Women Scientists Launch a Database Featuring the Work of 9,000 Women Working in the Sciences

“Why are there so few women in sci­ence?” has almost become a tire­some refrain over the years, giv­en how lit­tle the answers engage with the thou­sands of female sci­en­tists work­ing all over the world. “Too often,” writes the project 500 Women Sci­en­tists, “high-pro­file arti­cles, con­fer­ence pan­els, and boards are filled with a dis­pro­por­tion­ate num­ber of male voic­es. News sto­ries are report­ed by more men by a huge mar­gin, and this imbal­ance is reflect­ed in how fre­quent­ly women are quot­ed in news sto­ries unless jour­nal­ists make a con­scious effort to reach out.

“Most keynote speak­ers at con­fer­ences are men. Pan­els are so fre­quent­ly all-male that a new word evolved to describe the phe­nom­e­non: manels. These imbal­ances add up and rein­force the inac­cu­rate per­cep­tion that sci­ence is stale, pale and male.” The next time the ques­tion arises—“why are there so few women in science?”—or any oth­er ques­tion need­ing sci­en­tif­ic exper­tise, one need only ges­ture silent­ly to 500 Women Sci­en­tists, a grass­roots orga­ni­za­tion con­sist­ing of far more sci­en­tists than its title sug­gests.

Described as “a resource for jour­nal­ists, edu­ca­tors, pol­i­cy mak­ers, sci­en­tists and any­one need­ing sci­en­tif­ic exper­tise,” the project began in 2016 as an open let­ter penned by its founders, then grad­u­ate stu­dents at Col­orado Uni­ver­si­ty, Boul­der, who decid­ed to re-affirm their val­ues against reac­tionary attacks by amass­ing 500 sig­na­tures on an open let­ter. They’ve since built a search­able data­base of over 9,000 women researchers from around the world, and a resource that helps build local sci­en­tif­ic com­mu­ni­ties.

Since launch­ing last year, their Request a Sci­en­tist data­base has shown “the excuse that you can’t find a qual­i­fied woman just does­n’t hold,” says co-founder and micro­bial ecol­o­gist Dr. Kel­ly Ramirez-Don­ders. It has also pro­vid­ed much more detailed data on women in sci­ence, which was pub­lished in a paper at PLOS Biol­o­gy in April. “The group has ambi­tious plans to keep expand­ing its reach,” writes STAT. “They’re rais­ing mon­ey to start a fel­low­ship for women of col­or… and they have already launched an affil­i­ate group, 500 Women in Med­i­cine.”

“We’re sci­en­tists. We’re lovers of evi­dence and data points,” says co-founder Maryam Zaring­ha­lam, a mol­e­c­u­lar biol­o­gist. “And so now any­time some­body tells us they couldn’t find some­one or there just aren’t enough women in STEM fields, we can point them to [the data­base] and say, ‘Well, actu­al­ly, this is the tip of the ice­berg, and there’s over 8,000.’… ensur­ing that women’s voic­es are rep­re­sent­ed in the media nar­ra­tives is real­ly essen­tial for show­ing that, ‘No, we are here, it’s just that peo­ple haven’t nec­es­sar­i­ly been aware of us or done the work to find us.’”

Cor­rect­ing mis­per­cep­tions not only helps reduce bias­es with­in sci­en­tif­ic com­mu­ni­ties; it also encour­ages bud­ding sci­en­tists who might oth­er­wise be dis­cour­aged from the pur­suit. “It’s not that girls are not inter­est­ed in sci­ence,” co-founder Jane Zeliko­va tells Good Morn­ing Amer­i­ca. “Some­thing hap­pens where they don’t see women or girls rep­re­sent­ed as sci­en­tists and they don’t think it’s for them.” 500 Women in Sci­ence proves that notion wrong—science is for them, and for every­one who wants to devote their lives to sci­en­tif­ic research. Just look at the data.

Relat­ed Con­tent:

Women’s Hid­den Con­tri­bu­tions to Mod­ern Genet­ics Get Revealed by New Study: No Longer Will They Be Buried in the Foot­notes

“The Matil­da Effect”: How Pio­neer­ing Women Sci­en­tists Have Been Denied Recog­ni­tion and Writ­ten Out of Sci­ence His­to­ry

Real Women Talk About Their Careers in Sci­ence

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

The Very First Picture of the Far Side of the Moon, Taken 60 Years Ago

Six­ty years ago, mankind got its very first glimpse of the far side of the Moon, so called because it faces away from the Earth. (And as astronomers like Neil DeGrasse Tyson have long tak­en pains to point out to Pink Floyd fans, it isn’t “dark.”) Tak­en by the Sovi­et Union, that first pho­to may not look like much today, espe­cial­ly com­pared to the high-res­o­lu­tion col­or images sent back from the sur­face itself by Chi­na’s Chang’e‑4 probe ear­li­er this year. But with the tech­nol­o­gy of the late 1950s, even the tech­nol­o­gy com­mand­ed by the Sovi­ets’ then-world-beat­ing space pro­gram, the fact that it was tak­en at all seems not far short of mirac­u­lous. How did they do it?

