Search Results for "fon"

Hear 1,500+ Genres of Music, All Mapped Out on an Insanely Thorough Interactive Graph

If you are ready for a time-suck inter­net expe­ri­ence that will also make you feel slight­ly old and out of step with the cul­ture, feel free to dive into Every Noise at Once. A scat­ter-plot of over 1,530 musi­cal gen­res sourced from Spotify’s lists and based on 35 mil­lion songs,  Every Noise at Once is a bold attempt at musi­cal tax­on­o­my. The Every Noise at Once web­site was cre­at­ed by Glenn McDon­ald, and is an off­shoot of his work at Echo Nest (acquired by Spo­ti­fy in 2014).

McDon­ald explains his graph thus:

This is an ongo­ing attempt at an algo­rith­mi­cal­ly-gen­er­at­ed, read­abil­i­ty-adjust­ed scat­ter-plot of the musi­cal genre-space, based on data tracked and ana­lyzed for 1,536 gen­res by Spo­ti­fy. The cal­i­bra­tion is fuzzy, but in gen­er­al down is more organ­ic, up is more mechan­i­cal and elec­tric; left is denser and more atmos­pher­ic, right is spiki­er and bounci­er.

It’s also egal­i­tar­i­an, with world dom­i­nat­ing “rock-and-roll” giv­en the same space and size as its neigh­bors choro (instru­men­tal Brazil­ian pop­u­lar music), cow­boy-west­ern (Con­way Twit­ty, Mer­le Hag­gard, et. al.), and Indi­an folk (Asha Bhosle, for exam­ple). It also makes for some strange bed­fel­lows: what fac­tor does musique con­crete share with “Chris­t­ian relax­i­tive” oth­er than “rea­sons my col­lege room­mate and I nev­er got along.” Now you can find out!

Click on any of the gen­res and you’ll hear a sam­ple of that music. Dou­ble click and you’ll be tak­en to a sim­i­lar scat­ter-plot graph of its most pop­u­lar artists, this time with font size denot­ing pop­u­lar­i­ty and a sim­i­lar sam­ple of their music.

I’ve been spend­ing most of my time explor­ing up in the top right cor­ner where all sorts of elec­tron­ic dance sub­gen­res hang out. I’m not too sure what dif­fer­en­ti­ates “deep tech house” from “deep deep house” or “deep min­i­mal tech­no” or “tech house” or even “deep melod­ic euro house” but I now know where to come for a refresh­er course.

Spo­ti­fy and oth­er ser­vices depend on algo­rithms and tax­onomies like this to deliv­er con­sis­tent lis­ten­ing expe­ri­ences to its users, and they were attract­ed to Echo Nest for its work with gen­res. Echo Nest was orig­i­nal­ly based on the dis­ser­ta­tion work of Tris­tan Jehan and Bri­an Whit­man at the MIT Media Lab, who over a decade ago were try­ing to under­stand the “fin­ger­prints” of record­ed music. Now when you lis­ten to Spotify’s per­son­al­ized playlists, Echo Nest’s research is the engine work­ing in the back­ground.

McDon­ald says in this 2014 Dai­ly Dot arti­cle this isn’t about a machine guess­ing our taste.

“No, the machines don’t know us bet­ter than we do. But they can very eas­i­ly know more than we do. My job is not to tell you what to lis­ten to, or to pass judg­ment on things or ‘make taste.’ It’s to help you explore and dis­cov­er. Your taste is your busi­ness. Under­stand­ing your taste and sit­u­at­ing it in some intel­li­gi­ble con­text is my busi­ness.”

If you’d like a more pas­sive jour­ney through the ever expand­ing music genre uni­verse, there’s a Spo­ti­fy playlist of one song from each genre (all 1,500+) above. See you in the deep, deep house!

via Kottke.org

Relat­ed Con­tent:

The His­to­ry of Hip Hop Music Visu­al­ized on a Turntable Cir­cuit Dia­gram: Fea­tures 700 Artists, from DJ Kool Herc to Kanye West

Crime Jazz: How Miles Davis, Count Basie & Duke Elling­ton Cre­at­ed Sound­tracks for Noir Films & TV

Pio­neer­ing Elec­tron­ic Com­pos­er Karl­heinz Stock­hausen Presents “Four Cri­te­ria of Elec­tron­ic Music” & Oth­er Lec­tures in Eng­lish (1972)

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.

