s Regent’s Park” and “water­col­ors depict­ing flow­ers indige­nous to the Hawai­ian islands” as well as “an 1833 DIY Taxidermist’s Man­u­al.”

As Smithsonian.com’s There­sa Machemer notes, “The prac­tice of cre­at­ing detailed illus­tra­tions of flo­ra and fau­na, whether to doc­u­ment an expe­di­tion or a med­ical prac­tice, gained pop­u­lar­i­ty well before pho­tog­ra­phy was up to the task.” Hence such ambi­tious projects as the Unit­ed States gov­ern­men­t’s com­mis­sion­ing, in 1866, of water­col­or paint­ings depict­ing every fruit known to man. But even today, “an illus­tra­tion can offer more clar­i­ty than a pho­to­graph,” as you’ll find when you zoom in on any of the BHL’s high-res­o­lu­tion illus­tra­tions. Accord­ing to the BHL, “a world­wide con­sor­tium of nat­ur­al his­to­ry, botan­i­cal, research, and nation­al libraries,” its mis­sion is to pro­vide “access to the world’s col­lec­tive knowl­edge about bio­di­ver­si­ty,” in order to help researchers “doc­u­ment Earth’s species and under­stand the com­plex­i­ties of swift­ly-chang­ing ecosys­tems in the midst of a major extinc­tion cri­sis and wide­spread cli­mate change.” But by reveal­ing how our pre­de­ces­sors saw nature, it can also help all of us see nature again. Access the illus­tra­tions here.

Relat­ed Con­tent:

Two Mil­lion Won­drous Nature Illus­tra­tions Put Online by The Bio­di­ver­si­ty Her­itage Library

Ernst Haeckel’s Sub­lime Draw­ings of Flo­ra and Fau­na: The Beau­ti­ful Sci­en­tif­ic Draw­ings That Influ­enced Europe’s Art Nou­veau Move­ment (1889)

In 1886, the US Gov­ern­ment Com­mis­sioned 7,500 Water­col­or Paint­ings of Every Known Fruit in the World: Down­load Them in High Res­o­lu­tion

Watch 50 Hours of Nature Sound­scapes from the BBC: Sci­en­tif­i­cal­ly Proven to Ease Stress and Pro­mote Hap­pi­ness & Awe

A Shaz­am for Nature: A New Free App Helps You Iden­ti­fy Plants, Ani­mals & Oth­er Denizens of the Nat­ur­al World

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

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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.

Jules Verne’s Most Famous Books Were Part of a 54-Volume Masterpiece, Featuring 4,000 Illustrations: See Them Online

Not many read­ers of the 21st cen­tu­ry seek out the work of pop­u­lar writ­ers of the 19th cen­tu­ry, but when they do, they often seek out the work of Jules Verne. Jour­ney to the Cen­ter of the Earth, Twen­ty Thou­sand Leagues Under the Sea, Around the World in Eighty Days: fair to say that we all know the titles of these fan­tas­ti­cal French tales from the 1860s and 70s, and more than a few of us have actu­al­ly read them. But how many of us know that they all belong to a sin­gle series, the 54-vol­ume Voy­ages Extra­or­di­naires, that Verne pub­lished from 1863 until the end of his life? Verne described the pro­jec­t’s goal to an inter­view­er thus: “to con­clude in sto­ry form my whole sur­vey of the world’s sur­face and the heav­ens.”

Verne intend­ed to edu­cate, but at the same time to enter­tain and even artis­ti­cal­ly impress: “My object has been to depict the earth, and not the earth alone, but the uni­verse,” he said. “And I have tried at the same time to real­ize a very high ide­al of beau­ty of style.” This he accom­plished with great suc­cess in a time and place with­out even what we would now con­sid­er a ful­ly lit­er­ate pub­lic.

As philoso­pher Marc Sori­ano writes of the 1860s when Verne began pub­lish­ing, “The dri­ve for lit­er­a­cy in France has been under­way since the Guizot Law of 1833, but there is still much to do. Any well-advised edi­tor must aid his read­ers who have not yet achieved a good read­ing pro­fi­cien­cy.”

Hence the need for illus­tra­tions: beau­ti­ful illus­tra­tions, sci­en­tif­i­cal­ly and nar­ra­tive­ly faith­ful illus­tra­tions, and above all a great many illus­tra­tions: over 4,000 of them, by the count of Arthur B. Evans in his essay on the series’ artists, “an aver­age of 60+ illus­tra­tions per nov­el, one for every 6–8 pages of text.” Still today, “most mod­ern French reprints of the Voy­ages Extra­or­di­naires con­tin­ue to fea­ture their orig­i­nal illus­tra­tions — recap­tur­ing the ‘feel’ of Verne’s socio-his­tor­i­cal milieu and evok­ing that sense of far­away exoti­cism and futur­is­tic awe which the orig­i­nal read­ers once expe­ri­enced from these texts. And yet, to date, the bulk of Vern­ian crit­i­cism has vir­tu­al­ly ignored the cru­cial role played by these illus­tra­tions in Verne’s oeu­vre.”