“This pho­to­graph was tak­en by the Sovi­et space­craft Luna 3, which was launched a month after the Luna 2 space­craft became the first man-made object to impact on the sur­face of the Moon,” explains astronomer Kevin Hain­line in a recent Twit­ter thread. “Luna 2 fol­lowed Luna 1, the first space­craft to escape a geo­syn­chro­nous Earth orbit.” Luna 3 was designed to take pho­tographs of the Moon, hard­ly an uncom­pli­cat­ed prospect: “To take pic­tures you have to be sta­ble on three-axes. You have to take the pho­tographs remote­ly. AND you have to some­how trans­fer those pic­tures back to Earth.” The first three-axis sta­bi­lized space­craft ever sent on a mis­sion, Luna 3 “had to use a lit­tle pho­to­cell to ori­ent towards the Moon so that now, while sta­bi­lized, it could take the pic­tures. Which it did. On PHOTOGRAPHIC FILM.”

Even those of us who took pic­tures on film for decades have start­ed to take for grant­ed the con­ve­nience of dig­i­tal pho­tog­ra­phy. But think back to all the has­sle of tra­di­tion­al pho­tog­ra­phy, then imag­ine mak­ing a robot car­ry them out in space. Once tak­en Luna 3’s pho­tos “were then moved to a lit­tle CHEMICAL PLANT to DEVELOP AND DRY THEM.” (In oth­er words, “Luna 3 had a lit­tle 1 Hour Pho­to inside.”) Then they con­tin­ued into “a device that shone a cath­ode ray tube, like in an old­er TV, through them, towards a device that record­ed the bright­ness and con­vert­ed this to an elec­tri­cal sig­nal.” You can read about what hap­pened then in more detail at Damn Inter­est­ing, where Alan Bel­lows describes how the space­craft sent “the light­ness and dark­ness infor­ma­tion line-by-line via fre­quen­cy-mod­u­lat­ed ana­log sig­nal — in essence, a fax sent over radio.”

Sovi­et Sci­en­tists could thus “retrieve one pho­to­graph­ic frame every 30 min­utes or so. Due to the dis­tance and weak sig­nal, the first images received con­tained noth­ing but sta­t­ic. In sub­se­quent attempts in the fol­low­ing few days, an indis­tinct, blotchy white disc began to resolve on the ther­mal paper print­outs at Sovi­et lis­ten­ing sta­tions.” As Luna 3’s pho­tos became clear­er, they revealed, as Hain­line puts it, that “the back­side of the moon was SO WEIRD AND DIFFERENT” — cov­ered in the craters, for exam­ple, which have become its visu­al sig­na­ture. For a mod­ern-day equiv­a­lent to this achieve­ment, we might look not just to Chang’e‑4 but to the image of a black hole cap­tured by the Event Hori­zon Tele­scope this past April — the one that led to an abun­dance of arti­cles like “In Defense of the Blur­ry Black Hole Pho­to” and “We Need to Admit That the Black Hole Pho­to Isn’t Very Good.” Astropho­tog­ra­phy has come a long way, but at least back in 1959 it did­n’t pro­duce quite so many takes.

via Kot­tke

Relat­ed Con­tent:

Mankind’s First Steps on the Moon: The Ultra High Res Pho­tos

8,400 Stun­ning High-Res Pho­tos From the Apol­lo Moon Mis­sions Are Now Online

How Sci­en­tists Col­orize Those Beau­ti­ful Space Pho­tos Tak­en By the Hub­ble Space Tele­scope

There’s a Tiny Art Muse­um on the Moon That Fea­tures the Art of Andy Warhol & Robert Rauschen­berg

The Glo­ri­ous Poster Art of the Sovi­et Space Pro­gram in Its Gold­en Age (1958–1963)

Won­der­ful­ly Kitschy Pro­pa­gan­da Posters Cham­pi­on the Chi­nese Space Pro­gram (1962–2003)

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.

The Time When Charlie Chaplin Entered a Chaplin Look-Alike Contest & Came in 20th Place

chaplin contest

Char­lie Chap­lin start­ed appear­ing in his first films in 1914—40 films, to be precise—and, by 1915, the Unit­ed States had a major case of “Chap­lini­tis.” Chap­lin mus­tach­es were sud­den­ly pop­ping up every­where–as were Chap­lin imi­ta­tors and Chap­lin look-alike con­tests. A young Bob Hope appar­ent­ly won one such con­test in Cleve­land. Chap­lin Fever con­tin­ued burn­ing hot through 1921, the year when the Chap­lin look-alike con­test, shown above, was held out­side the Lib­er­ty The­atre in Belling­ham, Wash­ing­ton.

Accord­ing to leg­end, some­where between 1915 and 1921, Chap­lin decid­ed to enter a Chap­lin look-alike con­test, and lost, bad­ly.

A short arti­cle called “How Char­lie Chap­lin Failed,” appear­ing in The Straits Times of Sin­ga­pore in August of 1920, read like this:

Lord Des­bor­ough, pre­sid­ing at a din­ner of the Anglo-Sax­on club told a sto­ry which will have an endur­ing life. It comes from Miss Mary Pick­ford who told it to Lady Des­bor­ough, “Char­lie Chap­lin was one day at a fair in the Unit­ed States, where a prin­ci­pal attrac­tion was a com­pe­ti­tion as to who could best imi­tate the Char­lie Chap­lin walk. The real Char­lie Chap­lin thought there might be a chance for him so he entered for the per­for­mance, minus his cel­e­brat­ed mous­tache and his boots. He was a fright­ful fail­ure and came in twen­ti­eth.