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If You Drive Down a Stretch of Route 66, the Road Will Play “America the Beautiful”

If you find your­self in New Mex­i­co, trav­el­ing down a stretch of Route 66, you can dri­ve over a quar­ter mile-long rum­ble strip and your car’s tires will play “Amer­i­ca the Beau­ti­ful.”  That’s assum­ing you’re dri­ving at the speed lim­it, 45 miles per hour. Don’t believe me? Watch the clip above.

As Atlas Obscu­ra explains, the “Musi­cal High­way” or “Singing High­way” was “installed in 2014 as part of a part­ner­ship between the New Mex­i­co Depart­ment of Trans­porta­tion and the Nation­al Geo­graph­ic Chan­nel.” It’s all part of an elab­o­rate attempt to get dri­vers to slow down and obey the speed lim­it. “Get­ting the rum­ble strips to ser­e­nade trav­el­ers required a fair bit of engi­neer­ing. The indi­vid­ual strips had to be placed at the pre­cise dis­tance from one anoth­er to pro­duce the notes they need­ed to sing their now-sig­na­ture song.”

You’ll find this par­tic­u­lar stretch of road between Albu­querque and Tijeras. Here’s the loca­tion on Google Maps. Oth­er musi­cal rum­ble strips have popped up in Den­mark, Japan and South Korea.

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

Relat­ed Con­tent:

The Negro Trav­el­ers’ Green Book, the Pre-Civ­il Rights Guide to Trav­el­ing Safe­ly in the U.S. (1936–66)

Jack Kerouac’s On The Road Turned Into Google Dri­ving Direc­tions & Pub­lished as a Free eBook

Ancient Rome’s Sys­tem of Roads Visu­al­ized in the Style of Mod­ern Sub­way Maps

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Hear Benedict Cumberbatch Read John Keats’ “Ode to a Nightingale” and Other Great Works by Shakespeare, Dante & Coleridge

Would Bene­dict Cum­ber­batch have such ardent fans if he could­n’t read poet­ry so well? Almost cer­tain­ly he would, although his way with verse still seems not like a bonus but an inte­gral com­po­nent of his dra­mat­ic per­sona. Though not eas­i­ly explained, that rela­tion­ship does come across if you hear any of the actor’s read­ings of poet­ry. In the video above, Cum­ber­batch per­forms “Ode to a Nightin­gale,” the longest and best-known of John Keats’ 1819 odes that casts into verse the poet­’s dis­cov­ery of “neg­a­tive capa­bil­i­ty,” or as he defined it in a let­ter two years ear­li­er, “when a man is capa­ble of being in uncer­tain­ties, mys­ter­ies, doubts, with­out any irri­ta­ble reach­ing after fact and rea­son.”

Yet one sens­es that the Cum­ber­batch fans who put up these videos, such as the one accom­pa­ny­ing “Ode to a Nightin­gale” with imagery rem­i­nis­cent of a Tiger Beat pic­to­r­i­al, care less about his neg­a­tive capa­bil­i­ty than cer­tain oth­er qual­i­ties. His voice, for instance: the uploader of the video com­bin­ing five poems just above describes as “the vel­vety dul­cet tones of a jaguar hid­ing in a cel­lo.”

That com­pi­la­tion includes “Ode to a Nightin­gale” as well as Shake­speare’s “The Sev­en Ages of Man” (“All the world’s a stage”), Lewis Car­rol­l’s “Jab­ber­wocky,” a piece of Dan­te’s Divine Com­e­dy, and Samuel Tay­lor Coleridge’s “Kubla Khan.” With Coleridge’s dream of Asia and Dan­te’s Ital­ian vision of the after­life, this poet­ic mix does get more exot­ic than it might seem (at least by the stan­dards of the eras from which it draws).

But Cum­ber­batch, who in 2015 received the hon­or of Com­man­der of the Most Excel­lent Order of the British Empire from the Queen and even read at the rebur­ial cer­e­mo­ny of King Richard III, clear­ly match­es best with the canon of his native Eng­land. As a ver­sa­tile per­former, and thus one who pre­sum­ably under­stands all about the need for neg­a­tive capa­bil­i­ty, Cum­ber­batch and his cel­lo-hid­den jaguar deliv­ery (a poet­ic descrip­tion, in its own way) has done jus­tice in the past to Kaf­ka, Kurt Von­negut, and Moby-Dick. Still, one won­ders what poem Cum­ber­batch could per­form in order to achieve an unsur­pass­able state of peak Eng­lish­ness. How long could it take for him to get around, for instance, to “If—”?