Evans iden­ti­fies four dif­fer­ent types of illus­tra­tions in the series: “ren­der­ings of the pro­tag­o­nists of the sto­ry — e.g., por­traits like the one of Impey Bar­bi­cane in De la terre à la lune”; “panoram­ic and post­card-like” views of the “exot­ic locales, unusu­al sights, and flo­ra and fau­na which the heroes encounter dur­ing their jour­ney, like the one from Vingt mille lieues sous les mers depict­ing divers walk­ing on the ocean floor”; “doc­u­men­ta­tion­al” illus­tra­tions like “the map of the Polar regions (hand-drawn by Verne him­self) for his 1864 nov­el Les Voy­ages et aven­tures du cap­i­taine Hat­teras”; and por­tay­als of “a spe­cif­ic moment of action in the narrative—e.g., the one from Voy­age au cen­tre de la terre where Prof. Liden­brock, Axel, and Hans are sud­den­ly caught in a light­ning storm on a sub­ter­ranean ocean.”

Verne and his edi­tor Pierre-Jules Het­zel com­mis­sioned these illus­tra­tions from no few­er than eight artists, a group includ­ing Edouard Riou, Alphonse de Neuville, Emile-Antoine Bayard (pre­vi­ous­ly fea­tured here on Open Cul­ture), and Léon Benett — all well-known artists in late 19th-cen­tu­ry France, and made even more so by their work in the Voy­ages Extra­or­di­naires. You can browse a com­plete gallery of the series’ orig­i­nal illus­tra­tions here, and if you like, enrich the expe­ri­ence with this exten­sive essay by Ter­ry Har­pold on “read­ing” these images in con­text.

Togeth­er with the sto­ries them­selves, on the back of which Verne remains the most trans­lat­ed sci­ence-fic­tion author of all time, they allow Har­pold to make the cred­i­ble claim that “the tex­tu­al-graph­ic domain con­sti­tut­ed by these objects is unmatched in its breadth and vari­ety; no oth­er cor­pus asso­ci­at­ed with a sin­gle author is com­pa­ra­ble.” Human knowl­edge of the uni­verse has widened and deep­ened since Verne’s day, but for sheer intel­lec­tu­al and adven­tur­ous won­der about what that uni­verse might con­tain, has any writer, from any era or land, out­done him since?

Relat­ed Con­tent:

Émile-Antoine Bayard’s Vivid Illus­tra­tions of Jules Verne’s Around the Moon: The First Seri­ous Works of Space Art (1870)

Jules Verne Accu­rate­ly Pre­dicts What the 20th Cen­tu­ry Will Look Like in His Lost Nov­el, Paris in the Twen­ti­eth Cen­tu­ry (1863)

How French Artists in 1899 Envi­sioned Life in the Year 2000: Draw­ing the Future

Hear Rick Wakeman’s Musi­cal Adap­ta­tion of Jules Verne’s Jour­ney to the Cen­tre of the Earth, “One of Prog Rock’s Crown­ing Achieve­ments”

Petite Planète: Dis­cov­er Chris Marker’s Influ­en­tial 1950s Trav­el Pho­to­book Series

The Art of Sci-Fi Book Cov­ers: From the Fan­tas­ti­cal 1920s to the Psy­che­del­ic 1960s & Beyond

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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.

Chick Corea (RIP) Offers 16 Pieces of “Cheap But Good Advice for Playing Music in a Group” (1985)

Jazz instru­men­tal­ists who “play the changes” have learned to make impro­vi­sa­tion look easy. In live per­for­mance, the audi­ence shouldn’t see the years of study and prac­tice behind what Willie Thomas calls at Jazz Every­one, “a sys­tem that com­bines the basic jazz lan­guage with the impor­tant music the­o­ry con­cepts” and at the same time “allows a play­er to focus on how the music fits the tune and not the chord sym­bols and scales that often incum­ber per­for­mance.”

That may seem like a wordy expla­na­tion, but Thomas is care­ful to expli­cate the cliché “play the changes” for max­i­mum mean­ing, draw­ing on over forty years of expe­ri­ence him­self learn­ing the prin­ci­ple as a “use­ful tool for self expres­sion through jazz music.” The idea of play­ing to the tune may seem fun­da­men­tal­ly obvi­ous, but the more one devel­ops as a stu­dent, the far­ther away one can get from lived expe­ri­ence.

