J.S. Bach’s Opera, “The Coffee Cantata,” Sings the Praises of the Great Stimulating Drink (1735)

From the time that a name­less genius in either Ethiopia or Yemen decid­ed to dry, crush and strain water through a berry known for mak­ing goats ner­vous and jumpy, cof­fee has been loved and wor­shiped like few oth­er bev­er­ages. Ear­ly Arab doc­tors pro­claimed the stuff to be a mir­a­cle drug. Thor­ough­ly caf­feinat­ed thinkers from Voltaire to Jonathan Swift to Jack Ker­ouac debat­ed lit­er­a­ture, phi­los­o­phy and every­thing in between at cof­fee hous­es. Author Hon­oré Balzac even report­ed­ly died because of exces­sive cof­fee drink­ing (it was either that or the syphilis.)

Johann Sebas­t­ian Bach (1685–1750) was also appar­ent­ly a cof­fee enthu­si­ast. So much so that he wrote a com­po­si­tion about the bev­er­age. Although known most­ly for his litur­gi­cal music, his Cof­fee Can­ta­ta (AKA Schweigt stille, plaud­ert nicht, BWV 211) is a rare exam­ple of a sec­u­lar work by the com­pos­er. The short com­ic opera was writ­ten (cir­ca 1735) for a musi­cal ensem­ble called The Col­legium Musicum based in a sto­ried Zimmerman’s cof­fee house in Leipzig, Ger­many. The whole can­ta­ta seems very much to have been writ­ten with the local audi­ence in mind.

Cof­fee Can­ta­ta is about a young viva­cious woman named Aria who loves cof­fee. Her killjoy father is, of course, dead set against his daugh­ter hav­ing any kind of caf­feinat­ed fun. So he tries to ban her from the drink. Aria bit­ter­ly com­plains:

Father sir, but do not be so harsh!
If I could­n’t, three times a day,
be allowed to drink my lit­tle cup of cof­fee,
in my anguish I will turn into
a shriv­eled-up roast goat.

Ah! How sweet cof­fee tastes,
more deli­cious than a thou­sand kiss­es,
milder than mus­ca­tel wine.
Cof­fee, I have to have cof­fee,
and, if some­one wants to pam­per me,
ah, then bring me cof­fee as a gift!

The copy­writ­ers at Star­bucks mar­ket­ing depart­ment couldn’t have writ­ten it any bet­ter. Even­tu­al­ly, daugh­ter and father rec­on­cile when he agrees to have a guar­an­teed three cups of cof­fee a day writ­ten into her mar­riage con­tract. You can watch it in its entire­ty below, or get a quick taste above. The lyrics in Ger­man and Eng­lish can be read here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

“The Vertue of the COFFEE Drink”: London’s First Cafe Cre­ates Ad for Cof­fee in the 1650s

The Cof­fee Pot That Fueled Hon­oré de Balzac’s Cof­fee Addic­tion

The Birth of Espres­so: The Sto­ry Behind the Cof­fee Shots That Fuel Mod­ern Life

The Hertel­la Cof­fee Machine Mount­ed on a Volk­swa­gen Dash­board (1959): The Most Euro­pean Car Acces­so­ry Ever Made

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

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Can You Crack the Uncrackable Code in Kryptos, the CIA’s Work of Public Art?

It can be chal­leng­ing to parse the mean­ing of many non-nar­ra­tive art­works.

Some­times the title will offer a clue, or the artist will shed some light in an inter­view.

Is it a com­ment on the cul­tur­al, socio-eco­nom­ic or polit­i­cal con­text in which it was cre­at­ed?

Or is the act of cre­at­ing it the artist’s most salient point?

Are mul­ti­ple inter­pre­ta­tions pos­si­ble?

Artist Jim San­born’s mas­sive sculp­ture Kryp­tos may inspire var­i­ous reac­tions in its view­ers, but there’s def­i­nite­ly a sin­gle cor­rect inter­pre­ta­tion.

But 78-year-old San­born isn’t say­ing what…

He wants some­one else to iden­ti­fy it.

Kryp­tos’ main mys­tery — more like “a rid­dle wrapped in a mys­tery inside an enig­ma” to quote Win­ston Churchill — was hand cut into an S‑shaped cop­per screen using jig­saws.

Image cour­tesy of the CIA

Pro­fes­sion­al crypt­an­a­lysts, hob­by­ists, and stu­dents have been attempt­ing to crack the code of its 865 let­ters and 4 ques­tion marks since 1990, when it was installed on the grounds of CIA head­quar­ters in Lan­g­ley, Vir­ginia.

The hands-on part fell well with­in Sanborn’s purview. But a Mas­ters in sculp­ture from Pratt Insti­tute does not auto­mat­i­cal­ly con­fer cryp­tog­ra­phy bonafides, so San­born enlist­ed Edward Schei­dt, the retired chair­man of the CIA’s Cryp­to­graph­ic Cen­ter, for a crash course in late 20th-cen­tu­ry cod­ing sys­tems.

San­born sam­pled var­i­ous cod­ing meth­ods for the fin­ished piece, want­i­ng the act of deci­pher­ing to feel like “peel­ing lay­ers off an onion.”

That onion has been par­tial­ly peeled for years.

Deci­pher­ing three of its four pan­els is a pelt shared by com­put­er sci­en­tist and for­mer pres­i­dent of the Amer­i­can Cryp­togram Asso­ci­a­tion, James Gillo­gly, and CIA ana­lyst David Stein.

Gillo­gly arrived at his solu­tion in 1999, using a Pen­tium II.

Stein reached the same con­clu­sion a year ear­li­er, after chip­ping away at it for some 400 hours with pen­cil and paper, though the CIA kept his achieve­ment on the down low until Gillo­gly went pub­lic with his.

The fol­low­ing year the Nation­al Secu­ri­ty Agency claimed that four of their employ­ees, work­ing col­lab­o­ra­tive­ly, had reached an iden­ti­cal solu­tion in 1992, a fact cor­rob­o­rat­ed by doc­u­ments obtained through the Free­dom of Infor­ma­tion Act.