A vari­a­tion on the same sto­ry appeared in a New Zealand news­pa­per, the Pover­ty Bay Her­ald, again in 1920. As did anoth­er sto­ry in the Aus­tralian news­pa­per, the Albany Adver­tis­er, in March, 1921.

A com­pe­ti­tion in Char­lie Chap­lin imper­son­ations was held in Cal­i­for­nia recent­ly. There was some­thing like 40 com­peti­tors, and Char­lie Chap­lin, as a joke, entered the con­test under an assumed name. He imper­son­at­ed his well known film self. But he did not win; he was 27th in the com­pe­ti­tion.

Did Chap­lin come in 20th place? 27th place? Did he enter a con­test at all? It’s fun to imag­ine that he did. But, a cen­tu­ry lat­er, many con­sid­er the sto­ry the stuff of urban leg­end. When one researcher asked the Asso­ci­a­tion Chap­lin to weigh in, they appar­ent­ly had this to say: “This anec­dote told by Lord Des­bor­ough, who­ev­er he may have been, was quite wide­ly report­ed in the British press at the time. There are no oth­er ref­er­ences to such a com­pe­ti­tion in any oth­er press clip­ping albums that I have seen so I can only assume that this is the source of that rumour, urban myth, what­ev­er it is. How­ev­er, it may be true.”

I’d like to believe it is.

Note: An ear­li­er ver­sion of this post appeared on our site in ear­ly 2016.

via France Cul­ture/Stack Exchange

Relat­ed Con­tent:

65 Free Char­lie Chap­lin Films Online

The Char­lie Chap­lin Archive Opens, Putting Online 30,000 Pho­tos & Doc­u­ments from the Life of the Icon­ic Film Star

Char­lie Chap­lin Gets Strapped into a Dystopi­an “Rube Gold­berg Machine,” a Fright­ful Com­men­tary on Mod­ern Cap­i­tal­ism

 

Oscar-Nominated Composer Danny Elfman Teaches an Online Course on Writing Music for Film: A Look Inside His Creative Process


FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

To have watched some of the great­est film and tele­vi­sion in the last thir­ty-five years is to have been immersed in the music of Mark Moth­ers­baugh and Dan­ny Elfman—two artists who have scored Hol­ly­wood block­busters and indie hits alike since the mid-eight­ies when they start­ed on TV’s Pee-wee’s Play­house and Tim Burton’s 1985 com­e­dy Pee-wee’s Big Adven­ture, respec­tive­ly. They also hap­pen to have played in two of the 1980’s weird­est, most exper­i­men­tal New Wave bands, Devo and Oin­go Boin­go.

Moth­ers­bough went on to score every­thing from Rugrats to Thor: Rag­narok, but he’s maybe best known for his work with Wes Ander­son. Like­wise, Elfman—who has worked with every­one from Gus Van Sant to Bri­an De Pal­ma to Peter Jack­son to Ang Lee—formed a cre­ative bond with Bur­ton, to such a degree that it’s near impos­si­ble to imag­ine a Tim Bur­ton film with­out a Dan­ny Elf­man score.

When Bur­ton first approached him for Pee-wee’s Big Adven­ture, the Oin­go Boin­go front­man was just about to release “Weird Sci­ence,” for the infa­mous John Hugh­es film of the same name. Already a band with a mas­sive cult fol­low­ing, they became pop stars, and Elf­man became one of the most dis­tinc­tive film com­posers of the last sev­er­al decades.

He scored Beetle­juice, Bat­man, Edward Scis­sorhands, Bat­man Returns, Sleepy Hol­low, The Night­mare Before Christ­mas, Corpse Bride, and, most recent­ly, Burton’s Dum­bo. Now he’s shar­ing his secrets for aspir­ing film com­posers every­where with his very own Mas­ter­class. “I’m going to tell you from my per­spec­tive,” he says in the trail­er above, “how I do these things”: things includ­ing instru­men­ta­tion, orches­tra­tion, melody, and tone—“the most impor­tant thing you’re going to cap­ture in a film score.”

In the screen­shots here, see excerpts of the course top­ics, which include units on the films Milk, The Unknown Known, and The Night­mare Before Christ­mas, an exam­ple of “writ­ing specif­i­cal­ly for a character”—a char­ac­ter, Jack Skelling­ton, whose singing voice Elf­man also pro­vid­ed.

For those who feel they’ll nev­er mea­sure up to a career like Dan­ny Elfman’s, he intro­duces all impor­tant units on inse­cu­ri­ty and fail­ure. Per­haps the most impor­tant les­son of all, he says above, with infec­tious enthu­si­asm, is learn­ing that “it’s okay to fail, to feel inse­cure. Doubt­ing your­self, find­ing con­fi­dence and mov­ing for­ward, and then doubt­ing what you’ve just done…. I think this is the life of a com­pos­er. I think it’s the life of an artist.”

Can such things be taught, or can they only be lived? Each teacher and stu­dent of the arts must at some point ask them­selves this ques­tion. Per­haps they only learn the answer when they try, and fail, and try again any­way. Sign up for Elman’s course here.