How might musi­cians apply ideals about ensem­ble play­ing to actu­al ensem­ble play­ing? For answers to this ques­tion, we might turn to jazz leg­end Chick Corea, mem­ber of Miles Davis’s band dur­ing the path­break­ing In a Silent Way and Bitch­es Brew ses­sions; play­er in and leader of more Gram­my-win­ning ensem­bles than per­haps any­one else (he’s col­lect­ed 23 awards so far); and “one of the jazz world’s most thought­ful and lucid cham­pi­ons.”

This descrip­tion comes from a Chris­t­ian Sci­ence Mon­i­tor write-up of Corea’s appear­ance in a two-hour Q&A ses­sion at Berklee Col­lege of Music in 1985, where the pianist and jazz fusion key­board mas­ter had stu­dents pick up the typed hand­out above at the door. He begins with the sim­plest, but most impor­tant advice, “Play only what you hear,” then elab­o­rates in 16 rules which you can read in full below.

Corea’s pri­ma­ry metaphor is architectural—performance, he says, is about cre­at­ing spaces and taste­ful­ly fill­ing them. Doing this well requires seri­ous study and prac­tice. Then it requires remem­ber­ing some basic rules, or Chick Corea’s “Cheap But Good Advice for Play­ing Music in a Group.” My favorite: “always release what­ev­er ten­sion you cre­ate.” Like much of you we find here, it’s good all-around advice for every endeav­or.

  1. Play only what you hear.
  2. If you don’t hear any­thing, don’t play any­thing.
  3. Don’t let your fin­gers and limbs just wander—place these inten­tion­al­ly.
  4. Don’t impro­vise on endlessly—play some­thing with inten­tion, devel­op it or not, but then end off, take a break.
  5. Leave space—create space—intentionally cre­ate places where you don’t play.
  6. Make your sound blend. Lis­ten to your sound and adjust it to the rest of the band and the room.
  7. If you play more than one instru­ment at a time—like a drum kit or mul­ti­ple keyboards—make sure that they are bal­anced with one anoth­er.
  8. Don’t make any of your music mechan­i­cal­ly or just through pat­terns of habit. Cre­ate each sound, phrase, and piece with choice—deliberately.
  9. Guide your choice of what to play by what you like—not by what some­one else will think.
  10. Use con­trast and bal­ance the ele­ments: high/low, fast/slow, loud/soft, tense/relaxed, dense/sparse.
  11. Play to make the oth­er musi­cians sound good. Play things that will make the over­all music sound good.
  12. Play with a relaxed body. Always release what­ev­er ten­sion you cre­ate.
  13. Cre­ate space—begin, devel­op, and end phras­es with inten­tion.
  14. Nev­er beat or pound your instrument—play it eas­i­ly and grace­ful­ly.
  15. Cre­ate space—then place some­thing in it.
  16. Use mim­ic­ry sparsely—mostly cre­ate phras­es that con­trast with and devel­op the phras­es of the oth­er play­ers.

via Nate Chi­nen

Relat­ed Con­tent:

Thelo­nious Monk’s 25 Tips for Musi­cians (1960)

Wyn­ton Marsalis Gives 12 Tips on How to Prac­tice: For Musi­cians, Ath­letes, or Any­one Who Wants to Learn Some­thing New

John Coltrane Draws a Pic­ture Illus­trat­ing the Math­e­mat­ics of Music

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

The Woman Who Invented Rock n’ Roll: An Introduction to Sister Rosetta Tharpe

When peo­ple would ask her about her music, she would say, “Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that for­ev­er.”

- Gayle Wald, author of Shout, Sis­ter, Shout!: The Untold Sto­ry of Rock-and-Roll Trail­blaz­er Sis­ter Roset­ta Tharpe

What do rock and roll pio­neers Elvis Pres­leyChuck Berry, and Lit­tle Richard have in com­mon, besides belong­ing to the inau­gur­al (and all male) class of Rock and Roll Hall of Fame inductees?

They were all deeply influ­enced by Sis­ter Roset­ta Tharpe, the God­moth­er of Rock and Roll, and the sub­ject of the col­lage-hap­py Poly­phon­ic video essay, above.

(I’d rethink the essay­ist’s choice to obscure Tharpe’s right hand with an unnec­es­sary cut out of a float­ing gui­tar super­im­posed over archival con­cert footage. Here’s an unob­struct­ed view.)

Berry described his career as “one long Roset­ta Tharpe imper­son­ation.”

Pres­ley was cap­ti­vat­ed by her unique gui­tar-pick­ing style, record­ing sev­er­al songs that had been hits for the church-reared Tharpe, includ­ing “Up Above My Head,” “Just A Clos­er Walk With Thee,” “This Train and Down By The River­side.”

And Lit­tle Richard’s first big break at 14 came com­pli­ments of Tharpe, who over­heard him singing some of her gospel tunes, and spon­ta­neous­ly invit­ed him to open for her at the Macon City Audi­to­ri­um.