(On a relat­ed note, I got Wor­dle in three this morn­ing…)

This still leaves the 97-char­ac­ter phrase from the final pan­el up for grabs. Crack­ing it will be the penul­ti­mate step in solv­ing Kryp­tos’ puz­zle. As San­born told NPR in 2020, “that phrase is in itself a rid­dle:”

It’s mys­te­ri­ous. It’s going to lead to some­thing else. It’s not going to be fin­ished when it’s decod­ed.

The pub­lic is wel­come to con­tin­ue mak­ing edu­cat­ed guess­es.

San­born has leaked three clues over the years, all words that can be found in the final pas­sage of decrypt­ed text.

BERLIN, at posi­tions 64 — 69 (2010)

CLOCK, at posi­tions 70 — 74 (2014)

NORTHEAST, at posi­tion 26 — 34

Have you solved it, yet?

No?

Don’t feel bad…

San­born has been field­ing incor­rect answers dai­ly for decades, though a ris­ing tide of aggres­sive and racist mes­sages led him to charge 50 bucks per sub­mis­sion, to which he responds via e‑mail, with absolute­ly no hope of hints.

Kryp­tos’ most ded­i­cat­ed fans, like game devel­op­er /cryptologist Elon­ka Dunin, seen ply­ing San­born with copi­ous quan­ti­ties of sushi above in Great Big Sto­ry’s video, find val­ue in work­ing togeth­er and, some­times, in per­son.

Their dream is that San­born might inad­ver­tent­ly let slip a valu­able tid­bit in their pres­ence, though that seems like a long shot.

The artist claims to have got­ten very skilled at main­tain­ing a pok­er face.

(Wait, does that sug­gest his inter­locu­tors have been get­ting warmer?)

Dunin has relin­quished all fan­tasies of solv­ing Kryp­tos solo, and now works to help some­one — any­one — solve it.

(Please, Lord, don’t let it be chat­G­PT…)

San­ford has put a con­tin­gency plan in place in case no one ever man­ages to get to the bot­tom of the Kryp­tos (ancient Greek for “hid­den”) conun­drum.

He, or rep­re­sen­ta­tives of his estate, will auc­tion off the solu­tion. He is con­tent with let­ting the win­ning bid­der decide whether or not to share what’s been revealed to them.

“I do real­ize that the val­ue of Kryp­tos is unknown and that per­haps this con­cept will bear lit­tle fruit,” he told the New York Times, though if one takes the mass­es of peo­ple des­per­ate to learn the solu­tion and fac­tors in Sanford’s inten­tion to donate all pro­ceeds to cli­mate research, it may well bear quite a healthy amount of fruit.

Join Elon­ka Dunin’s online com­mu­ni­ty of Kryp­tos enthu­si­asts here.

To give you a taste of what you’re in for, here are the first two pan­els, fol­lowed by their solu­tions, with the artist’s inten­tion­al mis­spellings intact.


1.
Encrypt­ed Text
EMUFPHZLRFAXYUSDJKZLDKRNSHGNFIVJ
YQTQUXQBQVYUVLLTREVJYQTMKYRDMFD

Decrypt­ed Text
Between sub­tle shad­ing and the absence of light lies the nuance of iqlu­sion.

2.

Encrypt­ed Text
VFPJUDEEHZWETZYVGWHKKQETGFQJNCE
GGWHKK?DQMCPFQZDQMMIAGPFXHQRLG
TIMVMZJANQLVKQEDAGDVFRPJUNGEUNA
QZGZLECGYUXUEENJTBJLBQCRTBJDFHRR
YIZETKZEMVDUFKSJHKFWHKUWQLSZFTI
HHDDDUVH?DWKBFUFPWNTDFIYCUQZERE
EVLDKFEZMOQQJLTTUGSYQPFEUNLAVIDX
FLGGTEZ?FKZBSFDQVGOGIPUFXHHDRKF
FHQNTGPUAECNUVPDJMQCLQUMUNEDFQ
ELZZVRRGKFFVOEEXBDMVPNFQXEZLGRE
DNQFMPNZGLFLPMRJQYALMGNUVPDXVKP
DQUMEBEDMHDAFMJGZNUPLGEWJLLAETG

Decrypt­ed Text
It was total­ly invis­i­ble Hows that pos­si­ble? They used the Earths mag­net­ic field X
The infor­ma­tion was gath­ered and trans­mit­ted under­gru­und to an unknown loca­tion X
Does Lan­g­ley know about this? They should Its buried out there some­where X
Who knows the exact loca­tion? Only WW This was his last mes­sage X
Thir­ty eight degrees fifty sev­en min­utes six point five sec­onds north
Sev­en­ty sev­en degrees eight min­utes forty four sec­onds west ID by rows

View step by step solu­tions for the first three of Kryp­tos’ encrypt­ed pan­els here.

Relat­ed Con­tent 

The Enig­ma Machine: How Alan Tur­ing Helped Break the Unbreak­able Nazi Code

Arti­fi­cial Intel­li­gence May Have Cracked the Code of the Voyn­ich Man­u­script: Has Mod­ern Tech­nol­o­gy Final­ly Solved a Medieval Mys­tery?

The Code of Charles Dick­ens’ Short­hand Has Been Cracked by Com­put­er Pro­gram­mers, Solv­ing a 160-Year-Old Mys­tery

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

How George Washington Became President of the United States: It Was Weirder Than You Think

After serv­ing two terms as the first Pres­i­dent of the Unit­ed States of Amer­i­ca, George Wash­ing­ton refused to con­tin­ue on to a third. We now see this action as begin­ning the tra­di­tion of peace­ful relin­quish­ment of pow­er that has con­tin­ued more or less ever since (inter­rupt­ed, as in recent years, by the occa­sion­al trou­bled tran­si­tion). At the time, not every­one expect­ed Wash­ing­ton to step down, his­to­ry hav­ing most­ly offered exam­ples of rulers who hung on until the bit­ter end. But the new repub­lic’s cre­ation of not just rules but cus­toms result­ed in a vari­ety of unusu­al polit­i­cal events; even Wash­ing­ton’s elec­tion was “weird­er than you think.”