You can take this class by sign­ing up for a Mas­ter­Class’ All Access Pass. The All Access Pass will give you instant access to this course and 85 oth­ers for a 12-month peri­od.

Relat­ed Con­tent:

How to Take Every Mas­ter­Class Course For Less Than a Cup of Good Cof­fee

Why Mar­vel and Oth­er Hol­ly­wood Films Have Such Bland Music: Every Frame a Paint­ing Explains the Per­ils of the “Temp Score”

All of the Music from Mar­tin Scorsese’s Movies: Lis­ten to a 326-Track, 20-Hour Playlist

Bri­an Eno Reveals His Favorite Film Sound­tracks

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

Art Class Instead Of Jail: New Program Lets Young Offenders Take Free Art Classes Rather Than Spend Time in the Criminal System

Art saves lives, and art can also save an indi­vid­ual from the stig­ma of an arrest record, pro­vid­ed that the arrest is for one of 15 non-vio­lent mis­de­meanors.

Project Reset, a muse­um-based ear­ly diver­sion pro­gram in three of New York City’s five bor­oughs, aims to reframe the way youth­ful (and not so youth­ful) offend­ers see them­selves, by con­sid­er­ing an art­work via a col­lec­tive inter­pre­tive process, before using it as the inspi­ra­tion for a col­lage or oil pas­tel-based project of their own.

The stakes are high­er and far more per­son­al than they are on the aver­age pub­lic school field trip. Upon com­ple­tion of a class rang­ing from 2.5 to 4 hours, the participant’s record is wiped clean and their assigned court date is ren­dered moot.

Rather than being herd­ed through a num­ber of gal­leries, par­tic­i­pants zero in on a sin­gle work.

At the Brook­lyn Muse­um, par­tic­i­pants in the under-25 age range get a crash course in Shift­ing the GazeTitus Kaphar’s inten­tion­al palimpsest, in which all the fig­ures in a repli­ca of Frans Hals’ Fam­i­ly Group in a Land­scape are whit­ed out so view­ers may focus in on the only char­ac­ter of col­or, a young boy who appears to be a fam­i­ly ser­vant.

Old­er par­tic­i­pants under­take a sim­i­lar­ly deep dive on The Judge­ment by Bob Thomp­son, an African Amer­i­can artist who was inspired by the con­stant inter­play between good and evil.

While this may strike some as a cushy pun­ish­ment, it’s a legit­i­mate attempt to acquaint par­tic­i­pants with the very real impact their actions could have on future plans—including col­lege admis­sions and job appli­ca­tions.

Man­hat­tan Dis­trict Attor­ney, Cyrus Vance Jr., one of Project Reset’s archi­tects, shared a non-par­ti­san fis­cal take with City Lab’s Rebec­ca Bel­lan that may per­suade naysay­ers who feel the pro­gram rewards bud­ding crim­i­nals by giv­ing them an easy out:

If you jump sub­way turn­stiles in Man­hat­tan, you nev­er go to jail. You can do it 100 times and no court is ever going to send you to jail. So we spend about $2,200 to process a theft of ser­vices arrest for a $2.75 fare. Our jus­tice sys­tem falls most heav­i­ly on com­mu­ni­ties of col­or, and we real­ly need to rethink how we approach these cas­es, both to get bet­ter out­comes, but also to reduce the impact which is very often viewed as tar­get­ed and unfair on par­tic­u­lar com­mu­ni­ties.

Above is a list of the non-vio­lent mis­de­meanors that can chan­nel first timers toward the apt­ly named Project Reset.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Why Med Schools Are Requir­ing Stu­dents to Take Art Class­es, and How It Makes Med Stu­dents Bet­ter Doc­tors

Won­der­ful­ly Off­beat Assign­ments That Artist John Baldessari Gave to His Art Stu­dents (1970)

The Art Insti­tute of Chica­go Puts 44,000+ Works of Art Online: View Them in High Res­o­lu­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC for her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

How to Find Silence in a Noisy World

“Take a walk at night,” wrote avant-garde com­pos­er Pauline Oliv­eros in her 1974 “Son­ic Med­i­ta­tions,” a set of instruc­tions for what she called deep lis­ten­ing. “Walk so silent­ly that the bot­tom of your feet become ears.” Lis­ten­ing to silence opens up rich new worlds of sound. It can be a life-chang­ing expe­ri­ence.

“It’s hard to imag­ine that a sound can trans­form some­one’s life, but it hap­pened to me,” says acoustic ecol­o­gist Gor­don Hemp­ton in the short 360-degree doc­u­men­tary above, “How to Find Silence in a Noisy World.” Hemp­ton learned to walk silent­ly while car­ry­ing a micro­phone, doc­u­ment­ing his lis­ten­ing jour­ney through remote places like the Hoh Rain­for­est in Wash­ing­ton state, con­sid­ered one of the qui­etest places in North Amer­i­ca.