She was the trail­blaz­ers’ trail blaz­er in ways that go beyond rock and roll:

She was one of the few African-Amer­i­can female per­form­ers to appear on a V‑Disc, a joint effort on the part of the gov­ern­ment and the record indus­try to ship morale-boost­ing 78RPM records to over­seas troops dur­ing World War II.

Her personalized—and self-designed—tour bus was a music indus­try first, ensur­ing that she and her tour­mate (and alleged lover), Marie Knight, would be able to dine and sleep in com­fort as African-Amer­i­cans trav­el­ing dur­ing seg­re­ga­tion.

She hired the all-white, all-male Grand Old Opry stars the Jor­danaires to back her up, a bold move for an artist of col­or in 1938.

Her style, and like­ly per­son­al met­tle, owed a lot to her moth­er, the singing, man­dolin-play­ing evan­ge­list Katie Bell Nubin, who relo­cat­ed from Arkansas to Chica­go, to join a Pen­te­costal con­gre­ga­tion where women were allowed to preach and six-year-old “Rosie” was placed atop the piano, so peo­ple in the back could see her as she per­formed.

After a brief mar­riage to a preach­er, Tharpe hit New York City, where she embarked on a sec­u­lar career, per­form­ing in night­clubs with the likes of Duke Elling­ton and Cab Cal­loway.

The flip side of adu­la­tion by soon-to-be rock and roll greats was rejec­tion by many of the devout Chris­tians who had cel­e­brat­ed her gifts when they were offered up in a pure­ly gospel con­text.

Her fame was eclipsed by the rise of those she’d influ­enced.

The pub­lic may have for­got­ten her for a time, but the star­ry names in her debt did not.

John­ny Cash sin­gled her out as one of his heroes in his 1992 Rock and Roll Hall of Fame induc­tion speech.

And three years ago, the God­moth­er of Rock and Roll was final­ly induct­ed into the Rock and Roll Hall of Fame her­self.

Relat­ed Con­tent: 

Watch the Hot Gui­tar Solos of Sis­ter Roset­ta Tharpe, “America’s First Gospel Rock Star”

Revis­it The Life & Music of Sis­ter Roset­ta Tharpe: ‘The God­moth­er of Rock and Roll’

New Web Project Immor­tal­izes the Over­looked Women Who Helped Cre­ate Rock and Roll in the 1950s

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join Ayun’s com­pa­ny The­ater of the Apes in New York City this March for her book-based vari­ety series, Necro­mancers of the Pub­lic Domain, and the world pre­miere of Greg Kotis’ new musi­cal, I AM NOBODY. Fol­low her @AyunHalliday.

Free Coloring Books from World-Class Libraries & Museums: Download & Color Hundreds of Free Images

There are many roads to well­ness. Med­i­ta­tion, yoga, exer­cise, and healthy diet are all effec­tive ther­a­pies for bring­ing down stress lev­els. But we shouldn’t dis­count an activ­i­ty we once used to while hours away as chil­dren, and that adults by the mil­lions have tak­en to in recent years. Col­or­ing takes us out of our­selves, say experts like Doc­tor of Psy­chi­a­try Scott M. Bea, “it’s very much like a med­i­ta­tive exer­cise.” It relax­es our brain by focus­ing our atten­tion and push­ing dis­tract­ing and dis­turb­ing thoughts to the mar­gins. The low stakes make the activ­i­ty easy and plea­sur­able, qual­i­ties grown-ups don’t get to ascribe to most of what they spend their time doing.

Reduc­ing anx­i­ety is all well and good, but some art and his­to­ry lovers can’t accept just any old mass-mar­ket col­or­ing book. Luck­i­ly, a con­sor­tium of over a hun­dred muse­ums and libraries has giv­en these spe­cial cus­tomers a rea­son to stick with it. Since 2016, the annu­al #Col­or­Our­Col­lec­tions cam­paign, led by the New York Acad­e­my of Med­i­cine (NYAM), has made avail­able, for free, adult col­or­ing books. The range of images offers some­thing for every­one, from ear­ly mod­ern illus­tra­tions like the cat at the top, from Edward Topsell’s His­to­rie of Foure-Foot­ed Beast­es (1607)—courtesy of Trin­i­ty Hall Cam­bridge; to the poignant cov­er of The Suf­frag­ist, below, from July 1919, a month after U.S. women won the right to the vote (from the Hunt­ing­ton Library, Art Muse­um, and Botan­i­cal Gar­dens).

