Vintage Geological Maps Get Turned Into 3D Topographical Wonders

What good is an old-fashioned map in the age of apps?

One need not be a mountaineer, geoscientist, or civil engineer to get the topographical lay of the land with a speed and accuracy that would have blown Lewis and Clark’s minds’ right through the top of the lynx and otter toppers they took to wearing after their standard issue army lids wore out.

There’s still something to be said for the old ways, though.

Graphic designer Scott Reinhard has all the latest technological advances at his disposal, but it took combining them with hundred-year-old maps for him to get a truly 3-D appreciation for locations he has visited around the United States, as well as his childhood home.

A son of Indiana, Reinhard told Colossal’s Kate Sierzputowski that he found some Grand Teton-type excitement in the notoriously flat Hoosier State once he started marrying official national geospatial data to vintage map designs:

 When I began rendering the elevation data for the state, the story of the land emerged. The glaciers that receded across the northern half of the state after the last ice age scraped and gouged and shaped the land in a way that is spectacularly clear…I felt empowered by the ability to collect and process the vast amounts of information freely available, and create beautiful images.

(The government shut-down has not damaged the accuracy of Reinhard’s maps, but the U.S. Geological Survey’s website does warn the public that the effects of any earthquakes or other force majeure occurring during this black-out period will not immediately be reflected in their topos.)

(Nor are they able to respond to any inquiries, which puts a damper on holiday weekend plans for making salt dough maps, another Hoosier state fave, at least in 1974...)

As writer Jason Kottke notes, the shadows the mountains cast on the margins of Reinhard’s maps are a particularly effective optical trick.

You can see more of Reinhard’s digitally enhanced maps from the late 19th and early 20th-century, and order prints in his online shop.

via Kottke/Colossal

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  See her onstage in New York City in February as host of  Theater of the Apes book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

How a Word Enters the Dictionary: A Quick Primer

Given that you’re reading this on the Internet, we presume you'll be able to define many of the over 800 words that were added to the Merriam-Webster dictionary in 2018:

biohacking

bougie

bingeable

guac

hangry

Latinx

mocktail

zoodles

But what about some of the humdingers lexicographer Kory Stamper, former associate editor for Merriam-Webster and author of Word by Word: The Secret Life of Dictionaries, unleashes in the above video?

prescriptivism

descriptivism

sprachgefühl

etymological fallicist

(Bonus: bird strike)

And here we thought we were fluent in our native tongue. Face palm, to use another newish entry and an example of descriptivism. (It’s when the dictionary follows the culture’s lead, according novelty its due by officially recognizing words that have entered the parlance, rather than prescribing the way citizens should be speaking.)

To hear Stamper tell it, dictionary writing is a dream gig for readers as well as word lovers.

Part of every day is spent reading, flagging any unfamiliar words that may pop up for further research.

Did teenage slang give rise to it?

Was it born of business trends or tech industry advances?

Stamper is adamant that language is not fixed, but rather a living organism. Words go in and out of fashion, and take on meanings beyond the ones they sported when first included in the dictionary. (Have a look at “extra” to see some evolutionary effects of the English language and back it up with a peek inside the Urban Dictionary.)

Before a word passes dictionary muster, it must meet three criteria: it must have crossed into widespread use, it seems likely to stick around for a while, and it must have some sort of substantive meaning, as opposed to being known solely for its length (“antidisestablishmentarianism”), or some other structural wonder.

“Iouea” contains all five regular vowels and no other letters. The fact that it exists to describe a genus of sea sponges may seem somewhat beside the point to all but marine biologists.

What new words will enter the lexicon in 2019?

Perhaps we should look to the past. We set Merriam-Webster’s Time Traveler dial back 100 years to discover the words that debuted in 1919. There’s an abundance of goodies here, some of whose WWI-era context has already expanded to accommodate modern meaning (anti-stress, fanboy, superpimp, unbuffered). Readers, care to take a stab at freshening up some other candidates:

apple-knocker

buckshee

capeskin

cultigen

gametophore

interrogee

micromethod

neuroprotective

outgas

prereturn

putsch

scenarist

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  See her onstage in New York City January 14 as host of Theater of the Apes book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

How Peter Jackson Made His State-of-the-Art World War I Documentary, They Shall Not Grow Old: An Inside Look

There are very few working directors today who can do what Peter Jackson does so well—create extraordinary spectacles on the grandest of scales while also staying tightly focused on character development and emotional depth. He’s made missteps. His Hobbit trilogy felt bloated, busy and unnecessary, but one reason it so disappointed was because he’d already shown himself a master of fantasy filmmaking with what many considered the unfilmmable Lord of the Rings.

