Enter, Explore, and Learn About Rembrandt’s The Anatomy Lesson with a New Augmented-Reality App

More than 350 years after he paint­ed them, the paint­ings of Rem­brandt van Rijn still look real enough to step right into. Now, thanks to a new aug­ment­ed real­i­ty app from the Mau­rit­shuis muse­um, you can do just that through the screen of your phone, start­ing with Rem­brandt’s famed ear­ly can­vas The Anato­my Les­son of Dr. Nico­laes Tulp. “The aug­ment­ed real­i­ty expe­ri­ence, a first for a muse­um, allows the user to expe­ri­ence the anatom­i­cal the­atre of 1632 dig­i­tal­ly,” says the Mau­rit­shuis’ press release, “and to observe Dr. Tulp and his fel­low physi­cians, as well as the sub­ject of their exam­i­na­tion, the corpse of Aris Kindt.”

“I entered it and was sur­round­ed by its envelop­ing dark­ness, its piece­meal illu­mi­na­tions,” writes Hyper­al­ler­gic’s Seph Rod­ney on his aug­ment­ed-real­i­ty expe­ri­ence of The Anato­my Les­son. “I walked in front of and some­times faced each of the char­ac­ters arrayed around a cen­tral fig­ure, a corpse, with its left arm miss­ing its skin below the elbow. One man, rather over­dressed in a black dou­blet with a white shirt col­lar and white sleeves accent­ing his head and hands uses a pair of for­ceps to hold the corpse’s exposed arm mus­cles and ten­dons stretched away from the bones beneath.”

As Rod­ney approach­es the fig­ure, “a small text box pops out telling me pre­cise­ly this: that he is gaz­ing at the book to make sense of what the body beneath him is say­ing in all its vas­cu­lar and mus­cu­lar com­plex­i­ty.”

Sans text box­es, the scene will sound famil­iar to Rem­brandt enthu­si­asts, but not even the most enthu­si­as­tic of them will have seen it in quite this way before. To build an aug­ment­ed-real­i­ty ver­sion of the scene Rem­brandt paint­ed 387 years ago, “looka­likes of the main fig­ures in the paint­ing dressed up in sev­en­teenth-cen­tu­ry out­fits and were then scanned with a 3D scan­ner made up of 600 reflex cam­eras. The orig­i­nal the­atre in the Waag where Dr. Tulp gave his anato­my les­son in 1632 was then cap­tured with the 3D scan­ner. These scans were then com­bined, after which 3D mod­el­ers gave the fig­ures and the space the cor­rect col­ors, tex­tures and light.”

You can get a glimpse of the process in the short video at the top of the post, then down­load the Rem­brandt Real­i­ty app in either its Google or Apple ver­sion and step into The Anato­my Les­son your­self. It may feel some­what odd at first to sim­ply stroll around the scene of an ongo­ing dis­sec­tion of a human body, but in a way, the Mau­rit­shuis’ dig­i­tal open­ing of this immor­tal les­son to the world re-empha­sizes the true nature of the orig­i­nal scene. When a physi­cian of Tulp’s stature dis­sect­ed a corpse, peo­ple from all around — med­ical pro­fes­sion­als and oth­er­wise — would come to watch the spec­ta­cle that could last for days. But could even Tulp, then Ams­ter­dam’s city anatomist and lat­er the city’s may­or, have imag­ined that this par­tic­u­lar spec­ta­cle would last 387 years and count­ing?

via Hyper­al­ler­gic

Relat­ed Con­tent:

Enter an Online Inter­ac­tive Doc­u­men­tary on Rembrandt’s The Night Watch and Learn About the Painting’s Many Hid­den Secrets

Sci­en­tists Cre­ate a New Rem­brandt Paint­ing, Using a 3D Print­er & Data Analy­sis of Rembrandt’s Body of Work

See the Com­plete Works of Ver­meer in Aug­ment­ed Real­i­ty: Google Makes Them Avail­able on Your Smart­phone

13 of Van Gogh’s Paint­ings Painstak­ing­ly Brought to Life with 3D Ani­ma­tion & Visu­al Map­ping

Van Gogh’s 1888 Paint­ing, “The Night Cafe,” Ani­mat­ed with Ocu­lus Vir­tu­al Real­i­ty Soft­ware

Walk Inside a Sur­re­al­ist Sal­vador Dalí Paint­ing with This 360º Vir­tu­al Real­i­ty Video

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.

What Is a Zen Koan? An Animated Introduction to Eastern Philosophical Thought Experiments

If you know any­thing at all about Zen, you know the famous ques­tion about the sound of one hand clap­ping. While the brain teas­er did indeed orig­i­nate with a Zen mas­ter, it does not ful­ly rep­re­sent the nature of the koan. Between the 9th and 13th cen­turies, when Chan Bud­dhism, as Zen was known in Chi­na, flour­ished, koans became wide­ly-used, explains the TED-Ed ani­mat­ed video above, as objects of med­i­ta­tion. “A col­lec­tion of rough­ly one thou­sand, sev­en hun­dred bewil­der­ing philo­soph­i­cal thought exper­i­ments,” koans were osten­si­bly tools to prac­tice liv­ing with the unex­plain­able mys­ter­ies of exis­tence.