There are, unsur­pris­ing­ly, copi­ous illus­tra­tions of med­ical pro­ce­dures and anato­my, like that below from the Library at the Uni­ver­si­ty of Barcelona. There are vin­tage adver­tise­ments, “canoe-heavy con­tent” from a Cana­di­an muse­um, as Kather­ine Wu reports at Smith­son­ian, and war posters like that fur­ther down of Admi­ral Chester Nimitz ask­ing for “the stuff” to hit “the spot,” i.e. Tokyo –from the Pritzk­er Mil­i­tary Muse­um. “The only com­mon­al­i­ty shared by the thou­sands of prints and draw­ings avail­able on the NYAM web­site is their black-and-white appear­ance: The pages oth­er­wise span just about every taste and illus­tra­tive predilec­tion a col­or­ing con­nois­seur could con­jure.”

One Twit­ter fan point­ed out that the ini­tia­tive pro­vides “a great way to get to know some of the col­lec­tions held in libraries around the world.” Their enthu­si­asm is catch­ing. But note that few of the insti­tu­tions (see full col­lec­tion here) have uploaded a large quan­ti­ty of col­orable images. Most of the “col­or­ing books” con­sist of only a hand­ful of pages, some only one or two. Tak­en alto­geth­er, how­ev­er, the com­bined strength of one hun­dred insti­tu­tions, over four years (see pre­vi­ous years at the links below), adds up to many hun­dreds of pages of col­or­ing fun and relax­ation. If that’s your thing, start here. If you don’t know if it’s your thing, #Col­or­Our­Col­lec­tions is a free (minus the cost of print­er ink and paper), edu­ca­tion­al way to find out. Grab those crayons, oil pas­tels, col­ored pen­cils, etc. and calm down again the way you did when you were six years old.

Relat­ed Con­tent:  

Free Col­or­ing Books from World-Class Libraries & Muse­ums: The New York Pub­lic Library, Bodleian, Smith­son­ian & More

Free Col­or­ing Books from World-Class Libraries & Muse­ums: The Met, New York Pub­lic Library, Smith­son­ian & More

Down­load 150 Free Col­or­ing Books from Great Libraries, Muse­ums & Cul­tur­al Insti­tu­tions: The British Library, Smith­son­ian, Carnegie Hall & More

Down­load Free Col­or­ing Books from 113 Muse­ums

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

Daphne Oram Created the BBC’s First-Ever Piece of Electronic Music (1957)

To the ques­tion of who cre­at­ed elec­tron­ic music, there can be no one answer. The for­m’s emer­gence took decades, begin­ning with the ear­li­est elec­tron­ic instru­ments in the late 19th cen­tu­ry, devel­op­ing toward the first music pro­duced sole­ly from elec­tron­ic sources in the ear­ly 1950s, and arriv­ing at such artis­tic des­ti­na­tions as Wendy Car­los’ 1968 album Switched-On Bach. Dri­ving this evo­lu­tion­ary process were artists of a vari­ety of nation­al­i­ties and musi­cal sen­si­bil­i­ties, a group includ­ing sev­er­al espe­cial­ly unig­nor­able fig­ures. Take, for instance, Daphne Oram, the com­pos­er and co-founder of BBC’s sto­ried Radio­phon­ic Work­shop who cre­at­ed the very first piece of elec­tron­ic music ever com­mis­sioned by the net­work.

Oram com­posed that music in 1957, the year before the estab­lish­ment of the Radio­phon­ic Work­shop. She did it to score a BBC pro­duc­tion of Jean Girau­doux’s play Amphit­ry­on 38, using an elec­tron­ic sine wave oscil­la­tor, a tape recorder, and a few fil­ters — a syn­the­siz­er, in oth­er words, of her own cre­ation.

Expe­ri­ence had posi­tioned her well to design and com­pose with such a device and the process­es it demand­ed: she grew up study­ing the piano, organ, and com­po­si­tion, and as a teenag­er she’d tak­en a job as a stu­dio engi­neer at the BBC, an envi­ron­ment that gave her access to all the lat­est tech­nolo­gies for cre­at­ing and record­ing sound. Despite hav­ing reject­ed Still Point, an acoustic-elec­tron­ic piece she com­posed for turnta­bles, five micro­phones, and a “dou­ble orches­tra,” the BBC aired Amphit­ry­on 38 with her score full of “sounds unlike any ever heard before.”

That’s how Oram’s music is described in the 1950s tele­vi­sion clip above, a vis­it to the “coun­try stu­dio in Kent” where, “unlike the tra­di­tion­al com­pos­er, she uses no musi­cal instru­ments and no musi­cians.” And indeed, “she needs no con­cert hall or opera house to put on a per­for­mance: she can do it on a tape recorder.” As out­landish as Oram’s set­up might have looked to BBC view­ers at home back then, the nar­ra­tor informs them that “already, elec­tron­ic music is being used in films, tele­vi­sion, and the the­ater,” and that some peo­ple even think her col­lages of unnat­ur­al sounds will be “the music of the future.” Vin­di­cat­ing that notion is the odd famil­iar­i­ty every elec­tron­ic musi­cian today will feel when they watch Oram at work among the devices of her stu­dio, sur­round­ed as they them­selves hap­pi­ly are by those devices’ tech­no­log­i­cal descen­dants.