So declares his­to­ry Youtu­ber Pre­mod­ernist in the video above, an expla­na­tion of the very first Unit­ed States pres­i­den­tial elec­tion in 1789. “There were no offi­cial can­di­dates. There was no cam­paign­ing for the office. There were no polit­i­cal par­ties, no nom­i­nat­ing con­ven­tions, no pri­ma­ry elec­tions. The entire elec­tion sea­son was very short, and the major issue of this elec­tion was the Con­sti­tu­tion itself.” It also took place after thir­teen pres­i­dent-free years, the U.S. hav­ing been not a sin­gle coun­try but “a col­lec­tion of thir­teen sep­a­rate colonies,” each tied more close­ly to Britain than to the oth­ers; there had­n’t even been a fed­er­al gov­ern­ment per se.

The U.S. Con­sti­tu­tion changed that. Draft­ed in 1787, it pro­posed the exec­u­tive, leg­isla­tive, and judi­cial branch­es of gov­ern­ment, whose names every Amer­i­can who’s tak­en a cit­i­zen­ship exam (and every immi­grant who’s tak­en the cit­i­zen test) remem­bers. Set­ting up those branch­es in real­i­ty would prove no easy task: how, to name just one prac­ti­cal ques­tion, would the exec­u­tive — the pres­i­dent — actu­al­ly be cho­sen? Con­gress, the leg­isla­tive branch, could the­o­ret­i­cal­ly do it, but that would vio­late the now prac­ti­cal­ly sacred prin­ci­ple of the sep­a­ra­tion of pow­ers. The vot­ers could also elect the pres­i­dent direct­ly, but the framers reject­ed that option as both imprac­ti­cal and unwise.

Enter “the famous elec­toral col­lege,” a body of spe­cial­ized vot­ers cho­sen by the indi­vid­ual states in any man­ner they please. Hav­ing reject­ed the Con­sti­tu­tion itself, North Car­oli­na and Rhode Island did­n’t par­tic­i­pate in the 1789 elec­tion. Each of the oth­er states chose their elec­tors in its own way (exem­pli­fy­ing the polit­i­cal lab­o­ra­to­ry of Amer­i­can fed­er­al­ism as orig­i­nal­ly con­ceived), though it did­n’t go smooth­ly in every case: the wide­spread divi­sion between fed­er­al­ists and anti-fed­er­al­ists was pro­nounced enough in New York to cre­ate a dead­lock that pre­vent­ed the state from choos­ing any elec­tors at all. The elec­tors that did make it cast two votes each, with the first-place can­di­date becom­ing Pres­i­dent and the sec­ond-place can­di­date becom­ing Vice Pres­i­dent.

That last proved to be a “bad sys­tem,” whose mechan­ics encour­aged a great deal of schem­ing, intrigue, and strate­gic vot­ing (even by the sub­se­quent­ly estab­lished stan­dards of Amer­i­can pol­i­tics). Only with the rat­i­fi­ca­tion of the twelfth amend­ment, in 1804, could elec­tors sep­a­rate­ly des­ig­nate their choice of Pres­i­dent and Vice Pres­i­dent. In 1789, of course, “Wash­ing­ton eas­i­ly got all 69 elec­toral votes,” and went on reluc­tant­ly to pre­vail again in the next pres­i­den­tial elec­tion, which more recent­ly became the sub­ject of its own Pre­mod­ernist video. Both of them mer­it a watch in this par­tic­u­lar moment, as the run-up to the U.S. con­test of 2024 gets into full swing. This elec­tion cycle cer­tain­ly won’t be as short as 1789, but it may well be as weird.

Relat­ed con­tent:

George Wash­ing­ton Writes to the First Jew­ish Con­gre­ga­tion of New­port, Rhode Island: “The Gov­ern­ment… Gives to Big­otry No Sanc­tion, to Per­se­cu­tion No Assis­tance” (1790)

Sal Khan & the Mup­pets’ Grover Explain the Elec­toral Col­lege

A Japan­ese Illus­trat­ed His­to­ry of Amer­i­ca (1861): Fea­tures George Wash­ing­ton Punch­ing Tigers, John Adams Slay­ing Snakes & Oth­er Fan­tas­tic Scenes

Elect­ing a US Pres­i­dent in Plain Eng­lish

George Washington’s 110 Rules for Civil­i­ty and Decent Behav­ior

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 or on Face­book.

Why Perpetual Motion Machines Never Work, Despite Centuries of Experiments

Accord­ing to the laws of physics — at least in sim­pli­fied form — an object in motion will stay in motion, at least if no oth­er forces act on it. That’s all well and good in the realm of the­o­ry, but here in the com­plex real­i­ty of Earth, there always seems to be one force or anoth­er get­ting in the way. Not that this has ever com­plete­ly shut down mankind’s desire to build a per­pet­u­al-motion machine. Accord­ing to Google Arts & Cul­ture, that quest dates at least as far back as sev­enth-cen­tu­ry India, where “the math­e­mati­cian Brah­magup­ta, who want­ed to rep­re­sent the cycli­cal and eter­nal motion of the heav­ens, designed an over­bal­anced wheel whose rota­tion was pow­ered by the flow of mer­cury inside its hol­low spokes.”

More wide­ly known is the suc­ces­sor design by Brah­magup­ta’s twelfth-cen­tu­ry coun­try­man and col­league Bhāskara, who “altered the wheel design by giv­ing the hol­low spokes a curved shape, pro­duc­ing an asym­met­ri­cal course in con­stant imbal­ance.” Despite this ren­di­tion’s mem­o­rable ele­gance, it does not, like the ear­li­er over­bal­anced wheel, actu­al­ly keep on turn­ing for­ev­er. To blame are the very same laws of physics that have dogged the sub­se­quent 900 or so years of attempts to build per­pet­u­al-motion machines, which you can see briefly explained in the TED-Ed video above.