The name, notes the les­son, “orig­i­nal­ly gong-an in Chi­nese, trans­lates to ‘pub­lic record or case.’ But unlike real-world court cas­es, koans were inten­tion­al­ly incom­pre­hen­si­ble.” Koans are “Sur­pris­ing, sur­re­al, and fre­quent­ly con­tra­dict­ed them­selves.” The lessons in ambi­gu­i­ty and para­dox have their ana­logue, per­haps, in cer­tain trains of thought in Medieval Catholic phi­los­o­phy or the ide­al­ism of thinkers like George Berke­ley, who might have first come up with the one about the tree falling in the for­est.

But is the pur­pose of the koan sim­ply to break the brain’s reliance on rea­son? It was cer­tain­ly used this way. Zen Mas­ter Eihei Dogen, founder of Japan­ese Soto Zen trav­eled to Chi­na to study under the Chan Mas­ters, and lat­er crit­i­cized this kind of koan prac­tice and oth­er aspects of Chan, though he also col­lect­ed 300 koans him­self and they became inte­gral to Soto tra­di­tion. Koans are not just absur­dist zingers, they are, as the name says, cases—little sto­ries, often about two monks in some kind of teacher and stu­dent rela­tion­ship. Many of the stu­dents and teach­ers in these sto­ries were patri­archs of Chan.

Like the say­ings and doings of oth­er reli­gious patri­archs in oth­er world reli­gions, these “cas­es” have been col­lect­ed with copi­ous com­men­tary in books like The Blue Cliff Record and The Book of Seren­i­ty. They show in snap­shots the trans­mis­sion of the teach­ing direct­ly from teacher to stu­dent, rather than through sacred texts or rit­u­als (hun­dreds of koans, rules, and rit­u­als notwith­stand­ing). That they are puz­zling and ambigu­ous does not mean they are incom­pre­hen­si­ble. Many seem more or less like fables, such as the oft-told sto­ry of the monk who car­ries a beau­ti­ful woman across a mud patch, then chas­tis­es his younger com­pan­ion for bring­ing it up miles down the road.

Oth­er koans are like Greek philo­soph­i­cal dia­logues in minia­ture, such as the sto­ry in which two monks argue about the nature of a flag wav­ing in the wind. A third steps in, Socrates-like, with a seem­ing­ly “right” answer that tran­scends both of their posi­tions. The longevi­ty of these vignettes lies in their subtlety—surface mean­ings only hint at what the sto­ries are up to. Koans force those who take up their study to strug­gle with uncer­tain­ty and irres­o­lu­tion. They also fre­quent­ly under­mine the most com­mon expec­ta­tion that the teacher knows best.

Often posed as a kind of oblique ver­bal com­bat between teacher and stu­dent, koans include extreme­ly harsh, even vio­lent teach­ers, or teach­ers who seem to admit defeat, tac­it­ly or oth­er­wise, when a stu­dent gets the upper hand, or when both con­front the speech­less awe of not know­ing. Atti­tudes of respect, rev­er­ence, humil­i­ty, can­dor, and good humor pre­vail. Per­haps under all koan prac­tice lies the idea of skill­ful means—the appro­pri­ate action to take in the moment, which can only be known in the moment.

In his short, humor­ous dis­cus­sion of Zen koans above, Alan Watts tells the sto­ry of a Zen stu­dent who tricks his mas­ter and hits him with his own stick. The mas­ter responds with approval of the student’s tac­tics, but the koan does not sug­gest that every­one should do the same. That, as Dogen would argue, would be to have an idea about real­i­ty, rather than a whol­ly-engaged response to it. What­ev­er else koans show their stu­dents, they point again and again to this cen­tral human dilem­ma of think­ing about living—in the past, present, or future—versus actu­al­ly expe­ri­enc­ing our lives.

Relat­ed Con­tent:

Alan Watts Presents a 15-Minute Guid­ed Med­i­ta­tion: A Time-Test­ed Way to Stop Think­ing About Think­ing

Take Harvard’s Intro­duc­to­ry Course on Bud­dhism, One of Five World Reli­gions Class­es Offered Free Online

The World’s Largest Col­lec­tion of Tibetan Bud­dhist Lit­er­a­ture Now Online

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

Paris in Beautiful Color Images from 1890: The Eiffel Tower, Notre Dame, The Panthéon, and More (1890)

The 17th and 18th cen­turies in Eng­land marked a peri­od of osten­ta­tion for a grow­ing, and increas­ing­ly wealthy, landown­ing class. These were also times of inter­nal reli­gious wars between Catholics and Protes­tants, a peri­od that saw the regi­cide of Charles I, the restora­tion of Charles II to the throne, and William and Mary’s “Glo­ri­ous Rev­o­lu­tion,” depos­ing his suc­ces­sor, James II. All of this over the span of 28 years. Anti-Catholic sen­ti­ment ran high among the peo­ple, and it made a par­tic­u­lar­ly con­ve­nient polit­i­cal tool.