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 reak­tor­play­er

Relat­ed Con­tent:

Meet Four Women Who Pio­neered Elec­tron­ic Music: Daphne Oram, Lau­rie Spiegel, Éliane Radigue & Pauline Oliv­eros

Hear a 20 Hour Playlist Fea­tur­ing Record­ings by Elec­tron­ic Music Pio­neer Pauline Oliv­eros (RIP)

Two Doc­u­men­taries Intro­duce Delia Der­byshire, the Pio­neer in Elec­tron­ic Music

Hear Sev­en Hours of Women Mak­ing Elec­tron­ic Music (1938- 2014)

Hear Elec­tron­ic Lady­land, a Mix­tape Fea­tur­ing 55 Tracks from 35 Pio­neer­ing Women in Elec­tron­ic Music

Hear Glenn Gould Sing the Praise of the Moog Syn­the­siz­er and Wendy Car­los’ Switched-On Bach, the “Record of the Decade” (1968)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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.

Iconic Film from 1896 Restored with Artificial Intelligence: Watch an AI-Upscaled Version of the Lumière Brothers’ The Arrival of a Train at La Ciotat Station

Machine learn­ing keeps, well, learn­ing in leaps and bounds, and at Open Cul­ture we have watched devel­op­ments with a fas­ci­nat­ed, some­time wary eye. This lat­est advance checks off a lot of Open Cul­ture box­es: trav­el­ing back in time through the pow­er of film; home­grown inge­nu­ity; and film his­to­ry.

YouTu­ber Denis Shiryaev took the lat­est advances in AI tech and turned them onto one of the ear­li­est works of film: The Arrival of a Train at La Cio­tat Sta­tion, shot by the Lumière Broth­ers in 1896. There are plen­ty of urban leg­ends around this 50 sec­ond short: that it was the first ever Lumière film (it wasn’t, they had a selec­tion of pre­vi­ous shorts); and that audi­ences were ter­ri­fied, think­ing the train would hit them (they were amazed, no doubt, but they weren’t that naive).

You might want to watch the orig­i­nal below before watch­ing Shiryaev’s 4K upscal­ing and AI “smoothed” ver­sion to get a sense of the mar­vel at the top of the post.

What we are see­ing is not a tra­di­tion­al “restora­tion,” how­ev­er. Instead, Shiryaev is using a com­mer­cial image-edit­ing soft­ware called Gigapix­el AI. (If you have the pro­cess­ing pow­er, you can try it out). The orig­i­nal film was not shot at 60-frames-per-sec­ond. Instead, neur­al net­works are look­ing at the orig­i­nal frames and “fill­ing in” the data in between, cre­at­ing what you can see is a more nat­u­ral­is­tic effect. Peo­ple on and off the train move like they do in real life. It looks like it was shot yes­ter­day.

Now, this isn’t per­fect. There are a lot of arti­facts, squooshy, mor­ph­ing moments where the neur­al net­work can’t fig­ure things out. But hey, this is just one guy on his com­put­er. It’s an exper­i­ment. The com­put­er code will get bet­ter.

The Gigapix­el AI was devel­oped by Topaz Labs orig­i­nal­ly to help pho­tog­ra­phers upscale their pics by 600 per­cent with­out los­ing detail. It didn’t take long to apply this to video, but be warned, it can take hours of pro­cess­ing pow­er to ren­der a cou­ple of sec­onds. Still it hasn’t stopped peo­ple from exper­i­ment­ing, even with sim­i­lar neur­al net­work pro­grams:

Here’s a clip from Nirvana’s “Heart Shaped Box” video upscaled to 4K with Gigapix­el AI:

User AkN upscaled A‑Bomb footage from the 1950s:

Some clips from Home Alone:

You get the idea. As with any tech­nol­o­gy, there are also some hor­rif­ic exam­ples out there too where it just does not work. But I have a feel­ing that Shiryaev’s first dive into film his­to­ry is not going to his, or the internet’s, last.

Relat­ed Con­tent:

Dra­mat­ic Col­or Footage Shows a Bombed-Out Berlin a Month After Germany’s WWII Defeat (1945)

Pris­tine Footage Lets You Revis­it Life in Paris in the 1890s: Watch Footage Shot by the Lumière Broth­ers

Immac­u­late­ly Restored Film Lets You Revis­it Life in New York City in 1911

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

An Artist Tricks Google Maps Into Creating a Virtual Traffic Jam, Using a Little Red Wagon & 99 Smartphones

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 GalleryOMA’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 the Ham­burg­er 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.