Cum­ber­batch’s read­ing of “Ode” will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

F. Scott Fitzger­ald Reads Shakespeare’s Oth­el­lo and Keats’ “Ode to a Nightin­gale” (1940)

Coleridge’s Rime of the Ancient Mariner Ani­mat­ed: A Clas­sic Ver­sion Nar­rat­ed by Orson Welles

Hear 20 Hours of Roman­tic & Vic­to­ri­an Poet­ry Read by Ralph Fiennes, Dylan Thomas, James Mason & Many More

Hear Bene­dict Cum­ber­batch Read Kafka’s The Meta­mor­pho­sis

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

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

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The Hummingbird Whisperer: Meet the UCLA Scientist Who Has Befriended 200 Hummingbirds

Com­mon wis­dom, and indeli­ble mem­o­ries of The Birds, warn that feed­ing seag­ulls, pigeons and oth­er crea­tures who trav­el in flocks is a can of worms best left unopened.

But what about hum­ming­birds?

Melanie Bar­boni is research geo­chemist in UCLA’s Depart­ment of Earth, Plan­e­tary and Space Sci­ences. Near the UCLA Court of Sci­ences she took a break from vol­canos and the moon long enough to hang a feed­er filled with sug­ar water out­side her ground floor office win­dow.

This com­pli­men­ta­ry buf­fet proved such a hit, she hung up more.

Two years lat­er, Bar­boni is serv­ing a colony of over 200 hum­ming­birds from four 80-ounce feed­ers. Their metab­o­lism requires them to con­sume 8 to 10 times their body weight on a dai­ly basis.

Barboni’s ser­vice to her tiny jew­el-toned friends extends well beyond the feed­ers. She’s divert­ed cam­pus tree trim­mers from inter­fer­ing with them dur­ing nest­ing sea­son, and giv­en pub­lic talks on the habi­tat-destroy­ing effects of cli­mate change. She’s col­lab­o­rat­ing with anoth­er pro­fes­sor and UCLA’s Chief Sus­tain­abil­i­ty Offi­cer Nurit Katz to estab­lish a spe­cial gar­den on cam­pus for hum­ming­birds and their fel­low pol­li­na­tors.

The inti­ma­cy of this rela­tion­ship is some­thing she’s dreamed of since her bird­watch­ing child­hood in Switzer­land where the only hum­ming­birds avail­able for her view­ing were the ones in books. Her dream came true when a fel­low­ship took her from Prince­ton to Los Ange­les, where hum­ming­birds live year-round.

Some long­time favorites now perch on their benefactor’s hand while feed­ing, or even per­mit them­selves to be held and stroked. A few like to hang out inside the office, where the warm glow of Barboni’s com­put­er mon­i­tor is a com­fort­ing pres­ence on inclement days.

She’s bestowed names on at least 50: Squeak, Star­dust, Tiny, Shy…

(Show of hands from those who wish she’d named them all after not­ed geol­o­gists: Mary Anning, Eugene Mer­le Shoe­mak­erCecil­ia Hele­na Payne-Gaposchkin…)

Get to know the UCLA hum­ming­birds bet­ter through Melanie Barboni’s up-close-and-per­son­al doc­u­men­tary pho­tos. Learn more about the species itself through the Nation­al Geo­graph­ic doc­u­men­tary below.

via The Kids Should See This

Relat­ed Con­tent:

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

Google Uses Arti­fi­cial Intel­li­gence to Map Thou­sands of Bird Sounds Into an Inter­ac­tive Visu­al­iza­tion

Free Enter­tain­ment for Cats and Dogs: Videos of Birds, Squir­rels & Oth­er Thrills

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

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How Marilyn Monroe Helped Break Ella Fitzgerald Into the Big Time (1955)

Think of movie stars, and you’ll almost cer­tain­ly think of Mar­i­lyn Mon­roe; think of jazz singers, and you’ll almost cer­tain­ly think of Ella Fitzger­ald. Their skills as per­form­ers, their inher­ent icon­ic qual­i­ties, the time of the mid-twen­ti­eth cen­tu­ry in which they rose to fame, and oth­er fac­tors besides, have ensured that these two women still define the images of their respec­tive crafts. But before their ascen­sion to cul­tur­al immor­tal­i­ty, the Ange­leno Mon­roe and the New York­er Fitzger­ald’s paths crossed down here on Earth in 1955, and, when they did, the movie star played an inte­gral role in break­ing the jazz singer into the big time.