“By hold­ing a micro­phone, I became a bet­ter lis­ten­er. I learned that the micro­phone doesn’t lis­ten for what’s impor­tant, it doesn’t judge, it doesn’t inter­fere.” The micro­phone, that is, has no ego. Record­ed and ampli­fied, the silence of the Hoh becomes cacoph­o­ny, or a sym­pho­ny, depend­ing on how we describe it. Maybe any descrip­tion gets in the way of lis­ten­ing. “Just lis­ten,” says Hemp­ton. “Silence is the poet­ics of space. What it means to be in a place… Silence isn’t the absence of some­thing, but the pres­ence of every­thing

If silence is full of sound, why might we crave it when we’re stressed? Because we are bom­bard­ed by noise pol­lu­tion, “sounds that have noth­ing to do with the nat­ur­al acoustic sys­tem.” These sounds have been encroach­ing on places like the Hoh Rain­for­est for many decades, and Hemp­ton has doc­u­ment­ed their incur­sion over the past 30 years, build­ing a col­lec­tion of over 100 record­ings “equipped with a 3‑D micro­phone sys­tem that repli­cates human hear­ing,” notes Brain Pick­ings.

“Ema­nat­ing from his col­lec­tion… is the idea that ‘there is a fun­da­men­tal fre­quen­cy for each habitat’—a tonal qual­i­ty that shapes the sense of place and qual­i­ty of pres­ence.” Hempton’s work com­ple­ments the nature record­ings of Bernie Krause, for­mer musi­cian turned renowned expert on nat­ur­al sound, whose the­o­ry of bio­pho­ny describes how nat­ur­al sounds work togeth­er to fill in the spec­trum, each one estab­lish­ing its own spe­cif­ic band­width so as not to drown out the oth­ers.

Nat­ur­al sounds cre­ate a kind of self-reg­u­lat­ing har­mo­ny. In order to ful­ly inhab­it the space we’re in, we must be able to hear them. But as the record­ings made by Hemp­ton and Krause show us, humans have a unique abil­i­ty to feel our­selves deeply immersed in oth­er places, too, by lis­ten­ing to record­ings of their silences. Hemp­ton implies that record­ings may soon be all we have left.

“Silence,” he says, “is on the verge of extinc­tion. There is not one place left on plan­et Earth that is set aside and off lim­its to noise pol­lu­tion.” It inter­feres with the cycles of mat­ing ani­mals, dis­rupts call and response pat­terns ecosys­tems use to coor­di­nate them­selves. Silence is part of a glob­al biofeed­back sys­tem, telling us to qui­et down, slow down, and become part of all that’s hap­pen­ing around us. We ignore it to our great detri­ment.

via Brain Pick­ings

Relat­ed Con­tent:

The British Library’s “Sounds” Archive Presents 80,000 Free Audio Record­ings: World & Clas­si­cal Music, Inter­views, Nature Sounds & More

Free: Down­load the Sub­lime Sights & Sounds of Yel­low­stone Nation­al Park

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

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

The Entire History of the British Isles Animated: 42,000 BCE to Today

The Unit­ed King­dom is a con­fus­ing place for many peo­ple, and their not-quite-answered ques­tions about it go all the way to what does and does not con­sti­tute the Unit­ed King­dom in the first place. Not to give the end­ing away, but the ani­mat­ed map above by his­tor­i­cal-car­to­graph­i­cal Youtu­ber Ollie Bye even­tu­al­ly reveals that, if you’re look­ing at the British Isles, you’re look­ing at the UK — unless, of course, you’re look­ing at the Repub­lic of Ire­land. But tak­ing the long view, the polit­i­cal divi­sion of the British Isles has sel­dom been so sim­ple. We know they were pop­u­lat­ed by what we now call cau­ca­soids at least 44,000 years ago, but by 700 BC three groups had divid­ed them up: the Britons, the Picts, and the Gaels.

The com­pli­ca­tions real­ly start at the time of the Roman Empire, when, depend­ing on where in the British Isles you went, you’d have encoun­tered the Icenii, the Parisi, the Cale­donii, the Iverni, and many oth­er dis­tinct peo­ples besides. When the Roman Empire gave way to the Roman Repub­lic, Bri­tan­nia, or Roman Britain, began its expan­sion (and its road-build­ing) across the Isles, start­ing from the south­east.

But with Rome’s with­draw­al in 410 a great many new bor­ders appear like spi­der­web cracks across the land. For cen­turies there­after, the British Isles is a place of many king­doms: Mer­cia, Wes­sex, Northum­bria, Gwynedd, and Deheubarth, to name but a few. (Not to men­tion the Vikings.) And then you have a year like 1066, when the Nor­man con­quest redraws a large chunk of the map at a stroke.

Even those most igno­rant of British his­to­ry will rec­og­nize a few of the king­doms that arise lat­er on in this peri­od: the King­dom of Scot­land, for exam­ple, or the King­dom of Wales. Start­ing from the mid-12th cen­tu­ry, a cer­tain King­dom of Eng­land begins to paint the map red. By 1604, the British Isles are clean­ly divid­ed between the King­dom of Eng­land and the King­dom of Scot­land; by 1707, the King­dom of Great Britain is run­ning the whole place. The sit­u­a­tion has­n’t changed much since, though any­one who has trav­eled across the British Isles knows that the osten­si­ble lack of polit­i­cal frac­tious­ness masks many endur­ing cul­tur­al divi­sions sub­tle to the out­sider: while every­one liv­ing every­where from John o’ Groats to Land’s End may offi­cial­ly be British, few would coun­te­nance being lumped togeth­er with all the rest of them.