Of course non-Tolkien-related Jackson films like Heavenly Creatures also showcase these strengths, on a smaller scale: the ability to retain the human dimension amidst cinematic spectacles and inhuman darkness (a quality he mined explicitly in his years as a horror director). All of these sensibilities, including a pronounced streak of dark humor and talent for manipulating his audiences, make him the ideal director for a documentary on World War I.

It's a conflict that makes little historical sense to most of us, that unfolded on a scale few of us can imagine, with few identifiable heroes and villains and a complicated geopolitical situation that can feel out of our grasp.

Many documentaries on the war are informative but, frankly, quite dull. In striving for objectivity, they lose sight of humanity. Rather than adopt the voice of god and newsreel look that characterizes the usual fare, Jackson has taken an active role in shaping the narrative for us with cutting-edge blockbuster cinematic techniques. He gives us characters to care about in showing the horror of trench warfare, the confusion and camaraderie of war. Though he uses original footage, it is digitally enhanced and colorized, screened in 3D, with recordings of remembrances from the soldiers themselves dramatically overlaid to create the sense that the figures we see onscreen are speaking to us.

The result, as Guy Lodge writes at Variety, “is a technical dazzler with a surprisingly humane streak…. So dazzlingly transformative is the restoration of this footage that it may as well be the product of a movie shoot.” Indeed, once the credits roll, viewers see the same “veritable army of magic-working technicians’ names” as they would on any big-budget action movie. Jackson has, in effect, produced “the world’s most state-of-the-art educational film,” applying all the emotional levers and pulleys of feature filmmaking to a historical archive.

Like most of us, students have trouble understanding the scale of the war and connecting with the lives of people so indistinctly photographed and far away in time. Jackson makes sure that they can do both, and his film will be sent to every high school in the U.K. Those schools will not, of course, be able to reproduce the 3D effects. Yet even these, though they sound “gimmicky on the face of it,” writes Lodge, prove “to have an experiential purpose, conveying the juddering movement and chaos of a conflict many of us have largely viewed through calcified still images.”

In the interviews and behind the scenes videos here, we learn how Jackson and his team solved the film speed problem to make the old reels look natural, how they created a color palette and removed blurriness and blemishes. Jackson also talks about his own personal stake in the project, imagining what his grandfather endured in the Great War. This connection seems to have spurred him all the more in the effort.

"To memorialize these soldiers a hundred years later," he says, "is to try to bring some of their humanity back into the world again, to stop them being a black and white cliché.” In creating this moving memorial, Jackson goes far beyond the mandate of an educational film. He has used all the techniques at his disposal to make good on the promise in Robert Laurence Binyon’s 1914 poem “For the Fallen,” from which the documentary takes its title:

They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.

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

The Solar System Quilt: In 1876, a Teacher Creates a Handcrafted Quilt to Use as a Teaching Aid in Her Astronomy Class

Dedicated teachers often go well beyond the call of duty, sacrificing large amounts of free time for the betterment of their classrooms and their pupils.

Any teacher who’s ever paid for supplies out of their own pocket, then spent the weekend constructing an elaborate bulletin board display, will appreciate the herculean efforts of Sarah Ellen Harding Baker.

Baker, a teacher and astronomer in Cedar County, Iowa, is rumored to have spent 7 years embroidering a beautiful appliquéd quilt to use as a visual aid in lectures.

Finished in 1876, the quilt is large enough that even a near-sighted student could see its planets and moons from the back row.

Orbits are indicated with silken threads against a black background.

A comet in the upper left is thought to be Halley's Comet, whose last appearance would have been in 1835, 12 years before Baker’s birth.

The Smithsonian National Museum of American History, where Baker’s quilt is housed, notes that astronomy was deemed an acceptable interest for 19th-century women, which may explain the number of celestial-themed quilts that date to the period.