If you want­ed to play to an influ­en­tial crowd in Hol­ly­wood back in the 1950s, you had to play the Mocam­bo, the Sun­set Strip night­club fre­quent­ed by the likes of Clark Gable, Humphrey Bog­a­rt, Lana Turn­er, Bob Hope, Sophia Loren, and Howard Hugh­es. But at the time, a singer of the reput­ed­ly scan­dalous new music known as jazz did­n’t just waltz onto the stage of such a respectable venue, espe­cial­ly giv­en the racial atti­tudes of the time. But as luck would have it, Fitzger­ald found an advo­cate in Mon­roe, who, “tired of being cast as a help­less sex sym­bol, took a break from Los Ange­les and head­ed to New York to find her­self,” writes the Inde­pen­dent’s Ciar Byrne.

There Mon­roe “immersed her­self in jazz,” rec­og­niz­ing in Fitzger­ald “the cre­ative genius she her­self longed to pos­sess.” Togeth­er with Fitzger­ald’s man­ag­er, jazz impre­sario and Verve Records founder Nor­man Granz, Mon­roe pres­sured the glam­orous Hol­ly­wood club to book Ella. “I owe Mar­i­lyn Mon­roe a real debt,” Fitzger­ald said lat­er, in 1972. “She per­son­al­ly called the own­er of the Mocam­bo, and told him she want­ed me booked imme­di­ate­ly, and if he would do it, she would take a front table every night.” He agreed, and true to her word, “Mar­i­lyn was there, front table, every night. The press went over­board. After that, I nev­er had to play a small jazz club again.”

Though Mon­roe’s efforts did­n’t make Fitzger­ald the first black per­former to take the Mocam­bo’s stage — Herb Jef­fries, Eartha Kitt, and Joyce Bryant had played there in 1952 and 1953 — she did use it as a plat­form to ascend to unusu­al­ly great career heights, com­pa­ra­ble to the way Frank Sina­tra launched his solo career there. The sto­ry has remained com­pelling enough for sev­er­al retellings, includ­ing Bon­nie Greer’s musi­cal Mar­i­lyn and Ella and, more recent­ly, through the hilar­i­ous unre­li­a­bil­i­ty of an episode of Drunk His­to­ry. As real his­to­ry would have it, Fitzger­ald would go on to enjoy a much longer and more var­ied career than the trag­ic Mon­roe, but she did her own part to repay the favor by adding nuance to Mon­roe’s super­fi­cial pub­lic image: “She was an unusu­al woman — a lit­tle ahead of her times. And she did­n’t know it.”

Relat­ed Con­tent:

Ella Fitzger­ald Sings ‘Sum­mer­time’ by George Gersh­win, Berlin 1968

Mar­i­lyn Monroe’s Go-Get­ter List of New Year’s Res­o­lu­tions (1955)

The 430 Books in Mar­i­lyn Monroe’s Library: How Many Have You Read?

Mar­i­lyn Mon­roe Recounts Her Har­row­ing Expe­ri­ence in a Psy­chi­atric Ward in a 1961 Let­ter

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

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Three Blade Runner Prequels: Watch Them Online

Even if you’ve spent each and every day since you first saw Rid­ley Scot­t’s Blade Run­ner wait­ing for a sequel, you still might not be ful­ly pre­pared for Denis Vil­leneu­ve’s Blade Run­ner 2049 when it opens in the­aters this Fri­day. The 1981 orig­i­nal took place in the Los Ange­les of the then-far-flung future of 2019, mean­ing that 30 years have elapsed in the Blade Run­ner uni­verse between its first fea­ture film and its sec­ond. Much has tak­en place over those three decades, some of it por­trayed by the three offi­cial short pre­quels released to the inter­net over the past month. Today we present them all in chrono­log­i­cal order to catch you up with what hap­pened after Har­ri­son Ford’s Blade Run­ner Rick Deckard picked up that origa­mi uni­corn and left the build­ing.

In 2020, the year after Blade Run­ner, the arti­fi­cial-being-mak­ing Tyrell Cor­po­ra­tion intro­duces a new mod­el of repli­cant, with a longer lifes­pan, called the Nexus 8S. Two years lat­er comes “the Black­out,” an elec­tro­mag­net­ic pulse attack that destroys all tech­nol­o­gy with­in its reach. You can see it hap­pen in Blade Run­ner Black Out 2022, the short at the top of the post direct­ed by respect­ed Japan­ese ani­ma­tor Shinichi­ro Watan­abe (and fea­tur­ing a score by Fly­ing Lotus as well as a reprisal of the role of the qua­si-Esperan­to-speak­ing police offi­cer Gaff by Edward James Olmos).