But there are two groups you might not have found at anti-Catholic ral­lies dur­ing the most heat­ed of polit­i­cal times, not, at least, dur­ing the final, for­ma­tive years of their edu­ca­tion. Both young scions of gen­try and nobil­i­ty on a gap year, and artists and poets seek­ing out the finest train­ing, took the Euro­pean Grand Tour, for sev­er­al months or sev­er­al years, a sojourn through the most­ly-Catholic con­ti­nent. No clas­si­cal edu­ca­tion was com­plete with­out a vis­it to Flo­rence, Milan, Rome, Vien­na, and, of course, Paris.

Here, gen­tle­man picked up the lat­est fash­ions and dance steps, bud­ding archi­tects stud­ied cathe­drals and Catholic art, and every­one, Catholic and Protes­tant alike, gawked at the tow­er­ing Notre Dame. The impor­tance of the Grand Tour, remarked his­to­ri­an E.P. Thomp­son, “showed that rul­ing class con­trol in the 18th cen­tu­ry was locat­ed pri­mar­i­ly in cul­tur­al hege­mo­ny.” Tour­ing gen­tle­men wrote mem­oirs and guide­books and com­mis­sioned paint­ings. Artists sent back draw­ings and poems, as both sou­venirs and proof of their cul­tur­al mas­tery.

Through these aris­to­crat­ic tourists the rest of the world came to see Europe as a suc­ces­sion of mon­u­ments, like the Greek and Roman cities of antiq­ui­ty. At the same time, an impe­ri­al­ist craze for Neo­clas­si­cal archi­tec­ture began to make Europe’s biggest cities resem­ble clas­si­cal mod­els more and more.

The last half of the 18th cen­tu­ry saw the con­struc­tion of the Pan­théon, La Made­line—the Catholic church first ded­i­cat­ed as a tem­ple to Napoleonand the Lou­vre, all mon­u­ments to clas­si­cal archi­tec­ture.

The Grand Tour approach to look­ing at cities and the cor­re­spond­ing Neo­clas­si­cal wave of build­ing came togeth­er in the age of pho­tog­ra­phy, when prints of the great places could give their view­ers a sense of hav­ing been there, or at least hit all the major entries in the guide­book. Wan­der­ing gen­try and artists became entre­pre­neurs, using the new tech­nol­o­gy to not only sim­u­late a Grand Tour, but to sell prints for post­cards and the rare pho­to­graph­ic book.

By 1890, when the pho­tos of Paris here were tak­en, such prints were com­mon­place. They rep­re­sent­ed a democ­ra­ti­za­tion, in a way, of Europe’s great land­marks, and of the lit­er­ary and fine arts tech­niques once pri­mar­i­ly used to record them. No doubt some few peo­ple saw the devel­op­ment as a vul­gar one, but art his­to­ri­ans today can be grate­ful that Paris at the end of the 19th cen­tu­ry was so well-doc­u­ment­ed. In this dig­i­tal col­lec­tion from the Library of Con­gress, Beaux-Arts mas­ter­pieces like the Paris Opera House sit beside the Goth­ic Notre Dame and Neo-Clas­si­cal Pan­théon.

It is a shame these pho­tos do not let view­ers go inside to expe­ri­ence first­hand the build­ings that inspired The Phan­tom of the Opera and The Hunch­back of Notre Dame, and in which are buried such lit­er­ary roy­al­ty as Voltaire, Jean-Jacques Rousseau, Emile Zola, and Vic­tor Hugo him­self. But this rich archive of ear­ly col­or pho­tographs from just before the turn of the cen­tu­ry does capture—for all time, per­haps, now that they are online—the great­est feats of archi­tec­tur­al engi­neer­ing from the old Medieval  order, the Ancien Régime, the Repub­lic, and the Empire.

The col­lec­tion rep­re­sents yet anoth­er way of dig­i­tal­ly pre­serv­ing the mem­o­ries of these grand build­ings should they one day be lost, as Notre Dame near­ly was just a few days ago. It also shows the state of pho­tog­ra­phy at the dawn of the post­card boom, when Pho­tochrom prints like these could be pur­chased cheap­ly and mailed for a few cents or cen­times. See many more of these stun­ning pho­tos at the Library of Con­gress Dig­i­tal Col­lec­tions here.

Relat­ed Con­tent:

Rome Comes to Life in Pho­tochrom Col­or Pho­tos Tak­en in 1890: The Colos­se­um, Tre­vi Foun­tain & More

Venice in Beau­ti­ful Col­or Images 125 Years Ago: The Rial­to Bridge, St. Mark’s Basil­i­ca, Doge’s Palace & More

Tsarist Rus­sia Comes to Life in Vivid Col­or Pho­tographs Tak­en Cir­ca 1905–1915

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

Experience the Majesty of Notre Dame by Getting a Free Download of the Video Game Assassin’s Creed Unity (Free for a Limited Time)

FYI: In the wake of the great Notre Dame fire, the French video game com­pa­ny Ubisoft has decid­ed to make its pop­u­lar video game Assas­s­in’s Creed Uni­ty free through April 25th, allow­ing gamers to “expe­ri­ence the majesty and beau­ty of the cathe­dral.” The goth­ic cathe­dral fig­ures cen­tral­ly in the game. Start your down­load (avail­able only for PC users) here. Once you down­load the game, you’ll own it for­ev­er in your Uplay games library.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via Laugh­ing Squid

Climate Change Gets Strikingly Visualized by a Scottish Art Installation

What does it accom­plish to talk about cli­mate change? Even those who talk about cli­mate change pro­fes­sion­al­ly might find it hard to say. If you real­ly want to make a point about ris­ing sea lev­els — not to men­tion all the oth­er changes pre­dict­ed to afflict a warm­ing Earth — you might do bet­ter to show, not tell. That rea­son­ing seems to have moti­vat­ed art projects like the giant hands reach­ing out from the waters of Venice pre­vi­ous­ly fea­tured here on Open Cul­ture, and it looks even clear­er in the more recent case of Lines (57° 59 ́N, 7° 16 ́W), an instal­la­tion now on dis­play on a Scot­tish island.