“Ideas for per­pet­u­al-motion machines all vio­late one or more fun­da­men­tal laws of ther­mo­dy­nam­ics, the branch of physics that describes the rela­tion­ship between dif­fer­ent forms of ener­gy,” says the nar­ra­tor. The first law holds that “ener­gy can’t be cre­at­ed or destroyed; you can’t get out more ener­gy than you put in.” That alone would put an end to hopes for a “free” ener­gy source of this kind. But even machines that just keep mov­ing by them­selves — much less use­ful, of course, but still sci­en­tif­i­cal­ly earth-shat­ter­ing — would even­tu­al­ly “have to cre­ate some extra ener­gy to nudge the sys­tem past its stop­ping point, break­ing the first law of ther­mo­dy­nam­ics.”

When­ev­er machines seem to over­come this prob­lem, “in real­i­ty, they invari­ably turn out to be draw­ing ener­gy from some exter­nal source.” (Nine­teenth-cen­tu­ry Amer­i­ca seems to have offered end­less oppor­tu­ni­ties for engi­neer­ing char­la­tanism of this kind, whose per­pe­tra­tors made a habit of skip­ping town when­ev­er their trick­ery was revealed, some obtain­ing patents and prof­its all the while). But even if the first law of ther­mo­dy­nam­ics did­n’t apply, there would remain the mat­ter of the sec­ond, which dic­tates that “ener­gy tends to spread out through process­es like fric­tion,” thus “reduc­ing the ener­gy avail­able to move the sys­tem itself, until the machine inevitably stopped.” Hence the aban­don­ment of inter­est in per­pet­u­al motion by such sci­en­tif­ic minds as Galileo and Leonar­do — who must also have under­stood that mankind would nev­er ful­ly relin­quish the dream.

Relat­ed con­tent:

Leonar­do da Vinci’s Ele­gant Design for a Per­pet­u­al Motion Machine

M. C. Escher’s Per­pet­u­al Motion Water­fall Brought to Life: Real or Sleight of Hand?

Leonar­do da Vinci’s Inven­tions Come to Life as Muse­um-Qual­i­ty, Work­able Mod­els: A Swing Bridge, Scythed Char­i­ot, Per­pet­u­al Motion Machine & More

How the Bril­liant Col­ors of Medieval Illu­mi­nat­ed Man­u­scripts Were Made with Alche­my

A Com­plete Dig­i­ti­za­tion of Leonar­do Da Vinci’s Codex Atlanti­cus, the Largest Exist­ing Col­lec­tion of His Draw­ings & Writ­ings

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 or on Face­book.

Martin Luther King, Jr. Gives Life-Changing Advice to Teens: Watch His Speech, “What Is Your Life’s Blueprint?” (1967)

Six months before his assas­si­na­tion, Mar­tin Luther King Jr. spoke to stu­dents at Bar­ratt Junior High School in Philadel­phia, and asked What Is Your Life’s Blue­print?

Address­ing the stu­dents, he observed: “This is the most impor­tant and cru­cial peri­od of your lives. For what you do now and what you decide now at this age may well deter­mine which way your life shall go. When­ev­er a build­ing is con­struct­ed, you usu­al­ly have an archi­tect who draws a blue­print. And that blue­print serves as the pat­tern, as the guide, as the mod­el, for those who are to build the build­ing. And a build­ing is not well erect­ed with­out a good, sound, and sol­id blue­print.”

So what makes for a sound blue­print? The civ­il rights leader had some sug­ges­tions:

Num­ber one in your life’s blue­print should be: a deep belief in your own dig­ni­ty, your own worth and your own some­bod­i­ness. Don’t allow any­body to make you feel that you are nobody. Always feel that you count. Always feel that you have worth, and always feel that your life has ulti­mate sig­nif­i­cance.

Now that means you should not be ashamed of your col­or. You know, it’s very unfor­tu­nate that in so many instances, our soci­ety has placed a stig­ma on the Negro’s col­or. You know there are some Negros who are ashamed of them­selves? Don’t be ashamed of your col­or. Don’t be ashamed of your bio­log­i­cal fea­tures…

Sec­ond­ly, in your life’s blue­print you must have as the basic prin­ci­ple the deter­mi­na­tion to achieve excel­lence in your var­i­ous fields of endeav­or. You’re going to be decid­ing as the days and the years unfold, what you will do in life — what your life’s work will be.

And once you dis­cov­er what it will be, set out to do it, and to do it well.

You can read a tran­script of the speech here. As a post­script, it’s worth high­light­ing a remark­able com­ment left on YouTube, from the stu­dent who appar­ent­ly record­ed the speech on Octo­ber 26, 1967. It reads:

I can­not believe that I found this footage. I am the stu­dent cam­era­man that record­ed this speech. I remem­ber this like it was yes­ter­day. I have been telling my boys for years about this and now I can show them. I thought this was lost years ago and am so hap­py that it sur­vived the years. I was 12 or 13 years old when he can to Bar­rett and was mes­mer­ized by what he was say­ing. I can’t wait to share this with my fam­i­ly. Wow I am elat­ed that I found this.

Amaz­ing.

Relat­ed Con­tent 

How Mar­tin Luther King, Jr. Used Niet­zsche, Hegel & Kant to Over­turn Seg­re­ga­tion in Amer­i­ca

Mar­tin Luther King, Jr.‘s Hand­writ­ten Syl­labus & Final Exam for the Phi­los­o­phy Course He Taught at More­house Col­lege (1962)

How Mar­tin Luther King Jr. Got C’s in Pub­lic Speaking–Before Becom­ing a Straight‑A Stu­dent and a World Class Ora­tor

The Pixies Perform a Hypnotic Version of “Gouge Away” at the BBC

In 2018, the Pix­ies per­formed live for BBC Radio 6 Music, play­ing some new songs (“In the Arms of Mrs. Mark of Cain”) and old clas­sics (“Here Comes Your Man”). In that lat­ter cat­e­go­ry, you’ll find a record­ing of “Gouge Away,” which I keep com­ing back to again, and yet again. About the video, one YouTu­ber had this to say: “This pro­duc­tion is just badass. The bass, the drums, every­thing. This spe­cif­ic record­ing is a mas­ter­piece. To see it taped is a rev­e­la­tion.” That kind of sums it up. Time to share it with you…