Repli­cants hav­ing tak­en the blame for the Black­out, their pro­duc­tion gets legal­ly pro­hib­it­ed until the efforts of an orga­ni­za­tion called the Wal­lace Cor­po­ra­tion get the ban over­turned in 2030. The man at the top of the Wal­lace Cor­po­ra­tion, a cer­tain Nian­der Wal­lace, first appears in 2036: Nexus Dawn (mid­dle video), direct­ed by Rid­ley Scot­t’s son Luke.

In that pre­quel we see Wal­lace, who rose to promi­nence on his com­pa­ny’s solu­tion to glob­al food short­ages, sub­mit­ting for approval his lat­est repli­cant, the Nexus 9 (although his nego­ti­a­tion strat­e­gy leaves lit­tle room for com­pro­mise). The younger Scot­t’s 2048: Nowhere to Run (below), which intro­duces a new and impos­ing repli­cant char­ac­ter by the name of Sap­per Mor­ton, takes place just a year before the sequel, by which time, accord­ing to the time­line unveiled at this past sum­mer’s Com­ic-Con, “life on Earth has reached its lim­it and soci­ety divides between repli­cant and human.” Enter Ryan Gosling’s K, one of a new gen­er­a­tion of repli­cant- hunters, who goes out in search of a pre­de­ces­sor who went miss­ing some 30 years ago. All of this, of course, still leaves ques­tions unan­swered. Chiefly: will Blade Run­ner 2049 deliv­er what we’ve been wait­ing even more than three dea­cades for?

Relat­ed Con­tent:

Watch the New Ani­me Pre­quel to Blade Run­ner 2049, by Famed Japan­ese Ani­ma­tor Shinichi­ro Watan­abe

Jared Leto Stars in a New Pre­quel to Blade Run­ner 2049: Watch It Free Online

Blade Run­ner 2049’s New Mak­ing-Of Fea­turette Gives You a Sneak Peek Inside the Long-Await­ed Sequel

The Offi­cial Trail­er for Rid­ley Scott’s Long-Await­ed Blade Run­ner Sequel Is Final­ly Out

Philip K. Dick Pre­views Blade Run­ner: “The Impact of the Film is Going to be Over­whelm­ing” (1981)

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

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The Famously Controversial “Monty Hall Problem” Explained: A Classic Brain Teaser

When the news broke last week of the death of game-show host Mon­ty Hall, even those of us who could­n’t quite put a face to the name felt the ring of recog­ni­tion from the name itself. Hall became famous on the long-run­ning game show Let’s Make a Deal, whose best-known seg­ment “Big Deal of the Day” had him com­mand­ing his play­ers to choose one of three num­bered doors, each of which con­cealed a prize of unknown desir­abil­i­ty. It put not just phras­es like “door num­ber three” into the Eng­lish lex­i­con but con­tributed to the world of stumpers the Mon­ty Hall Prob­lem, the brain-teas­er based on the much-con­test­ed prob­a­bil­i­ty behind which door a con­tes­tant should choose.

Let’s Make a Deal pre­miered in 1963, but only in 1990, when Mar­i­lyn vos Savant wrote one of her Q&A columns about it in Parade mag­a­zine, did the Mon­ty Hall Prob­lem draw seri­ous, frus­trat­ed pub­lic atten­tion.

“Behind one door is a car; behind the oth­ers, goats,” went the ques­tion, set­ting up a Let’s Make a Deal-like sce­nario. “You pick a door, say No. 1, and the host, who knows what’s behind the doors, opens anoth­er door, say No. 3, which has a goat. He then says to you, ‘Do you want to pick door No. 2?’ Is it to your advan­tage to switch your choice?” Yes, replied the unhesi­tat­ing Savant and her Guin­ness World Record-set­ting IQ, you should switch. “The first door has a 1/3 chance of win­ning, but the sec­ond door has a 2/3 chance.”

This log­ic, which you can see bro­ken down by Uni­ver­si­ty of Cal­i­for­nia, Berke­ley sta­tis­tics pro­fes­sor Lisa Gold­berg in the Num­ber­phile video at the top of the post, drew about 10,000 let­ters of dis­agree­ment in total, many from aca­d­e­mics at respectable insti­tu­tions. Michael Sher­mer received a sim­i­lar­ly vehe­ment response when he addressed the issue in Sci­en­tif­ic Amer­i­can eigh­teen years lat­er. “At the begin­ning of the game you have a 1/3rd chance of pick­ing the car and a 2/3rds chance of pick­ing a goat,” he explained. “Switch­ing doors is bad only if you ini­tial­ly chose the car, which hap­pens only 1/3rd of the time. Switch­ing doors is good if you ini­tial­ly chose a goat, which hap­pens 2/3rds of the time.” Thus the odds of win­ning by switch­ing becomes two out of three, dou­ble those of not switch­ing.