All images cour­tesy of Timo Aho and Pekka Niit­tyvir­ta

“At high tide, three syn­chro­nized lines of light acti­vate in the Out­er Hebrides off the west coast of Scot­land,” writes Design­boom’s Zach Andrews, and in the dark, “wrap around two struc­tures and along the base of a moun­tain land­scape.

Every­thing below these lines of light will one day be under­wa­ter.” Cre­at­ed by Finnish artists Pekka Niit­tyvir­ta and Timo Aho for Taigh Chearsab­hagh Muse­um & Arts Cen­treLines (57° 59 ́N, 7° 16 ́W) offers a stark reminder of the future human­i­ty faces if cli­mate change goes on as pro­ject­ed.

But why put up an instal­la­tion of such appar­ent urgency in such a thin­ly pop­u­lat­ed, out-of-the-way place? “Low lying arch­i­pel­a­gos like this one are espe­cial­ly vul­ner­a­ble to the cat­a­stroph­ic effects of cli­mate change,” Andrews writes, adding that the Taigh Chearsab­hagh Muse­um & Arts Cen­tre itself “can­not even afford to devel­op on its exist­ing site any­more due to the pre­dict­ed rise of storm surge sea.” But though the effects of ris­ing sea lev­els may be felt first on islands like these, few pre­dic­tions have those effects stop­ping there; worst-case sce­nar­ios won’t spare our major metrop­o­lis­es, and cer­tain­ly not the coastal ones.

You can get a sense of what Lines (57° 59 ́N, 7° 16 ́W) looks like in action from the pho­tographs on Niit­tyvir­ta’s site a well as the time-lapse video at the top, which shows the lines of light acti­vat­ing when their sen­sors detect high tide, then only those lines of light remain­ing by the time the sun has gone com­plete­ly down. To expe­ri­ence the full impact of the instal­la­tion, how­ev­er, requires see­ing it in per­son in the con­text for which it was cre­at­ed. So if you’ve been putting off that trip to the Out­er Hebrides, now might be the time to final­ly take it — not just because of Niit­tyvir­ta and Aho’s work, but because in a few years, it may not be quite the same place.

via Colos­sal

Relat­ed Con­tent:

Ani­ma­tions Show the Melt­ing Arc­tic Sea Ice, and What the Earth Would Look Like When All of the Ice Melts

Huge Hands Rise Out of Venice’s Waters to Sup­port the City Threat­ened by Cli­mate Change: A Poignant New Sculp­ture

Music for a String Quar­tet Made from Glob­al Warm­ing Data: Hear “Plan­e­tary Bands, Warm­ing World”

A Song of Our Warm­ing Plan­et: Cel­list Turns 130 Years of Cli­mate Change Data into Music

A Map Shows What Hap­pens When Our World Gets Four Degrees Warmer: The Col­orado Riv­er Dries Up, Antarc­ti­ca Urban­izes, Poly­ne­sia Van­ish­es

A Cen­tu­ry of Glob­al Warm­ing Visu­al­ized in a 35 Sec­ond Video

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.

Billy Collins Teaches Poetry in a New Online Course

In its lat­est release, Mas­ter­class has launched a new course, “Bil­ly Collins Teach­es Read­ing and Writ­ing Poet­ry,” which they describe in the trail­er above and the text below. You can sign up here. The cost is $90. Or pay $180 and get an annu­al pass to their entire cat­a­logue of cours­es cov­er­ing a wide range of sub­jects–every­thing from film­mak­ing (Wern­er Her­zog, David Lynch, Mar­tin Scors­ese), to act­ing (Helen Mir­ren) and cre­ative writ­ing (Mar­garet Atwood), to tak­ing pho­tographs (Annie Lei­bovitz) and writ­ing plays (David Mamet). Each course is taught by an emi­nent fig­ure in their field.

Known for his wit, humor, and pro­found insight, Bil­ly is one of the best-sell­ing and most beloved con­tem­po­rary poets in the Unit­ed States. He reg­u­lar­ly sells out poet­ry read­ings, fre­quent­ly charms lis­ten­ers on NPR’s A Prairie Home Com­pan­ion, and his work has appeared in antholo­gies, text­books, and peri­od­i­cals around the world.