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Relat­ed Con­tent:

Watch the Rise and Fall of the British Empire in an Ani­mat­ed Time-Lapse Map ( 519 A.D. to 2014 A.D.)

The Roman Roads of Britain Visu­al­ized as a Sub­way Map

Watch the His­to­ry of the World Unfold on an Ani­mat­ed Map: From 200,000 BCE to Today

The His­to­ry of Civ­i­liza­tion Mapped in 13 Min­utes: 5000 BC to 2014 AD

5‑Minute Ani­ma­tion Maps 2,600 Years of West­ern Cul­tur­al His­to­ry

A His­to­ry of the Entire World in Less Than 20 Min­utes

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.

Anne Frank’s Diary: The Graphic Novel Adaptation

The human imag­i­na­tion can be an extra­or­di­nary cop­ing device in times of trou­ble, a tiny win­dow pro­vid­ing men­tal escape from what­ev­er cell fate has con­signed us to.

Diarist and aspir­ing pro­fes­sion­al writer Anne Frank, who died in the Bergen-Belsen con­cen­tra­tion camp at the age of 15, chafed at her now-uni­ver­sal­ly-known con­fine­ment in the Secret Annex. She chafed at her mother’s author­i­ty and the seem­ing­ly effort­less saint­li­ness of her old­er sis­ter. Doc­u­ment­ing her dai­ly phys­i­cal and emo­tion­al real­i­ty offered tem­po­rary respite from it.

The lib­er­at­ing pow­er of the cre­ative mind is one of the aspects writer Ari Fol­man and illus­tra­tor David Polon­sky sought to tease out when adapt­ing Anne Frank: The Diary of a Young Girl as a graph­ic nov­el.

The graph­ic nov­el for­mat decreed that entire pas­sages would be cut or con­densed. Polon­sky can use a sin­gle pan­el to show logis­tics it took Anne para­graphs to describe. The inter­per­son­al con­flicts she dwelt on are now con­veyed by facial expres­sions and body lan­guage.

As with Sid Jacob­son and Ernie Colón’s 2010 Anne Frank: The Anne Frank House Autho­rized Graph­ic Biog­ra­phythe diary’s small stage is expand­ed to give read­ers, par­tic­u­lar­ly those unac­quaint­ed with the orig­i­nal text, a his­tor­i­cal con­text for under­stand­ing the wider social impli­ca­tions of Anne’s tragedy.

But this graph­ic retelling is unique in that it traf­fics in mag­ic real­ist visu­als that should play well with 21st-cen­tu­ry youth, who cut their teeth on CGI, fast-paced edits, and stream­ing teen-focused enter­tain­ments where­in char­ac­ters are apt to break the fourth wall or break into song.

These are the read­ers to whom the project is most inten­tion­al­ly pitched. As Fol­man told Teen Vogue’s Emma Sar­ran Web­ster:

I tru­ly believe that in a few years, when the very last sur­vivors will have died, the angle that will be tak­en from the sto­ry will be that with every year, we are 10 years fur­ther away from the orig­i­nal. […] There is a severe threat that the things we have to learn from it will not be taught and learned if we don’t find a new lan­guage for them. So any new lan­guage in my opin­ion is blessed, as long as it stays with­in the frame­work and reach­es young audi­ences by means of their tools, which are now very visu­al.

Ergo, Kit­ty, Anne’s nick­name for her diary, has been per­son­i­fied, emerg­ing from the lit­tle plaid book’s pages like Peter Pan’s shad­ow, ear atten­tive­ly cocked toward the secrets Anne whis­pers into it.

The melo­dra­mat­ic Mrs. van Daan’s prized fur coat has an anthro­po­mor­phized rab­bit head col­lar, capa­ble of join­ing in the dia­logue.

Polon­sky pays homage to artists Edvard Munch, whose “degen­er­a­tive” work Hitler had removed from Ger­man muse­ums, and Gus­tav Klimt, who paint­ed many works that were con­fis­cat­ed from their Jew­ish own­ers by Nazi decree.

Young read­ers’ mod­ern sen­si­bil­i­ties also guid­ed Folman’s approach to the text. The spir­it of the orig­i­nal is pre­served, but cer­tain phras­ings have been giv­en a 21st cen­tu­ry update.

The snarky Secret Annex menus and diet tips he allows his hero­ine harken to the direct address of var­i­ous meta teen come­dies, as well as the blis­ter­ing par­o­dy of the Sara­je­vo Sur­vival Guide, a pur­port­ed trav­el guide writ­ten dur­ing the Siege.

Noble goal of engag­ing the next gen­er­a­tion aside, there are no doubt some purists who will view these inno­va­tions as impo­si­tion. Rest assured that Anne Frank’s Diary: The Graph­ic Adap­ta­tion is sanc­tioned by Anne Frank Fonds, the char­i­ta­ble foun­da­tion estab­lished by Anne’s father, Otto.

Relat­ed Con­tent:

Watch the Only Known Footage of Anne Frank

Read the Poignant Let­ter Sent to Anne Frank by George Whit­man, Own­er of Paris’ Famed Shake­speare & Co Book­shop (1960): “If I Sent This Let­ter to the Post Office It Would No Longer Reach You”

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

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Novem­ber 4 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates Louise Jor­dan Miln’s “Woo­ings and Wed­dings in Many Climes (1900). Fol­low her @AyunHalliday.