Use­ful advice, pre­sum­ing you’d pre­fer a Brick­lin SV‑1 or an Opel Man­ta to a goat, and that the host opens one of the uns­e­lect­ed doors every time with­out fail, which Hall did­n’t actu­al­ly do. When he did open it, he lat­er explained, the con­tes­tants made the same assump­tion many of Savant and Sher­mer’s com­plainants did: “They’d think the odds on their door had now gone up to 1 in 2, so they hat­ed to give up the door no mat­ter how much mon­ey I offered. By open­ing that door we were apply­ing pres­sure.” Ulti­mate­ly, “if the host is required to open a door all the time and offer you a switch, then you should take the switch. But if he has the choice whether to allow a switch or not, beware. Caveat emp­tor. It all depends on his mood” — a rare con­sid­er­a­tion in any­thing relat­ed to math­e­mat­ics, but when deal­ing with the Mon­ty Hall prob­lem, one ignores at one’s per­il the words of Mon­ty Hall.

Relat­ed Con­tent:

Are You One of the 2% Who Can Solve “Einstein’s Rid­dle”?

Can You Solve These Ani­mat­ed Brain Teasers from TED-Ed?

John Cage Per­forms Water Walk on US Game Show I’ve Got a Secret (1960)

A Young Hunter S. Thomp­son Appears on the Clas­sic TV Game Show, To Tell the Truth (1967)

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

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An Intimate Look at Alberto Giacometti in His Studio, Making His Iconic Sculptures (1965)

A vis­it to an artist’s stu­dio can shed light on his or her work.

The British Arts Coun­cil’s short film above affords an inti­mate glimpse into Alber­to Gia­comet­ti’s stu­dio in Mont­par­nasse cir­ca 1965, the year when he was the sub­ject of major ret­ro­spec­tives at both the Tate Gallery and the Muse­um of Mod­ern Art in New York.

The artist passed most of his work­ing life in cramped space at 46 rue Hip­poly­te. Ear­ly on, he enter­tained plans to relo­cate “because it was too small – just a hole.”

Oth­ers vis­i­tors to the stu­dio described the artist’s envi­rons in more lit­er­ary terms:

In a charm­ing lit­tle for­got­ten gar­den he has a stu­dio, sub­merged in plas­ter, and he lives next to this in a kind of hangar, vast and cold, with nei­ther fur­ni­ture nor food. He works very hard for fif­teen hours at a stretch, above all at night: the cold, his frozen hands – he takes no notice, he works. Simone de Beau­voir

And:

This ground floor stu­dio… is going to cave in at any moment now. It is made of worm-eat­en wood and grey pow­der.… Every­thing is stained and ready for the bin, every­thing is pre­car­i­ous and about to col­lapse, every­thing is about to dis­solve, every­thing is float­ing.… And yet it all appears to be cap­tured in an absolute real­i­ty. When I leave the stu­dio, when I am out­side on the street, then noth­ing that sur­rounds me is true. — Play­wright Jean Genet

And:

The whole place look­ing as if it had been thrown togeth­er with a few old sticks and a lot of chew­ing gum.… In short, a dump. Any­way he said come in when I knocked.… He turned and glanced at me, hold­ing out his hand which was cov­ered in clay, so I shook his wrist.… He imme­di­ate­ly resumed work, run­ning his fin­gers up and down the clay so fierce­ly that lumps fell onto the floor - Essay­ist James Lord

These impres­sions paint a por­trait of a dri­ven, and dis­ci­plined artist, who logged untold hours mod­el­ing his formes elongee in clay, uncer­e­mo­ni­ous­ly crum­pling and rebuild­ing in the pur­suit of excel­lence.

The cam­era doc­u­ments this inten­si­ty, though his untrans­lat­ed remarks sug­gest a man capa­ble of tak­ing him­self light­ly, cer­tain­ly more so than the accom­pa­ny­ing nar­ra­tion does.

Like the nar­ra­tion, Roger Smal­l­ey’s dis­so­nant score lays it on thick, the son­ic equiv­a­lent of heads like blades and “limbs bound as though ban­daged for the grave.” Per­haps we should con­ceive of the stu­dio as a scary place?