Called “America’s Favorite Poet” by the Wall Street Jour­nal, Bil­ly served two terms as U.S. Poet Lau­re­ate and is also a for­mer New York State Poet Lau­re­ate. He’s been hon­ored with the Mark Twain Prize for Humor in Poet­ry and a num­ber of pres­ti­gious fel­low­ships. He’s taught at Colum­bia Uni­ver­si­ty, Sarah Lawrence, and Lehman Col­lege, and he’s also a dis­tin­guished pro­fes­sor at the City Uni­ver­si­ty of New York. Now he’s teach­ing his first-ever Mas­ter­Class.

In his Mas­ter­Class on Read­ing and Writ­ing Poet­ry, Bil­ly teach­es you the build­ing blocks of poems and their unique pow­er to con­nect read­er and writer. From sub­ject and form to rhyme and meter, learn to appre­ci­ate the plea­sures of a well-turned poem. Dis­cov­er Billy’s phi­los­o­phy on the craft of poet­ry and learn how he cre­ates a poet’s per­sona, incor­po­rates humor, and lets imag­i­na­tion lead the way. By break­ing down his own approach to com­pos­ing poet­ry and enjoy­ing the work of oth­ers, Bil­ly invites stu­dents to explore the gifts poet­ry has to offer.

In this online poet­ry class, you’ll learn about:
• Using humor as a seri­ous strat­e­gy
• The fun­da­men­tal ele­ments of poet­ry
• Billy’s writ­ing process
• Turn­ing a poem
• Explor­ing sub­jects
• Rhyme and meter
• Sound plea­sures
• Find­ing your voice
• Using form to engage read­ers
• The visu­al dis­tinc­tions of poet­ry

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.

Relat­ed Con­tent:

The Ani­ma­tion of Bil­ly Collins’ Poet­ry: Every­day Moments in Motion

Stream Bil­ly Collins’ Album, The Best Cig­a­rette, Free Online

Bill Mur­ray Reads the Poet­ry of Lawrence Fer­linghet­ti, Wal­lace Stevens, Emi­ly Dick­in­son, Bil­ly Collins, Lorine Niedeck­er, Lucille Clifton & More

 

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Street Art for Book Lovers: Dutch Artists Paint Massive Bookcase Mural on the Side of a Building

Book­cas­es are a great ice break­er for those who love to read.

What relief those shelves offer ill-at ease par­ty­go­ers… even when you don’t know a soul in the room, there’s always a chance you’ll bond with a fel­low guest over one of your hosts’ titles.

Occu­py your­self with a good browse whilst wait­ing for some­one to take the bait.

Now, with the aid of Dutch street artists Jan Is De Man and Deef Feed, some res­i­dents of Utrecht have turned their book­cas­es into street art, spark­ing con­ver­sa­tion in their cul­tur­al­ly diverse neigh­bor­hood.

De Man, whose close friends occu­py the ground floor of a build­ing on the cor­ner of Mimosas­traat and Ams­ter­dam, had ini­tial­ly planned to ren­der a giant smi­ley face on an exte­ri­or wall as a pub­lic morale boost­er, but the shape of the three-sto­ry struc­ture sug­gest­ed some­thing a bit more lit­er­ary.

The trompe-l’oeil Boekenkast (or book­case) took a week to cre­ate, and fea­tures titles in eight dif­fer­ent lan­guages.

Look close­ly and you’ll notice both artists’ names (and a smi­ley face) lurk­ing among the spines.

Design mags may make an impres­sion by order­ing books accord­ing to size and col­or, but this com­mu­nal 2‑D boekenkast looks to belong to an avid and omniv­o­rous read­er.

Some Eng­lish titles that caught our eye:

Sapi­ens

The Sub­tle Art of Not Giv­ing a F*ck

Kei­th Richards’ auto­bi­og­ra­phy Life

The Curi­ous Inci­dent of the Dog in the Night­time 

Pride and Prej­u­dice

The Lit­tle Prince

The World Accord­ing to Garp

Jumper

And a classy-look­ing hard­bound Play­boy col­lec­tion that may or may not exist in real life.

(Read­ers, can you spot the oth­er fakes?)

Boekenkast is the lat­est of a num­ber of glob­al book­shelf murals tempt­ing lit­er­ary pil­grims to take a self­ie on the way to the local indie book­shop.

via Bored Pan­da

Relat­ed Con­tent:

Japan­ese Artist Cre­ates Book­shelf Dio­ra­mas That Mag­i­cal­ly Trans­port You Into Tokyo’s Back Alleys

157 Ani­mat­ed Min­i­mal­ist Mid-Cen­tu­ry Book Cov­ers

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

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this May for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

The Mueller Report Is #1, #2 and #3 on the Amazon Bestseller List: You Can Get It Free Online

Peruse the Ama­zon best­selling book list and you’ll find that the long-await­ed Mueller Report is not just the #1 best­seller. It’s also the #2 best­seller and the #3 best­seller. Col­lu­sion and obstruction–it’s the stuff that makes for good book sales, it appears.

You can pre-order the Mueller Report in book, ebook and even audio book for­mats via the links above. But if you want to down­load the report for free, and start read­ing it asap, sim­ply head to the Wash­ing­ton Post and New York Times. Or go straight to the source at the Jus­tice Depart­ment web site. Politi­co has a search­able PDF ver­sion 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, 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!

