More and more, museums around the world are opening up their vast archives for free on the internet. We can browse broad collections, or dig down deep into collections and examine individual works, or we can download hi-resolution jpgs of famous works and slap them on our new desktop as wallpaper.[...]
In his introduction to the 2010 essay collection Freud and Fundamentalism, Stathis Gourgouris defines fundamentalism as “thought that disavows multiplicities of meaning, abhors allegorical elements, and strives toward an exclusionary orthodoxy.[...]
“Real news, fake news, who cares, it’s all the same, am I right?”
… Not to make light of an existential crisis in journalism and the public trust—a disturbing development. Cynicism threatens to erode the very foundations of… well, ring your own alarm bell.
In his 1686 Principia Mathematica, Isaac Newton elaborated not only his famous Law of Gravity, but also his Three Laws of Motion, setting a centuries-long trend for scientific three-law sets. Newton’s third law has by far proven his most popular: “every action has an equal and opposite reaction.” In Arthur C.[...]
Does it matter to you if some people insist on pronouncing GIF with a hard “g” rather than saying “Jiff,” as if they were telling you when they’d get back from the store? (I freely admit, I’m one of those people.[...]
Hundreds of years before vast public/private partnerships like Google Arts & Culture, the Vatican served as one of the foremost conservators of cultural artifacts from around the world.[...]
Images courtesy of MoMA
We all hate it when we hear of an exciting exhibition, only to find out that it closed last week — or 80 years ago. New York’s Museum of Modern Art has made great strides toward taking the sting out of such narrowly or widely-missed cultural opportunities with their new digital exhibition archive.
Want to learn about film history? You can take a class on the subject, where you’ll likely need a copy of Kristin Thompson and David Bordwell’s standard text Film History: An Introduction, and possibly the companion book, Film Art: An Introduction.[...]
“We can say of Shakespeare,” wrote T.S. Eliot—in what may sound like the most backhanded of compliments from one writer to another—“that never has a man turned so little knowledge to such great account.[...]