Relat­ed Con­tent: 

A Plan­e­tary Per­spec­tive: Tril­lions of Pic­tures of the Earth Avail­able Through Google Earth Engine

View and Down­load Near­ly 60,000 Maps from the U.S. Geo­log­i­cal Sur­vey (USGS)

Ancient Rome in 3D on Google Earth

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join Ayun’s com­pa­ny The­ater of the Apes in New York City this March for her book-based vari­ety series, Necro­mancers of the Pub­lic Domain, and the world pre­miere of Greg Kotis’ new musi­cal, I AM NOBODY. Fol­low her @AyunHalliday.

The Graphic Novel Adaptation of Kurt Vonnegut’s Slaughterhouse-Five

Since its pub­li­ca­tion just over half a cen­tu­ry ago, Slaugh­ter­house-Five has seen bans and burn­ings, gone through var­i­ous adap­ta­tions, and all the while held its place in the Amer­i­can lit­er­ary canon. Some­thing about Kurt Von­negut’s sto­ry of the invol­un­tar­i­ly time-trav­el­ing optometrist Bil­ly Pil­grim, who like his cre­ator sur­vived the fire­bomb­ing of Dres­den in the Sec­ond World War, con­tin­ues to res­onate with read­ers even as that war (and so very many nov­els about it) pass out of liv­ing mem­o­ry. Von­negut him­self loved George Roy Hill’s 1972 film of the nov­el, but alas, hav­ing died in 2007, he did­n’t stick around long enough to see Slaugh­ter­house-Five — or, to use its full title, Slaugh­ter­house-Five, or The Chil­dren’s Cru­sade: A Duty-Dance with Death — turned into a graph­ic nov­el.

“Indie graph­ic nov­el house BOOM! Stu­dios announced plans to pub­lish a graph­ic ver­sion of Kurt Vonnegut’s clas­sic sci-fi/an­ti­war nov­el,” reports Pub­lish­ers Week­ly’s Calvin Reid, nam­ing the adap­tors as writer Ryan North, artist Albert Monteys, and col­orist Ricard Zaplana. Nerdis­t’s Matthew Hart writes that it’s “unclear at this point what’s been includ­ed and what’s been dropped for BOOM!’s Slaugh­ter­house-Five graph­ic nov­el adap­ta­tion, it seems like the sto­ry is in good hands.” [Update: You can now pur­chase a copy of Slaugh­ter­house-Five graph­ic nov­el online here.]

The images released so far “show­case a world paint­ed with appro­pri­ate­ly mut­ed col­ors, and pop­u­lat­ed by some of the most icon­ic moments from the nov­el. The graph­ic novel’s inter­pre­ta­tion of Bil­ly Pil­grim will pos­si­bly ignite some dis­agree­ment amongst read­ers, how­ev­er, as his face can be jux­ta­posed with Vonnegut’s.”

For a nov­el con­sid­ered a “clas­sic” longer than read­ers who dis­cov­er it today have been alive, Slaugh­ter­house-Five has its own uncon­ven­tion­al way with real­i­ty. Not only does Von­negut make its pro­tag­o­nist “unstuck in time,” he also works into its cast real char­ac­ters from his own life. Take Bernard O’Hare, shown here in pan­els from the graph­ic nov­el. As Von­negut’s offi­cial­ly des­ig­nat­ed “bud­dy” in the the 106th Infantry Divi­sion, O’Hare was tak­en pris­on­er along with him in Dres­den and held cap­tive in a meat­pack­ing plant known as Schlachthof Fuenf. When Von­negut com­plet­ed the man­u­script he let O’Hare and his wife Mary read it, and the lat­ter urged the author to write about how “all the men who fought in the Sec­ond World War were just babies.” Hence the nov­el­’s sub­ti­tle, which befits the plain­spo­ken sen­si­bil­i­ty of Kurt Von­negut, a man who believed in call­ing things what they were — and thus would sure­ly have reject­ed the label “graph­ic nov­el” in favor of “com­ic book.”

Pur­chase a copy of Slaugh­ter­house-Five: The Graph­ic Nov­el online.

via Pub­lish­ers Week­ly

Relat­ed Con­tent:

Hear Kurt Von­negut Read Slaugh­ter­house-Five, Cat’s Cra­dle & Oth­er Nov­els

Why Should We Read Kurt Von­negut? An Ani­mat­ed Video Makes the Case

Kurt Von­negut Maps Out the Uni­ver­sal Shapes of Our Favorite Sto­ries

Bene­dict Cum­ber­batch Reads Kurt Vonnegut’s Incensed Let­ter to the High School That Burned Slaugh­ter­house-Five

Anne Frank’s Diary: The Graph­ic Nov­el Adap­ta­tion

Read Ulysses Seen, A Graph­ic Nov­el Adap­ta­tion of James Joyce’s Ulysses

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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.