In actu­al­i­ty, it proved a hos­pitable work envi­ron­ment and the impulse to relo­cate even­tu­al­ly waned, with the artist observ­ing that “the longer I stayed, the big­ger it became. I could fit any­thing I want­ed into it.”

Explore the recent Tate Mod­ern Gia­comet­ti ret­ro­spec­tive here and take a clos­er look at the stu­dio via Ernst Scheidegger’s pho­tos.

Gia­comet­ti” will be added to our list of Free Doc­u­men­taries, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Watch Icon­ic Artists at Work: Rare Videos of Picas­so, Matisse, Kandin­sky, Renoir, Mon­et, Pol­lock & More

Watch 1915 Video of Mon­et, Renoir, Rodin & Degas: The New Motion Pic­ture Cam­era Cap­tures the Inno­v­a­tive Artists

1.8 Mil­lion Free Works of Art from World-Class Muse­ums: A Meta List of Great Art Avail­able Online

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

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1,000+ Historic Japanese Illustrated Books Digitized & Put Online by the Smithsonian: From the Edo & Meji Eras (1600–1912)

Sure­ly we’ve all won­dered what we might do as promi­nent nine­teenth-cen­tu­ry indus­tri­al­ists, and more than a few of us (espe­cial­ly here in the Open Cul­ture crowd) would no doubt invest our for­tunes in the art of the world. Rail­car man­u­fac­tur­ing mag­nate Charles Lang Freer did just that, as we can see today in the Freer Gallery of Art in Wash­ing­ton, D.C. Togeth­er with the Arthur M. Sack­ler Gallery (Sack­ler hav­ing made it as “the father of mod­ern phar­ma­ceu­ti­cal adver­tis­ing”), it con­sti­tutes the Smith­son­ian Insti­tu­tion’s nation­al muse­um of Asian art, gath­er­ing every­thing from ancient Egypt­ian stone sculp­ture to Chi­nese paint­ings to Kore­an pot­tery to Japan­ese books.

We like to high­light Japan­ese book cul­ture here every so often (see the relat­ed con­tent below) not just because of its strik­ing aes­thet­ics and con­sum­mate crafts­man­ship but because of its deep his­to­ry. You can now expe­ri­ence a con­sid­er­able swath of that his­to­ry free online at the Freer|Sacker Library’s web site, which just this past sum­mer fin­ished dig­i­tiz­ing over one thou­sand books — now more than 1,100, which breaks down to 41,500 sep­a­rate images — pub­lished dur­ing Japan’s Edo and Mei­ji peri­ods, a span of time reach­ing from 1600 to 1912. “Often filled with beau­ti­ful mul­ti-col­or illus­tra­tions,” writes Reiko Yoshimu­ra at the Smith­son­ian Libraries’ blog, “many titles are by promi­nent Japan­ese tra­di­tion­al and ukiyo‑e (‘float­ing world’) painters such as Oga­ta Kōrin (1658–1716), Andō Hiroshige (1797–1858) and Kat­sushi­ka Hoku­sai (1760–1849).”

Yoshimu­ra directs read­ers to such vol­umes as Hoku­sai’s One Hun­dred Views of Mt. Fuji, Uta­gawa Toyoku­ni’s Thir­ty-Six Pop­u­lar Actors, and artist, crafts­man, and design­er Kōet­su’s col­lec­tion of one hun­dred libret­tos for noh the­ater per­for­mances. Even those who can’t read clas­si­cal Japan­ese will admire an aes­thete like Kōet­su’s way with what Yoshimu­ra calls his “cali­graph­ic ‘font,’ ” all “skill­ful­ly print­ed on lux­u­ri­ous mica embell­ished papers using wood­en mov­able-type.”

While the online col­lec­tion’s scans come in a more than high enough res­o­lu­tion for gen­er­al appre­ci­a­tion, to get the full effect of book­mak­ing tech­niques like mica embell­ish­ment — which only sparkles when seen in real life — you’d have to vis­it the phys­i­cal col­lec­tion. Some things, it seems, can’t yet be dig­i­tized.

Enter the col­lec­tion of Japan­ese Illus­trat­ed Books here.