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9 Science-Fiction Authors Predict the Future: How Jules Verne, Isaac Asimov, William Gibson, Philip K. Dick & More Imagined the World Ahead

Pressed to give a four-word def­i­n­i­tion of sci­ence fic­tion, one could do worse than “sto­ries about the future.” That stark sim­pli­fi­ca­tion does the com­plex and var­ied genre a dis­ser­vice, as the defend­ers of sci­ence fic­tion against its crit­ics won’t hes­i­tate to claim. And those crit­ics are many, includ­ing most recent­ly the writer Ian McE­wan, despite the fact that his new nov­el Machines Like Me is about the intro­duc­tion of intel­li­gent androids into human soci­ety. Sci-fi fans have tak­en him to task for dis­tanc­ing his lat­est book from a genre he sees as insuf­fi­cient­ly con­cerned with the “human dilem­mas” imag­ined tech­nolo­gies might cause, but he has a point: set in an alter­nate 1982, Machines Like Me isn’t about the future but the past.

Then again, per­haps McE­wan’s nov­el is about the future, and the androids sim­ply haven’t yet arrived on our own time­line — or per­haps, like most endur­ing works of sci­ence fic­tion, it’s ulti­mate­ly about the present moment. The writ­ers in the sci-fi pan­theon all com­bine a height­ened aware­ness of the con­cerns of their own eras with a cer­tain gen­uine pre­science about things to come.

Writ­ing in the ear­ly 1860s, Jules Verne imag­ined a sub­ur­ban­ized 20th cen­tu­ry with gas-pow­ered cars, elec­tron­ic sur­veil­lance, fax machines and a pop­u­la­tion at once both high­ly edu­cat­ed and crude­ly enter­tained. Verne also includ­ed a sim­ple com­mu­ni­ca­tion sys­tem that can’t help but remind us of the inter­net we use today — a sys­tem whose promise and per­il Neu­ro­mancer author William Gib­son described on tele­vi­sion more than 130 years lat­er.

In the list below we’ve round­ed up Verne and Gib­son’s pre­dic­tions about the future of tech­nol­o­gy and human­i­ty along with those of sev­en oth­er sci­ence-fic­tion lumi­nar­ies. Despite com­ing from dif­fer­ent gen­er­a­tions and pos­sess­ing dif­fer­ent sen­si­bil­i­ties, these writ­ers share not just a con­cern with the future but the abil­i­ty to express that con­cern in a way that still inter­ests us, the denizens of that future. Or rather, some­thing like that future: when we hear Aldous Hux­ley pre­dict in 1950 that “dur­ing the next fifty years mankind will face three great prob­lems: the prob­lem of avoid­ing war; the prob­lem of feed­ing and cloth­ing a pop­u­la­tion of two and a quar­ter bil­lions which, by 2000 A.D., will have grown to upward of three bil­lions, and the prob­lem of sup­ply­ing these bil­lions with­out ruin­ing the planet’s irre­place­able resources,” we can agree with the gen­er­al pic­ture even if he low­balled glob­al pop­u­la­tion growth by half.

In 1964, Arthur C. Clarke pre­dict­ed not just the inter­net but 3D print­ers and trained mon­key ser­vants. In 1977, the more dystopi­an-mind­ed J.G. Bal­lard came up with some­thing that sounds an awful lot like mod­ern social media. Philip K. Dick­’s time­line of the years 1983 through 2012 includes Sovi­et satel­lite weapons, the dis­place­ment of oil as an ener­gy source by hydro­gen, and colonies both lunar and Mar­t­ian. Envi­sion­ing the world of 2063, Robert Hein­lein includ­ed inter­plan­e­tary trav­el, the com­plete cur­ing of can­cer, tooth decay, and the com­mon cold, and a per­ma­nent end to hous­ing short­ages. Even Mark Twain, despite not nor­mal­ly being regard­ed as a sci-fi writer, imag­ined a “ ‘lim­it­less-dis­tance’ tele­phone” sys­tem intro­duced and “the dai­ly doings of the globe made vis­i­ble to every­body, and audi­bly dis­cuss­able too, by wit­ness­es sep­a­rat­ed by any num­ber of leagues.”

As much as the hits impress, they tend to be out­num­bered in even sci­ence fic­tion’s great­est minds by the miss­es. But as you’ll find while read­ing through the pre­dic­tions of these nine writ­ers, what sep­a­rates sci­ence fic­tion’s great­est minds from the rest is the abil­i­ty to come up with not just inter­est­ing hits but inter­est­ing miss­es as well. Con­sid­er­ing why they got right what they got right and why they got wrong what they got wrong tells us some­thing about the work­ings of their imag­i­na­tions, but also about the eras they did their imag­in­ing in — and how their times led to our own, the future to which so many of them ded­i­cat­ed so much thought.

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:

Read Hun­dreds of Free Sci-Fi Sto­ries from Asi­mov, Love­craft, Brad­bury, Dick, Clarke & More

Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond

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

Isaac Asi­mov Recalls the Gold­en Age of Sci­ence Fic­tion (1937–1950)

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.