Relat­ed Con­tent 

Watch the Ger­man Expres­sion­ist Film, The Golem, with a Sound­track by The Pix­ies’ Black Fran­cis

Watch 450 NPR Tiny Desk Con­certs: Inti­mate Per­for­mances from The Pix­ies, Adele, Wilco, Yo-Yo Ma & Many More

Dis­cov­er an Archive of Taped New York City-Area Punk & Indie Con­certs from the 80s and 90s: The Pix­ies, Son­ic Youth, The Replace­ments & Many More

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AI “Completes” Keith Haring’s Unfinished Painting and Controversy Erupts

The celebri­ty graf­fi­ti artist Kei­th Har­ing died in 1990, at the age of 31, no doubt hav­ing com­plet­ed only a frac­tion of the art­work he would have pro­duced in a life a few decades longer. Upon first see­ing his Unfin­ished Paint­ing of 1989, one might assume that his ear­ly death is what stopped him from fin­ish­ing it. In fact, paint­ing only about a quar­ter of the can­vas was his delib­er­ate choice, intend­ed to make a visu­al com­men­tary on the AIDS epi­dem­ic that had claimed so many lives, and, not long there­after, would claim his own. Pre­sum­ably, it nev­er occurred to any­one to “fin­ish” Unfin­ished Paint­ing — not before the age of arti­fi­cial intel­li­gence, any­way.

“Last sum­mer, artist Brooke Peach­ley … post­ed a pho­to of the work on X” — the social media plat­form for­mer­ly known as Twit­ter — “along­side a prompt ask­ing oth­ers to respond with a visu­al art piece ‘that nev­er fails to destroy [them] every time they see it,’ ” write Elaine Velie and Rhea Nay­yar at Hyper­al­ler­gic. “Over six months lat­er, anoth­er user respond­ed to the orig­i­nal post with a gen­er­a­tive AI image that ‘com­plet­ed’ Haring’s pur­pose­ly half-paint­ed work, writ­ing, ‘now using AI we can com­plete what he couldn’t fin­ish!’ ”

One might, per­haps, sense a jok­ing tone in that post, though the many incensed com­menters it con­tin­ues to draw seem not to take it that way. “The post swift­ly caught the ire of the X com­mu­ni­ty, with users describ­ing the action as ‘dis­re­spect­ful,’ ‘dis­gust­ing,’ and a ‘des­e­cra­tion,’ ” says Art­net News. “Some praised the pow­ers of A.I. for ‘show­ing us a world with­out AIDS,’ while oth­ers deemed the tweet excel­lent ‘bait’ on an Elon Musk-led online plat­form that new­ly rewards out­rage with engage­ment.” As often these days — and very often when it comes to appli­ca­tions of arti­fi­cial intel­li­gence in pop­u­lar cul­ture — the reac­tions to the thing are more com­pelling than the thing itself.

“The A.I.-generated image doesn’t appear to be faith­ful to Haring’s style, which often includ­ed images of human fig­ures,” writes Julia Bin­swanger at Smithsonian.com. “These kinds of fig­ures are vis­i­ble in Haring’s orig­i­nal piece, but the image gen­er­a­tor wasn’t able to repli­cate them.” The algo­rith­mi­cal­ly filled-in Unfin­ished Paint­ing may be with­out aes­thet­ic or intel­lec­tu­al inter­est in itself, but con­sid­er how many view­ers have only learned of the orig­i­nal work because of it. Nev­er­the­less, stunts like this (or like zoom­ing out the Mona Lisa) ulti­mate­ly amount to dis­trac­tions from what­ev­er artis­tic poten­tial these tech­nolo­gies may actu­al­ly hold. A.I. will come into its own not by gen­er­at­ing images that Har­ing or any oth­er artist could have cre­at­ed, but images that no human being has yet imag­ined.

Relat­ed con­tent:

Demys­ti­fy­ing the Activist Graf­fi­ti Art of Kei­th Har­ing: A Video Essay

A Short Biog­ra­phy of Kei­th Har­ing Told with Com­ic Book Illus­tra­tions & Music

Kei­th Haring’s Eclec­tic Jour­nal Entries Go Online

Behold the World’s First Mod­ern Art Amuse­ment Park, Fea­tur­ing Attrac­tions by Sal­vador Dalí, Jean-Michel Basquiat, Kei­th Har­ing, Roy Licht­en­stein & More (1987)

Arti­fi­cial Intel­li­gence Brings to Life Fig­ures from 7 Famous Paint­ings: The Mona Lisa, Birth of Venus & More

An AI-Gen­er­at­ed Paint­ing Won First Prize at a State Fair & Sparked a Debate About the Essence of Art

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 or on Face­book.

The Cool Science of Snowflakes in 4 Minutes, with Brian Cox

From the Roy­al Soci­ety comes a short primer on snowflakes. Nar­rat­ed by physi­cist Bri­an Cox, the video explains how they form, and why no two snowflakes have the exact same dimen­sions. It also recounts how Johannes Kepler devel­oped a ground­break­ing the­o­ry about the hexag­o­nal shape of snowflakes in 1611–one proved right 400 years lat­er. And then comes the kick­er: snowflakes aren’t actu­al­ly white; they’re clear.

Along the way, Cox ref­er­ences the first pho­tographs of snowflakes. You can find our post on those 1885 pho­tographs here.

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 and BlueSky.