42 Hours of Ambient Sounds from Blade Runner, Alien, Star Trek and Doctor Who Will Help You Relax & Sleep

Back in 2009, the musi­cian who goes by the name “Cheesy Nir­vosa” began exper­i­ment­ing with ambi­ent music, before even­tu­al­ly launch­ing a YouTube chan­nel where he “com­pos­es long­form space and sci­fi ambi­ence.” Or what he oth­er­wise calls “ambi­ent geek sleep aids.” Click on the video above, and you can get lulled to sleep lis­ten­ing to the ambi­ent dron­ing sound–get ready Blade Run­ner fans!– heard in Rich Deckard’s apart­ment. It runs a good con­tin­u­ous 12 hours.

You’re more a Star Trek fan? Ok, try nod­ding off to the idling engine noise of a ship fea­tured in Star Trek: The Next Gen­er­a­tion. Mr. Nir­vosa cleaned up a sam­ple from the show and then looped it for 24 hours. That makes for one long sleep.

Or how about 12 hours of ambi­ent engine noise gen­er­at­ed by the USCSS Nos­tro­mo in Alien?

Final­ly, and per­haps my favorite, Cheesy cre­at­ed a 12 hour clip of the ambi­ent sounds made by the Tardis, the time machine made famous by the British sci-fi TV show, Doc­tor Who. But watch out. You might wake up liv­ing in a dif­fer­ent time and place.

For lots more ambi­ent sci-fi sounds (Star Wars, The Matrix, Bat­tlestar Galac­ti­ca, etc. ) check out this super long playlist here.

Note: An ear­li­er ver­sion of this post appeared on our site in March 2017.

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 Ency­clo­pe­dia of Sci­ence Fic­tion: 17,500 Entries on All Things Sci-Fi Are Now Free Online

10 Hours of Ambi­ent Arc­tic Sounds Will Help You Relax, Med­i­tate, Study & Sleep

Moby Lets You Down­load 4 Hours of Ambi­ent Music to Help You Sleep, Med­i­tate, Do Yoga & Not Pan­ic

Music That Helps You Sleep: Min­i­mal­ist Com­pos­er Max Richter, Pop Phe­nom Ed Sheer­an & Your Favorites

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Why Every Nominated Film Will Win the 2020 Oscar: A Pretty Much Pop Podcast Debate (ep. 30)

The 2020 Acad­e­my Awards are near­ly upon us! Real­is­ti­cal­ly, most of you will find this episode well after the win­ners have already been announced, but seri­ous­ly, that should not affect your enjoy­ment of this dis­cus­sion. Your intre­pid non-film-crit­ic Pret­ty Much Pop: A Cul­ture Pod­cast hosts have each been ran­dom­ly assigned three of the best pic­ture nom­i­nees to argue for either for why it should with the Oscar, or if we real­ly don’t like it, why we think it will win any­way. The assign­ments were as fol­lows:

  • Mark Lin­sen­may­er: 1917, Lit­tle Women, Jok­er
  • Eri­ca Spyres: Jojo Rab­bit, Par­a­site, Once Upon a Time…in Hol­ly­wood*
  • Bri­an Hirt: Ford v Fer­rari,  Mar­riage Sto­ry, The Irish­man**

*Cov­ered in our ep. 12.
**Cov­ered in our
ep. 29.

As we hash out the rel­a­tive mer­its of these films, we reflect on what it is to be an Oscar-win­ning type-of-film as opposed to one peo­ple might actu­al­ly enjoy watch­ing, pat­terns of what kinds of films win in which cat­e­gories, and the effect of view­ing con­di­tions, pri­or knowl­edge, and pre­con­cep­tions on our enjoy­ment.

In prepa­ra­tion, we all watched all nine films and looked at some of the pos­i­tive and neg­a­tive reviews about them. Here are a few more arti­cles cov­er­ing the Oscars more gen­er­al­ly that we also used to make our­selves more sus­cep­ti­ble to OSCAR FEVER.

The par­tic­u­lar neg­a­tive 1917 review Mark talks about was by Richard Brody. Here’s an arti­cle about Joaquin Phoenix impro­vis­ing his stunt work as Eri­ca men­tions. Speak­ing of Jok­er, have you heard the (sub)Text pod­cast pre­sen­ta­tion by Mark’s Par­tial­ly Exam­ined Life co-host Wes Alwan on the psy­cho­an­a­lyt­ic dimen­sions of that film?

This episode includes bonus dis­cus­sion mus­ing about past win­ners and 2020 act­ing cat­e­gories that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.


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