How the Vietnam War Shaped Classic Rock–And How Classic Rock Shaped the War

There are a hand­ful of pop­u­lar songs that have become cliche and short­hand for film­mak­ers wish­ing to take us back to the trau­ma of the Viet­nam War: Jimi Hendrix’s cov­er of Dylan’s “All Along the Watch­tow­er” or Edwin Starr’s “War,” to name two. Yet at the same time, while clas­sic rock lives for­ev­er, mem­o­ries or lessons of Viet­nam have not. Buf­fa­lo Springfield’s “For What It’s Worth” orig­i­nal­ly was a com­ment on the Sun­set Strip Cur­few (anti-war) riots, but now its mean­ing is open end­ed enough to suit any poten­tial­ly vio­lent protest.

In Polyphonic’s two-part series, clev­er­ly titled “How the Viet­nam War Shaped Clas­sic Rock” for the first half and “How Clas­sic Rock Shaped the Viet­nam War” for the sec­ond, Noah Lefevre per­forms a need­ed reeval­u­a­tion on dozens of rock and soul songs, plac­ing them back in their his­tor­i­cal con­text and show­ing how the pow­er and mes­sage of music evolved as the war descend­ed into chaos and defeat.

The Viet­nam War dragged on so long that music and cul­ture were both vast­ly dif­fer­ent by the time Saigon fell and the Amer­i­cans pulled out. Poly­phon­ic begins with the first line of protest, the Amer­i­can folk singers in Green­wich Vil­lage, in par­tic­u­lar Phil Ochs and his appren­tice Bob Dylan. Folk was the tra­di­tion­al way that protest reached the Amer­i­can public–it need­ed a singer and a gui­tar and noth­ing more–but Dylan would pro­vide the bridge that rock music need­ed, as he strad­dled both camps for a while (and Ochs did not).

How­ev­er, as Lefevre astute­ly points out, the troops them­selves weren’t lis­ten­ing to folk. They were like any­body else their age at that time and lis­ten­ing to rock and r’n’b. Their top of their pops, cir­ca 1965, was The Ani­mals’ “We’ve Got­ta Get Out of This Place” (orig­i­nal­ly about small town alien­ation, but per­fect for being stuck thou­sands of miles from home) and Nan­cy Sinatra’s “These Boots Were Made for Walk­ing.”

Things changed as the war esca­lat­ed in 1966 and the first sol­diers returned home, many of whom would join in the protest move­ment.

And while on one hand psy­che­del­ic drugs pow­ered the Sum­mer of Love, advance­ments in tech pow­ered the images of the war that now got beamed into all our tele­vi­sion sets. The war was dirt­i­er, messier, and more hor­rif­ic than most peo­ple imag­ined, and music respond­ed in two ways. One was to bounce out­side that real­i­ty and pro­claim peace the answer, as John Lennon and Yoko Ono did, squar­ing off against the gov­ern­ment and rad­i­cal­ized youth alike. The oth­er was to cre­ate a music sound that tried to match the mad­ness. Jimi Hen­drix man­aged it sev­er­al times, includ­ing “Machine Gun” and his infa­mous ren­di­tion of “The Star Span­gled Ban­ner.” But King Crimson’s “21st Cen­tu­ry Schizoid Man” and Black Sabbath’s “War Pigs” were even dark­er. And then there was Mar­vin Gaye’s mas­ter­piece What’s Going On, which is nei­ther peacenik nor hor­ror­show. Instead it’s a sigh of melan­choly and sad­ness, tak­ing in man’s cycle of vio­lence towards itself and to the earth.

Poly­phon­ic real­ly stepped it up in these two mini docs, gain­ing access to high qual­i­ty archival footage. There’s plen­ty more to learn and hear in them, so click play.

Relat­ed Con­tent:

Mick­ey Mouse In Viet­nam: The Under­ground Anti-War Ani­ma­tion from 1968, Co-Cre­at­ed by Mil­ton Glaser

How Fleet­wood Mac Makes A Song: A Video Essay Explor­ing the “Son­ic Paint­ings” on the Clas­sic Album, Rumours

Kind of Blue: How Miles Davis Changed Jazz

How Talk­ing Heads and Bri­an Eno Wrote “Once in a Life­time”: Cut­ting Edge, Strange & Utter­ly Bril­liant

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.

150 Renowned Secular Academics & 20 Christian Thinkers Talking About the Existence of God

Of the many books released over the past cou­ple decades about the exis­tence or nonex­is­tence of God (and there were a lot) one of the best comes from philoso­pher and nov­el­ist Rebec­ca Gold­stein. Her 2010 36 Argu­ments for the Exis­tence of God is not, how­ev­er, a work of pop­u­lar the­ol­o­gy or anti-the­ol­o­gy; it is fic­tion, a satire of acad­e­mia, the pub­lish­ing world, the Judaism she left behind, and the bub­ble of hype that once inflat­ed around so-called “new athe­ism.”

In a book with­in the book, Goldstein’s hero, Cass Seltzer strikes it big with his own pop­u­lar knock­down of reli­gion, The Vari­eties of Reli­gious Illu­sion, which ends with 36 refu­ta­tions of argu­ments for God in the appen­dix, which itself pro­vides the appen­dix for Goldstein’s book. If this sounds com­pli­cat­ed, there’s no rea­son it shouldn’t be. Con­ver­sa­tions about God, for hun­dreds of years the biggest top­ic in West­ern phi­los­o­phy, should not be reduced to syl­lo­gisms and stereo­types.