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 Aeon

Relat­ed Con­tent 

The First Pho­tographs of Snowflakes: Dis­cov­er the Ground­break­ing Micropho­tog­ra­phy of Wil­son “Snowflake” Bent­ley (1885)

Johannes Kepler The­o­rized That Each Plan­et Sings a Song, Each in a Dif­fer­ent Voice: Mars is a Tenor; Mer­cury, a Sopra­no; and Earth, an Alto

Prof. Bri­an Cox Has a Mad­den­ing Con­ver­sa­tion with a Cli­mate Sci­ence-Deny­ing Politi­cian

Ten Magnificent Historical Libraries (That You Can Still Visit Today)

When we first trav­el some­where, we see noth­ing quite so clear­ly as the usu­al cat­e­gories of tourist des­ti­na­tion: the mon­u­ments, the muse­ums, the restau­rants. Take one step deep­er, and we find our­selves in places like cafés and book­stores, the lat­ter espe­cial­ly hav­ing explod­ed in touris­tic appeal over the past few years. Take Por­to’s grand Livraria Lel­lo, which bills itself as “the most beau­ti­ful book­store in the world” — and has arguably done so too suc­cess­ful­ly, hav­ing drawn crowds large enough to neces­si­tate a cov­er charge. Per­haps we’d have a rich­er expe­ri­ence if we spent less time in the livrarias and more in the bib­liote­cas.

That, in any case, is the impres­sion giv­en by the Kings and Things video above, which presents “Ten Mag­nif­i­cent His­tor­i­cal Libraries,” two of them locat­ed in Por­tu­gal. Stand­ing on a hill­top over­look­ing Coim­bra, the Bib­liote­ca Joan­i­na “is sump­tu­ous­ly dec­o­rat­ed in Baroque fash­ion,” and “con­tains intri­cate­ly carved fur­ni­ture and book­shelves made of exot­ic woods as well as ivory, and is embell­ished with cold and chi­nois­erie motif.” As for the cen­turies-old vol­umes on those shelves, they remain in excel­lent con­di­tion thanks to the Bib­liote­ca Joan­i­na’s being one of only two libraries equipped with “a colony of bats to pro­tect the books from insects.”

The oth­er is in Lis­bon’s, Mafra Palace, which “con­tains what is arguably one of the world’s most beau­ti­ful libraries.” Com­plet­ed in 1755, it’s decked out with book­shelves “dec­o­rat­ed in the Roco­co style.” The stretch of the aes­thet­ic spec­trum between Baroque and Roco­co dom­i­nates this video, all of its libraries hav­ing been built in the eigh­teenth and nine­teenth cen­turies. Unsur­pris­ing­ly, most of them are in the Old World, from the Saint Gall Abbey in Switzer­land to the Library of Trin­i­ty Col­lege Dublin to the Nation­al Library of France (the Riche­lieu site in the thir­teenth arrondisse­ment, not the mod­ern François-Mit­ter­rand Site decried in W. G. Sebald’s Auster­litz).

Instra­gram­ma­ble though they may have become in this day and age, these ven­er­a­ble libraries all — unlike many tourist-spot book­stores, where you can’t hear your­self think for all the Eng­lish con­ver­sa­tions going on around you — encour­age the spend­ing of not mon­ey but time. They wel­come the trav­el­er look­ing not sim­ply to hit twen­ty cap­i­tals in a dozen days, but to build a long-term rela­tion­ship with a place. And not just the trav­el­er in Europe: the video also includes a des­ti­na­tion in the Unit­ed States, the “cathe­dral of books” that is Bal­ti­more’s George Peabody Library. The true con­nois­seur will, of course, fol­low a vis­it to that august insti­tu­tion by tak­ing the Sil­ver Line north to hit up Nor­mals Books & Records.

Relat­ed con­tent:

The Rise and Fall of the Great Library of Alexan­dria: An Ani­mat­ed Intro­duc­tion

Behold 3,000 Dig­i­tized Man­u­scripts from the Bib­lio­the­ca Palati­na: The Moth­er of All Medieval Libraries Is Get­ting Recon­struct­ed Online

How to Read Many More Books in a Year: Watch a Short Doc­u­men­tary Fea­tur­ing Some of the World’s Most Beau­ti­ful Book­stores

What Was Actu­al­ly Lost When the Library of Alexan­dria Burned?

The Last Book­store: A Short Doc­u­men­tary on Per­se­ver­ance & the Love of Books

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 or on Face­book.

Bertrand Russell & Buckminster Fuller on Why We Should Work Less, and Live and Learn More

Why must we all work long hours to earn the right to live? Why must only the wealthy have access to leisure, aes­thet­ic plea­sure, self-actu­al­iza­tion…? Every­one seems to have an answer, accord­ing to their polit­i­cal or the­o­log­i­cal bent. One eco­nom­ic bogey­man, so-called “trick­le-down” eco­nom­ics, or “Reaganomics,” actu­al­ly pre­dates our 40th pres­i­dent by a few hun­dred years at least. The notion that we must bet­ter ourselves—or sim­ply survive—by toil­ing to increase the wealth and prop­er­ty of already wealthy men was per­haps first com­pre­hen­sive­ly artic­u­lat­ed in the 18th-cen­tu­ry doc­trine of “improve­ment.” In order to jus­ti­fy pri­va­tiz­ing com­mon land and forc­ing the peas­antry into job­bing for them, Eng­lish land­lords attempt­ed to show in trea­tise after trea­tise that 1) the peas­ants were lazy, immoral, and unpro­duc­tive, and 2) they were bet­ter off work­ing for oth­ers. As a corol­lary, most argued that landown­ers should be giv­en the utmost social and polit­i­cal priv­i­lege so that their largesse could ben­e­fit every­one.

This scheme neces­si­tat­ed a com­plete rede­f­i­n­i­tion of what it meant to work. In his study, The Eng­lish Vil­lage Com­mu­ni­ty and the Enclo­sure Move­ments, his­to­ri­an W.E. Tate quotes from sev­er­al of the “improve­ment” trea­tis­es, many writ­ten by Puri­tans who argued that “the poor are of two class­es, the indus­tri­ous poor who are con­tent to work for their bet­ters, and the idle poor who pre­fer to work for them­selves.” Tate’s sum­ma­tion per­fect­ly artic­u­lates the ear­ly mod­ern rede­f­i­n­i­tion of “work” as the cre­ation of prof­it for own­ers. Such work is vir­tu­ous, “indus­tri­ous,” and leads to con­tent­ment. Oth­er kinds of work, leisure­ly, domes­tic, plea­sur­able, sub­sis­tence, or oth­er­wise, qualifies—in an Orwellian turn of phrase—as “idle­ness.” (We hear echoes of this rhetoric in the lan­guage of “deserv­ing” and “unde­serv­ing” poor.) It was this lan­guage, and its legal and social reper­cus­sions, that Max Weber lat­er doc­u­ment­ed in The Protes­tant Eth­ic and the Spir­it of Cap­i­tal­ism, Karl Marx react­ed to in Das Cap­i­tal, and fem­i­nists have shown to be a con­sol­i­da­tion of patri­ar­chal pow­er and fur­ther exclu­sion of women from eco­nom­ic par­tic­i­pa­tion.