Author and quilt historian Barbara Brackman includes a few on her Material Culture blog, while her Historically Modern blog visits some more recent examples, including one that makes use of a stars-and-earth hot-iron transfer published in Good Housekeeping magazine, to accompany an article celebrating the winners of its 1939 World of Tomorrow Quilt Contest.

Baker got just ten years out of her quilt before succumbing to tuberculosis at the age of 39, the mother of 7 children, 5 of whom survived her.

via Messy Nessy

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in NYC this December for the 10th anniversary production of Greg Kotis’ apocalyptic holiday tale, The Truth About Santa, and the next monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

Pachelbel’s Chicken: Your Favorite Classical Pieces Played Masterfully on a Rubber Chicken

Music lovers bracing against the annual onslaught of the Singing Dogs’ "Jingle Bells" may find their savage beasts soothed somewhat by Eddy Chen’s performance of Pachelbel’s Canon, above.

Never mind that the instrument on which he plays four different tracks is a rubber chicken… or more accurately, as per Amazon, a Screaming Yellow Rubber Chicken Non Toxic Bite-resistant Squeaky Toy.

It retains its relaxing musicality. Chen, one half of Australian duo TwoSetViolin, plays that bird like the disciplined, classically-trained pro he is.

Classical chicken covers became a surprise hit for Chen and his partner, Brett Yang, veterans of the Sydney and Queensland Symphony Orchestras, whose virtually sold out world tour was the first of its kind to be entirely financed by Kickstarter donations.

The duo describes its mission as “upholding the integrity of classical music” while making it “relevant to the modern generation through fun, humour and simplicity,” noting, in a joint interview with Violinist.com:

There are people out there who are ready to love classical music, and we have to actively find them. It is the way classical music has been presented so far that makes it so austere. We were lucky that we learned the instrument for 20 years; if we were not musicians, it would be very hard to get into.

Everyone has the potential to like it, but sometimes musicians alienate and scare potential listeners with our pride.

Back when classical music was new, it was not 'classical'; it was just music.

Today our (classical music audience) is very small, but there are many great musicians

 Granted, the standards for classical music are there for a good reason: people want the best art, and that is a standard we should uphold. At the same time, sometimes we see people breaking down and freaking out because of those standards. It is sad to think of all that lost potential and love for music. We feel we are losing audiences; we are losing people who used to love music.

The chicken definitely appeals to young listeners, though surely there’s no age limit for enjoying its take on Erik Satie’s Gymnopédie No.1...

Or Johann Strauss’ "The Blue Danube" Waltz, wherein Yang squeezes a chicken in each fist whilst Chen mans the violin…

Or the opening trumpet solo of Gustav Mahler 's Symphony No. 5

Or Beethoven’s "Für Elise," a favorite first classical piece for pianists and chicken players alike…

Others on TwoSetViolin’s classical chicken playlist include Handel’s "Hallelujah" chorus and the "Waltz of the Flowers" from Tchaikovsky’s Nutcracker Suite.

Catch up with TwoSetViolin on the final leg of their American tour and subscribe to their YouTube channel for their insights into the classical musician's life and the importance of practice.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in NYC this December for the 10th anniversary production of Greg Kotis’ apocalyptic holiday tale, The Truth About Santa, and the next monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

RIP Todd Bol, Founder of the Little Free Library Movement: He Leaves Behind 75,000 Small Libraries That Promote Reading Worldwide

"The Little Free Library: Billions and billions read."

In the 2013 Ted-X talk above, Todd Bol, founder of the Little Free Library movement, expressed the desire that one day, he might be able to boast that his labor of love had surpassed McDonalds with regard to the number of customers’ served.

It's closing in...

Bol, who passed away earlier this month, was inspired by Andrew Carnegie's mission of repaying his own good fortune by establishing 2,509 free public libraries.

The Little Free Libraries are vastly more numerous if less imposing than Carnegie’s stately edifices.

Some, like the prototype Bol crafted with lumber salvaged from a garage door in his late mother’s honor, resemble doll houses.

One in Detroit is a dead ringer for Doctor Who’s TARDIS.