What Happens to the Clothes We Throw Away?: Watch Unravel, a Short Documentary on the Journey Our Waste Takes

When we throw our clothes away in the West, they don’t all go to a thrift store or to a recy­cling cen­ter or a local land­fill. Instead, every year 100,000 tons of clothes make their way across the ocean to India. In this aware­ness rais­ing short doc from UK-based film­mak­er Megh­na Gup­ta, we see the end point of these bales and bales of West­ern fash­ion, and the women and men who turn our waste back into thread. The thread then begins its own jour­ney, inevitably wind­ing back up as cheap import­ed clothes. And the cycle begins again.

Gup­ta lets the women speak for them­selves, in par­tic­u­lar Resh­ma, a young moth­er and wife who works in one such recy­cling cen­ter in Pani­pat, North India. We see her dai­ly life as well as the process turn­ing our castoffs into thread. Upon enter­ing the coun­try, the clothes are cut so they can’t be re-sold. Then women like Resh­ma remove but­tons, zip­pers, and any oth­er non-cloth com­po­nent.

Far, far away from even a pass­ing encounter with a West­ern­er (apart from what they’ve seen on the Dis­cov­ery Chan­nel), Resh­ma and her co-work­ers cre­ate a nar­ra­tive and an image of the peo­ple send­ing all these clothes. The West must have a water short­age, Resh­ma says, that is stop­ping peo­ple from wash­ing their clothes. The West also must have a very strange diet to pro­duce the plus-size gar­ments they keep com­ing across.

Now, the West doesn’t have a water short­age, but accord­ing to EDGE (Emerg­ing Design­ers Get Exposed), the cloth­ing and tex­tile indus­try is the sec­ond largest pol­luter in the world, sec­ond only to oil, pro­duc­ing 20 per­cent of glob­al waste water, and a glob­al waste total of near­ly 13 mil­lion tons of fab­ric. Pro­duc­ing cot­ton is water-intensive—with 5,000 gal­lons need­ed just to make a pair of jeans and a t‑shirt.

Recy­cling is important—it’s been a con­stant mes­sage to the pub­lic since the 1970s. But the glob­al foot­print that this film hints at, all those car­go ships, all those trucks, all that fuel and those miles traveled…is this real­ly a solu­tion? How do we stop the demand and the dis­pos­abil­i­ty?

The doc doesn’t answer those ques­tions, and doesn’t mean to do so. It just wants you to see a small fam­i­ly in the mid­dle of a large glob­al machine. They seem hap­py enough. But they also see their fate as God-giv­en, at least in this life this time ’round.

“You tend to get dressed for oth­er peo­ple,” Reshma’s hus­band says. “But at the end of the day you’ll be as beau­ti­ful as God made you. All peo­ple have a nat­ur­al beau­ty.”

via Aeon

Relat­ed Con­tent:

M.I.T. Com­put­er Pro­gram Alarm­ing­ly Pre­dicts in 1973 That Civ­i­liza­tion Will End by 2040

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

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

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Bowie’s Bookshelf: A New Essay Collection on The 100 Books That Changed David Bowie’s Life

Like some rock stars of his gen­er­a­tion, David Bowie had a lit­er­ary cast of mind; unlike most of those col­leagues, he also made his asso­ci­a­tion with books explic­it. (Not for noth­ing did he appear on that READ poster.) When­ev­er this sub­ject aris­es, it’s tempt­ing to bring up the sto­ry of how The Man Who Fell to Earth direc­tor Nico­las Roeg poked fun at the extreme num­ber of books with which Bowie sur­round­ed him­self dur­ing the time he was act­ing in that film, as we did when we post­ed about the David Bowie book club. Launched by Bowie’s son, the film­mak­er Dun­can Jones, that project was meant to read through Bowie’s own list of top 100 books, pre­vi­ous­ly fea­tured here on Open Cul­ture. Now, thanks to the work of music jour­nal­ist John O’Con­nell, Bowie’s love of books has a book of its own.

Pub­lished in the UK as Bowie’s Books and in the US as Bowie’s Book­shelf, O’Con­nel­l’s essay col­lec­tion takes the 100 books the man who was Zig­gy Star­dust, Aladdin Sane, and The Thin White Duke named as favorites. In each he finds the rel­e­vant ques­tions (or at least fas­ci­nat­ing ones) to ask about each book’s rela­tion­ship to Bowie’s life and work: “How did the pow­er imbued in a sin­gle suit of armor in The Ili­ad impact a man who loved cos­tumes, shift­ing iden­ti­ty, and the siren song of the alter-ego?” Or, “How did the poems of T.S. Eliot and Frank O’Hara, the fic­tion of Vladimir Nabokov and Antho­ny Burgess, the comics of The Beano and The Viz, and the ground­break­ing pol­i­tics of James Bald­win influ­ence Bowie’s lyrics, his sound, his artis­tic out­look?”