Along with Marx, var­i­ous oth­ers have raised sig­nif­i­cant objec­tions to Protes­tant, cap­i­tal­ist def­i­n­i­tions of work, includ­ing Thomas Paine, the Fabi­ans, agrar­i­ans, and anar­chists. In the twen­ti­eth cen­tu­ry, we can add two sig­nif­i­cant names to an already dis­tin­guished list of dis­senters: Buck­min­ster Fuller and Bertrand Rus­sell. Both chal­lenged the notion that we must have wage-earn­ing jobs in order to live, and that we are not enti­tled to indulge our pas­sions and inter­ests unless we do so for mon­e­tary prof­it or have inde­pen­dent wealth. In New York Times col­umn on Rus­sel­l’s 1932 essay “In Praise of Idle­ness,” Gary Gut­ting writes, “For most of us, a pay­ing job is still utter­ly essen­tial — as mass­es of unem­ployed peo­ple know all too well. But in our eco­nom­ic sys­tem, most of us inevitably see our work as a means to some­thing else: it makes a liv­ing, but it doesn’t make a life.”

In far too many cas­es in fact, the work we must do to sur­vive robs us of the abil­i­ty to live by ruin­ing our health, con­sum­ing all our pre­cious time, and degrad­ing our envi­ron­ment. In his essay, Rus­sell argued that “there is far too much work done in the world, that immense harm is caused by the belief that work is vir­tu­ous, and that what needs to be preached in mod­ern indus­tri­al coun­tries is quite dif­fer­ent from what has always been preached.” His “argu­ments for lazi­ness,” as he called them, begin with def­i­n­i­tions of what we mean by “work,” which might be char­ac­ter­ized as the dif­fer­ence between labor and man­age­ment:

What is work? Work is of two kinds: first, alter­ing the posi­tion of mat­ter at or near the earth’s sur­face rel­a­tive­ly to oth­er such mat­ter; sec­ond, telling oth­er peo­ple to do so. The first kind is unpleas­ant and ill paid; the sec­ond is pleas­ant and high­ly paid.

Rus­sell fur­ther divides the sec­ond cat­e­go­ry into “those who give orders” and “those who give advice as to what orders should be giv­en.” This lat­ter kind of work, he says, “is called pol­i­tics,” and requires no real “knowl­edge of the sub­jects as to which advice is giv­en,” but only the abil­i­ty to manip­u­late: “the art of per­sua­sive speak­ing and writ­ing, i.e. of adver­tis­ing.” Rus­sell then dis­cuss­es a “third class of men” at the top, “more respect­ed than either of the class­es of the workers”—the landown­ers, who “are able to make oth­ers pay for the priv­i­lege of being allowed to exist and to work.” The idle­ness of landown­ers, he writes, “is only ren­dered pos­si­ble by the indus­try of oth­ers. Indeed their desire for com­fort­able idle­ness is his­tor­i­cal­ly the source of the whole gospel of work. The last thing they have ever wished is that oth­ers should fol­low their exam­ple.”

The “gospel of work” Rus­sell out­lines is, he writes, “the moral­i­ty of the Slave State,” and the kinds of mur­der­ous toil that devel­oped under its rule—actual chat­tel slav­ery, fif­teen hour work­days in abom­inable con­di­tions, child labor—has been “dis­as­trous.” Work looks very dif­fer­ent today than it did even in Rus­sel­l’s time, but even in moder­ni­ty, when labor move­ments have man­aged to gath­er some increas­ing­ly pre­car­i­ous amount of social secu­ri­ty and leisure time for work­ing peo­ple, the amount of work forced upon the major­i­ty of us is unnec­es­sary for human thriv­ing and in fact counter to it—the result of a still-suc­cess­ful cap­i­tal­ist pro­pa­gan­da cam­paign: if we aren’t labor­ing for wages to increase the prof­its of oth­ers, the log­ic still dic­tates, we will fall to sloth and vice and fail to earn our keep. “Satan finds some mis­chief for idle hands to do,” goes the Protes­tant proverb Rus­sell quotes at the begin­ning of his essay. On the con­trary, he con­cludes,

…in a world where no one is com­pelled to work more than four hours a day, every per­son pos­sessed of sci­en­tif­ic curios­i­ty will be able to indulge it, and every painter will be able to paint with­out starv­ing, how­ev­er excel­lent his pic­tures may be. Young writ­ers will not be oblig­ed to draw atten­tion to them­selves by sen­sa­tion­al pot-boil­ers, with a view to acquir­ing the eco­nom­ic inde­pen­dence for mon­u­men­tal works, for which, when the time at last comes, they will have lost the taste and capac­i­ty.

The less we are forced to labor, the more we can do good work in our idle­ness, and we can all labor less, Rus­sell argues, because “mod­ern meth­ods of pro­duc­tion have giv­en us the pos­si­bil­i­ty of ease and secu­ri­ty for all” instead of “over­work for some and star­va­tion for oth­ers.”

A few decades lat­er, vision­ary archi­tect, inven­tor, and the­o­rist Buck­min­ster Fuller would make exact­ly the same argu­ment, in sim­i­lar terms, against the “spe­cious notion that every­body has to earn a liv­ing.” Fuller artic­u­lat­ed his ideas on work and non-work through­out his long career. He put them most suc­cinct­ly in a 1970 New York mag­a­zine “Envi­ron­men­tal Teach-In”:

It is a fact today that one in ten thou­sand of us can make a tech­no­log­i­cal break­through capa­ble of sup­port­ing all the rest…. We keep invent­ing jobs because of this false idea that every­body has to be employed at some kind of drudgery because, accord­ing to Malthu­sian-Dar­win­ian the­o­ry, he must jus­ti­fy his right to exist.