There’s a bright yellow one emblazoned with characters from The Simpsons, autographed by series creator Matt Groening.

Others are housed in repurposed suitcases, storage cabinets, or newspaper honor boxes.

While the non-profit Little Free Library store sells several sturdy, weatherproof models and its website hosts a healthy collection of blueprints and tips for DIYers, Bol was never doctrinaire about the aesthetics, preferring to leave that up to each volunteer steward.

He seemed proudest of the libraries’ community building effect (though he was also pretty chuffed when Reader's Digest ranked the project above Bruce Springsteen in its 2013 feature ”50 Surprising Reasons We Love America.” )

While not entirely devoid of naysayers, the goodwill surrounding the Little Free Library movement cannot be underestimated.

A steward who posted news of his dog’s death on the side of his library received sympathy cards from neighbors both known and unknown to him.

A steward who specializes in giving away cookbooks, and invites patrons to snip herbs from an adjacent garden, frequently wakes to find homemade quiche and other goodies on the doorstep.

And when an arsonist torched a Little Free Library in Indianapolis, the community rallied, vowing to get enough donations to replace it with 100 more.

To date, stewards have registered over 75,000, in 85 countries, in service of Bol’s “Take a book, Leave a book” philosophy.

Find a Little Free Library near you, learn how to become a steward, or make a donation on the project’s website.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join her in NYC on Monday, November 12 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

The New York Public Library Puts Classic Stories on Instagram: Start with Alice’s Adventures in Wonderland and Read Kafka’s The Metamorphosis Soon

I'd be happy if I could think that the role of the library was sustained and even enhanced in the age of the computer. —Bill Gates

The New York Public Library excels at keeping a foot in both worlds, particularly when it comes to engaging younger readers.

Visitors from all over the world make the pilgrimage to see the real live Winnie-the-Pooh and friends in the main branch’s hopping children’s center.

And now anyone with a smartphone and an Instagram account can “check out” their digital age take on Lewis Carroll’s Alice’s Adventures in Wonderlandno library card required. See Part 1 here and Part 2 here.

Working with the design firm Mother, the library has found a way to make great page-turning use of the Instagram Stories platformmore commonly used to share blow-by-blow photographic evidence of road trips, restaurant outings, and hash-tagged weddings.

The Wonderland experience remains primarily text-based.

In other words, sorry, harried caregivers! There’s no handing your phone off to the pre-reading set this time around!

No trippy Disney teacups...

Sir John Tenniel’s classic illustrations won’t be springing to animated life. Instead, you’ll find conceptual artist Magoz’s bright minimalist dingbats of keyholes, teacups, and pocket watches in the lower right hand corner. Tap your screen in rapid succession and they function as a crowd-pleasing, all ages flip book.

Elsewhere, animation allows the text to take on clever shapes or reveal itself line by linea pleasantly theatrical, Cheshire Cat like approach to Carroll’s impudent poetry.

Remember the famous scene where the Duchess and the Cook force Alice to mind a baby who turns into a pig? Grab some friends and hunch over the phone for a communal read aloud! (It’s on page 75 of part 1)

Speak roughly to your little boy,

 And beat him when he sneezes:

 He only does it to annoy,

 Because he knows it teases

CHORUS

 (In which the cook and the baby joined)

 ‘Wow! wow! wow!’ 

Navigating this new media can be a bit confusing for those whose social media fluency is not quite up to speed, but it’s not hard once you get the hang of the controls.

Tapping the right side of the screen turns the page.

Tapping left goes back a page.

And keeping a thumb (or any finger, actually) on the screen will keep the page as is until you’re ready to move on. You’ll definitely want to do this on animated pages like the one cited above. Pretend you’re playing the flute and you’ll save a lot of frustration.

The library plans to introduce your phone to Charlotte Perkins Gilman’s short story “The Yellow Wallpaper” and Franz Kafka’s The Metamorphosis via Instagram Stories over the next couple of months. Like Alice, both works are in the public domain and share an appropriate common theme: transformation.

Use these links to go directly to part 1 and part 2 of Alice’s Adventures in Wonderland on Instagram Stories. Both parts are currently pinned to the top of the library’s Instagram account.

Related Content:

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Join her in NYC on Monday, September 24 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

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