Kirkus Reviews notes that “many of Bowie’s selec­tions speak to his obvi­ous pas­sion for music, espe­cial­ly ear­ly rock ’n’ roll and R&B (Greil Mar­cus, Ger­ri Her­shey), his famous Japanophil­ia (Yukio Mishi­ma, Tadanori Yokoo), and his stint in Ger­many (Alfred Döblin, Otto Friedrich).” O’Con­nel­l’s com­pletist analy­sis of Bowie’s top-100-books list, com­posed for an exhi­bi­tion at the Vic­to­ria & Albert Muse­um just six years ago, also reveals “the range and play­ful­ness in Bowie’s read­ing, from hefty tomes on the Russ­ian Rev­o­lu­tion to lad­dish com­ic books like The Beano.” Oth­er essays cov­er Loli­taThe Gnos­tic GospelsA Con­fed­er­a­cy of Dunces, and White Noise, all part of a mix­ture that would tan­ta­lize any cul­tur­al crit­ic — much like the work of David Bowie, who still con­sti­tutes a cul­ture unto him­self.

Bowie’s Book­shelf: The Hun­dred Books that Changed David Bowie’s Life can be ordered now.

Relat­ed Con­tent:

David Bowie’s Top 100 Books

The David Bowie Book Club Gets Launched by His Son: Read One of Bowie’s 100 Favorite Books Every Month

David Bowie Urges Kids to READ in a 1987 Poster Spon­sored by the Amer­i­can Library Asso­ci­a­tion

David Bowie Songs Reimag­ined as Pulp Fic­tion Book Cov­ers: Space Odd­i­ty, Heroes, Life on Mars & More

The Sto­ry of How David Jones Became David Bowie Gets Told in a New Graph­ic Nov­el

Bri­an Eno Lists 20 Books for Rebuild­ing Civ­i­liza­tion & 59 Books For Build­ing Your Intel­lec­tu­al World

David Bowie Picks His 12 Favorite David Bowie Songs: Lis­ten to Them Online

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.

An Animated Introduction to Medieval Taverns: Learn the History of These Rough-and-Tumble Ancestors of the Modern Pub

When I think of the medieval tav­ern, I see grim footage from Bergman’s The Sev­enth Seal and grimy drink­ing scenes from Game of Thrones and Lord of the Rings. While only the first of these uses an osten­si­bly his­tor­i­cal set­ting, the imagery of them all is what we think of when we think of tav­erns. Huge casks in the cor­ners, great, inde­struc­tible wood­en tables and wood­en mugs, signs with pic­tures instead of words; drunk­en singing and the occa­sion­al axe fight.

The crude­ly ani­mat­ed Sim­ple His­to­ry video above con­firms these impres­sions, describ­ing the tav­erns, inns, and ale hous­es that were ances­tors of the mod­ern pub as “places of drink­ing, gam­bling, vio­lence, and crim­i­nal activ­i­ty.” Art his­to­ry and schol­ar­ship fur­ther con­firm our impres­sion of tav­erns as rough-hewn, row­dy hous­es where brawls fre­quent­ly broke out and all sorts of shady busi­ness trans­act­ed.

Ale hous­es had an “ale stake or ale pole” that could be raised to show they had a brew ready to serve. Tav­erns had a pole with leaves, called a “bush,” for the same pur­pose. Wine might be pricey, but beer was cheap, as “tax­ing it would not have been well-received.” Bar­maids poured drinks from pitch­ers of leather into mugs of wood. Food was… well, not so good…. Maybe we can visu­al­ize tav­ern life by extrap­o­lat­ing back­wards from our local dive bars.

How­ev­er, we might find it hard to imag­ine liv­ing in a time before beer. Milan Pajic, junior research fel­low at the Uni­ver­si­ty of Cam­bridge, found that beer made a rel­a­tive­ly late entry in the his­to­ry of Eng­lish drink, arriv­ing only in the lat­ter half of the 14th cen­tu­ry when intro­duced by Dutch immi­grants and demand­ed by sol­diers return­ing from the 100 Years War.

Between around 1350 and around 1400, Pajic claims, all of the beer drunk in Eng­lish tav­erns was import­ed from the Nether­lands. “The first evi­dence of some­one brew­ing beer” in Eng­land, Pajic writes in an arti­cle pub­lished in the Jour­nal of Medieval His­to­ry, “comes from 1398–9.” The brew­er, a “Duche­man,” was “fined for buy­ing ‘wheat in the mar­ket in order to pro­duce beer, to the great dam­age of the same mar­ket.”

Such per­se­cu­tion could not last. In a hun­dred year’s time, a few hun­dred brew­ers could be found around the coun­try, most of them immi­grants from the Low Coun­tries. But in part because the Eng­lish dis­trust­ed the Dutch, “it took almost a cen­tu­ry from the moment it was intro­duced as an import­ed com­mod­i­ty and con­sumed large­ly by immi­grants before it came to be pro­duced on Eng­lish soil and accept­ed by the natives.”

Tav­ern, inn, and ale house designs would have con­formed to local join­ery trends, but the medieval Eng­lish tavern’s chief draw—cheap, fresh­ly-brewed beer, and lots of it—was a sus­pi­cious con­ti­nen­tal import before it became a nation­al trea­sure.

Relat­ed Con­tent:

Beer Archae­ol­o­gy: Yes, It’s a Thing

The First Known Pho­to­graph of Peo­ple Shar­ing a Beer (1843)

Dis­cov­er the Old­est Beer Recipe in His­to­ry From Ancient Sume­ria, 1800 B.C.

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


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