Many peo­ple are paid very lit­tle to do back­break­ing labor; many oth­ers paid quite a lot to do very lit­tle. The cre­ation of sur­plus jobs leads to redun­dan­cy, inef­fi­cien­cy, and the bureau­crat­ic waste we hear so many politi­cians rail against: “we have inspec­tors and peo­ple mak­ing instru­ments for inspec­tors to inspect inspectors”—all to sat­is­fy a dubi­ous moral imper­a­tive and to make a small num­ber of rich peo­ple even rich­er.

What should we do instead? We should con­tin­ue our edu­ca­tion, and do what we please, Fuller argues: “The true busi­ness of peo­ple should be to go back to school and think about what­ev­er it was they were think­ing about before some­body came along and told them they had to earn a liv­ing.” We should all, in oth­er words, work for our­selves, per­form­ing the kind of labor we deem nec­es­sary for our qual­i­ty of life and our social arrange­ments, rather than the kinds of labor dic­tat­ed to us by gov­ern­ments, landown­ers, and cor­po­rate exec­u­tives. And we can all do so, Fuller thought, and all flour­ish sim­i­lar­ly. Fuller called the tech­no­log­i­cal and evo­lu­tion­ary advance­ment that enables us to do more with less “euphe­mer­al­iza­tion.” In Crit­i­cal Path, a vision­ary work on human devel­op­ment, he claimed “It is now pos­si­ble to give every man, woman and child on Earth a stan­dard of liv­ing com­pa­ra­ble to that of a mod­ern-day bil­lion­aire.”

Sound utopi­an? Per­haps. But Fuller’s far-reach­ing path out of reliance on fos­sil fuels and into a sus­tain­able future has nev­er been tried, for some depress­ing­ly obvi­ous rea­sons and some less obvi­ous. Nei­ther Rus­sell nor Fuller argued for the abolition—or inevitable self-destruction—of cap­i­tal­ism and the rise of a work­ers’ par­adise. (Rus­sell gave up his ear­ly enthu­si­asm for com­mu­nism.) Nei­ther does Gary Gut­ting, a phi­los­o­phy pro­fes­sor at the Uni­ver­si­ty of Notre Dame, who in his New York Times com­men­tary on Rus­sell asserts that “Cap­i­tal­ism, with its devo­tion to prof­it, is not in itself evil.” Most Marx­ists on the oth­er hand would argue that devo­tion to prof­it can nev­er be benign. But there are many mid­dle ways between state com­mu­nism and our cur­rent reli­gious devo­tion to sup­ply-side cap­i­tal­ism, such as robust demo­c­ra­t­ic social­ism or a basic income guar­an­tee. In any case, what most dis­senters against mod­ern notions of work share in com­mon is the con­vic­tion that edu­ca­tion should pro­duce crit­i­cal thinkers and self-direct­ed indi­vid­u­als, and not, as Gut­ting puts it, “be pri­mar­i­ly for train­ing work­ers or consumers”—and that doing work we love for the sake of our own per­son­al ful­fill­ment should not be the exclu­sive pre­serve of a prop­er­tied leisure class.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

Charles Bukows­ki Rails Against 9‑to‑5 Jobs in a Bru­tal­ly Hon­est Let­ter (1986)

Bri­an Eno’s Advice for Those Who Want to Do Their Best Cre­ative Work: Don’t Get a Job

Hear Alan Watts’s 1960s Pre­dic­tion That Automa­tion Will Neces­si­tate a Uni­ver­sal Basic Income

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

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How to Learn Data Analytics in 2024: Earn a Professional Certificate That Will Help Prepare You for a Job in 6 Months

We’re liv­ing in the age of data. Every sec­ond, mas­sive amounts of data are being gen­er­at­ed, processed, ana­lyzed and, yes, mon­e­tized. Com­pa­nies, gov­ern­ments, and individuals–they’re all awash in data and try­ing to make sense of it. That makes Data Ana­lyt­ics a valu­able skill for pro­fes­sion­als of all ages.

Enter Google, which has launched a pro­fes­sion­al cer­tifi­cate in Data Ana­lyt­ics–one that will “have you job-ready in less than 6 months.” Offered on the Cours­era plat­form, the Data Ana­lyt­ics Pro­fes­sion­al Cer­tifi­cate con­sists of eight cours­es, includ­ing “Foun­da­tions: Data, Data, Every­where,” “Pre­pare Data for Explo­ration,” “Data Analy­sis with R Pro­gram­ming,” and “Share Data Through the Art of Visu­al­iza­tion.” Over­all this pro­gram “includes over 180 hours of instruc­tion and hun­dreds of prac­tice-based assess­ments, which will help you sim­u­late real-world data ana­lyt­ics sce­nar­ios that are crit­i­cal for suc­cess in the work­place. The con­tent is high­ly inter­ac­tive and exclu­sive­ly devel­oped by Google employ­ees with decades of expe­ri­ence in data ana­lyt­ics.”

Upon com­ple­tion, students–even those who haven’t pur­sued a col­lege degree–can direct­ly apply for jobs (e.g., junior or asso­ciate data ana­lyst, data­base admin­is­tra­tor, etc.) with Google and over 150 U.S. employ­ers, includ­ing Deloitte, Tar­get, and Ver­i­zon. You can start a 7‑day free tri­al and explore the cours­es here. If you con­tin­ue beyond the free tri­al, Google/Coursera will charge $49 USD per month. That trans­lates to about $300 after 6 months, the time esti­mat­ed to com­plete the cer­tifi­cate.

Explore the Data Ana­lyt­ics Cer­tifi­cate by watch­ing the video above. Learn more about the over­all Google career cer­tifi­cate ini­tia­tive here. And find oth­er Google pro­fes­sion­al cer­tifi­cates here.

Note: Open Cul­ture has a part­ner­ship with Cours­era. If read­ers enroll in cer­tain Cours­era cours­es and pro­grams, it helps sup­port Open Cul­ture.

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