Relat­ed Con­tent:

Watch a Japan­ese Crafts­man Lov­ing­ly Bring a Tat­tered Old Book Back to Near Mint Con­di­tion

Enter a Dig­i­tal Archive of 213,000+ Beau­ti­ful Japan­ese Wood­block Prints

Japan­ese Kabu­ki Actors Cap­tured in 18th-Cen­tu­ry Wood­block Prints by the Mys­te­ri­ous & Mas­ter­ful Artist Sharaku

Splen­did Hand-Scroll Illus­tra­tions of The Tale of Gen­jii, The First Nov­el Ever Writ­ten (Cir­ca 1120)

Behold the Mas­ter­piece by Japan’s Last Great Wood­block Artist: View Online Tsukio­ka Yoshitoshi’s One Hun­dred Aspects of the Moon (1885)

A Won­der­ful­ly Illus­trat­ed 1925 Japan­ese Edi­tion of Aesop’s Fables by Leg­endary Children’s Book Illus­tra­tor Takeo Takei

“Tsun­doku,” the Japan­ese Word for the New Books That Pile Up on Our Shelves, Should Enter the Eng­lish Lan­guage

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

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How Did the Egyptians Make Mummies? An Animated Introduction to the Ancient Art of Mummification

Not every child looks for­ward to a trip to the muse­um, but how many have failed to thrill at the sight of an ancient Egypt­ian mum­my? How many adults, for that mat­ter, can resist the fas­ci­na­tion of this well over 5000-year-old process of pre­serv­ing dead bod­ies in a state if not per­fect­ly life­like then at least eeri­ly intact? If you’ve ever won­dered exact­ly how mum­mi­fi­ca­tion worked — or if you’ve sim­ply for­got­ten the descrip­tions accom­pa­ny­ing the dis­plays you saw on those muse­um trips — this short video from the Get­ty Muse­um’s Youtube chan­nel pro­vides an insight into how the ancient Egyp­tians did it.

The video uses a real mum­my as a case study, the pre­served body of a twen­ty-year-old man named Her­ak­lei­des (as we know because his mum­mi­fiers, though them­selves uniden­ti­fied, wrote it on his feet), who died in the first cen­tu­ry A.D. He had most of his inter­nal organs removed — even his heart, which com­mon prac­tice usu­al­ly dic­tat­ed leav­ing in, but for some rea­son not his lungs  — and spent forty days buried in salt that drew every last bit of mois­ture out of him.

He then received rub­bings of per­fumed oils, fol­lowed by a poured-on lay­er of resin to which strips of linen (the mum­my’s char­ac­ter­is­ti­cal­ly copi­ous “ban­dages” of pop­u­lar cul­ture) could adhere. Wrapped onto a board, equipped with a “mys­te­ri­ous pouch” as well as a mum­mi­fied ibis, and cov­ered with an unusu­al red shroud embla­zoned with sym­bols and a por­trait of him­self, Her­ak­lei­des was ready for his jour­ney into the after­life.

“Such elab­o­rate bur­ial prac­tices might sug­gest that the Egyp­tians were pre­oc­cu­pied with thoughts of death,” says the Smith­so­ni­an’s page on Egypt­ian mum­mies. “On the con­trary, they began ear­ly to make plans for their death because of their great love of life. They could think of no life bet­ter than the present, and they want­ed to be sure it would con­tin­ue after death.” The ancient Egyp­tians believed “that the mum­mi­fied body was the home for this soul or spir­it. If the body was destroyed, the spir­it might be lost.”

If you find your­self shar­ing these beliefs, do have a look at Nation­al Geo­graph­ic’s guide on how to make a mum­my in 70 days or less. And just as you’d need to arrange the right ingre­di­ents to pre­pare a sat­is­fy­ing meal, some­thing else the Egyp­tians enjoyed, don’t attempt any mum­mi­fi­ca­tion at home with­out mak­ing sure you’re ful­ly stocked with resin, oint­ments, lichen, straw­dust, beeswax, palm wine, incense, and myrrh. And it goes with­out say­ing that how­ev­er many feet of wrap­pings you’ve got, it could­n’t hurt to have more.

Relat­ed Con­tent:

The Open­ing of King Tut’s Tomb, Shown in Stun­ning Col­orized Pho­tos (1923–5)

How the Egypt­ian Pyra­mids Were Built: A New The­o­ry in 3D Ani­ma­tion

The Met Dig­i­tal­ly Restores the Col­ors of an Ancient Egypt­ian Tem­ple, Using Pro­jec­tion Map­ping Tech­nol­o­gy

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

A Drone’s Eye View of the Ancient Pyra­mids of Egypt, Sudan & Mex­i­co

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

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Open Culture was founded by Dan Colman.