Yet over­sim­pli­fy­ing the big ques­tions is what many pop athe­ist books do, Gold­stein sug­gests. Seltzer’s book arrives when there is “a glut of god­less­ness” in book­stores. Such books “were sell­ing well,” writes Gold­stein, “some­times edg­ing out cook­books and mem­oirs writ­ten by house­hold pets to rise to the top of the best-sell­er list.” The two deep thinkers and reli­gious crit­ics Seltzer self-con­scious­ly draws on in his title make his project seem all the more iron­i­cal­ly triv­ial:

First had come the book, which he had enti­tled The Vari­eties of Reli­gious Illu­sion, a nod to both William James’s The Vari­eties of Reli­gious Expe­ri­ence and to Sig­mund Freud’s The Future of An Illu­sion. The book had brought Cass an inde­cent amount of atten­tion. Time Mag­a­zine, in a cov­er sto­ry on the so-called new athe­ists, had end­ed by dub­bing him “the athe­ist with a soul.” 

By embed­ding argu­ments for the exis­tence of God in each of the books 36 chap­ters, Gold­stein implies “the joke—or sort of joke,” as Janet Maslin writes at The New York Times, “is that Cass’s conun­drum-filled life illus­trates and affirms thoughts of the divine even as his appen­dix repu­di­ates them.” Dwelling per­sis­tent­ly on an idea grants it the very valid­i­ty one argues it should not have, per­haps.

This does seem to be an effect of cer­tain hard-nosed athe­ist writ­ing, as Niet­zsche rec­og­nized very well. “I am afraid we are not rid of God,” he once lament­ed, “because we still have faith in gram­mar.” Reli­gious ideas are embed­ded in the struc­ture of the lan­guage; lan­guage itself seems to have meta­phys­i­cal prop­er­ties. It is like ecto­plasm, slip­pery, opaque, made of metaphors both liv­ing and dead. It both enables and thwarts all attempts at cer­tain­ty.

Goldstein’s cre­ative approach to the God debate stands out for its ambiva­lence and humor. (See her dis­cuss faith, fic­tion, and rea­son with her part­ner, Har­vard psy­chol­o­gist Steven Pinker, in the video at the top of the post.) In the com­pi­la­tions here, Gold­stein and 149 more renowned aca­d­e­mics offer their agnos­tic or athe­ist thoughts on God. Some are less nuanced, some lean more heav­i­ly on sta­tis­tics, physics, and math; many come from the the­o­ret­i­cal sci­ences and from ana­lyt­ic and moral phi­los­o­phy. Some are sym­pa­thet­ic to reli­gion, some are con­temp­tu­ous. A wide breadth of intel­lec­tu­al per­spec­tives is rep­re­sent­ed here.

Yet oth­er than Gold­stein and a hand­ful of oth­er promi­nent women, the selec­tions skew almost entire­ly male (rather like the char­ac­ters in most reli­gious scrip­tures), and skew almost entire­ly white Euro­pean and North Amer­i­can. We can do what we like with this infor­ma­tion. It should not prej­u­dice us against the finest thinkers in the com­pi­la­tion, which includes sev­er­al Nobel Prize win­ning sci­en­tists, famous philoso­phers, Richard Feyn­man, Oliv­er Sacks, and Noam Chom­sky, as well as a few fig­ures who have recent­ly become infa­mous for alleged sex­u­al harass­ment, racism, and far worse.

But we might wish the less engag­ing con­trib­u­tors to this dis­cus­sion had giv­en way to a greater diver­si­ty of per­spec­tives, not only from oth­er cul­tures, but from the arts and human­i­ties. On the oth­er side of the coin, we have a small­er list of 20 Chris­t­ian aca­d­e­mics address­ing the ques­tion of God, below. These include respect­ed sci­en­tists like Fran­cis Collins and John Polk­ing­horne and many well-regard­ed (and some not so) Chris­t­ian philoso­phers. The line­up is entire­ly male, and also includes an apol­o­gist accused of fak­ing his aca­d­e­m­ic cre­den­tials and an apol­o­gist turned right-wing pro­pa­gan­dist who was con­vict­ed and jailed for fraud. At the very least, these details might call into ques­tion their intel­lec­tu­al hon­esty.

Here again, maybe some of these selec­tions should have been bet­ter vet­ted in favor of the many women in phi­los­o­phy, the­ol­o­gy, sci­ence, etc. But there are voic­es worth hear­ing here, from pro­fess­ing intel­lec­tu­als who can keep the ques­tions open even while in a state of belief, a skill even rar­er in the world than in this col­lec­tion of Chris­t­ian sci­en­tists, schol­ars, and apol­o­gists.

Relat­ed Con­tent:

Athe­ism: A Rough His­to­ry of Dis­be­lief, with Jonathan Miller

Does God Exist? Christo­pher Hitchens Debates Chris­t­ian Philoso­pher William Lane Craig

In His Lat­est Film, Slavoj Žižek Claims “The Only Way to Be an Athe­ist is Through Chris­tian­i­ty”

Athe­ist Ira Glass Believes Chris­tians Get the Short End of the Media Stick

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

 


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