The Art of Traditional Japanese Wood Joinery: A Kyoto Woodworker Shows How Japanese Carpenters Created Wood Structures Without Nails or Glue

Any­one can devel­op basic wood­work­ing skills — and, per the advice of Nick Offer­man, per­haps every­one should. Those who do learn that things of sur­pris­ing func­tion­al­i­ty can be made just by cut­ting pieces of wood and nail­ing or glu­ing them togeth­er. Few­er, how­ev­er, have the patience and ded­i­ca­tion to mas­ter wood­work­ing with­out nails or glue, an art that in Japan has been refined over many gen­er­a­tions. Tra­di­tion­al Japan­ese car­pen­ters put up entire build­ings using wood alone, cut­ting the pieces in such a way that they fit togeth­er as tight­ly as if they’d grown that way in the first place. Such unfor­giv­ing join­ery is sure­ly the truest test of wood­work­ing skill: if you don’t do it per­fect­ly, down comes the tem­ple.

“At the end of the 12th cen­tu­ry, fine wood­work­ing skills and knowl­edge were brought into Japan from Chi­na,” writes Yamanashi-based wood­work­er Dylan Iwaku­ni. “Over time, these join­ery skills were refined and passed down, result­ing in the fine wood joiner­ies Japan is known for.”

As it became a tra­di­tion in Japan, this car­pen­try devel­oped a canon of join­ing meth­ods, sev­er­al of which Iwaku­ni demon­strates in the video at the top of the post. Can it be a coin­ci­dence that these most trust­wor­thy joints — and the oth­ers fea­tured on Iwaku­ni’s join­ery playlist, includ­ing the seem­ing­ly “impos­si­ble” shi­hou kama tsu­gi — are also so aes­thet­i­cal­ly pleas­ing, not just in their cre­ation but their fin­ished appear­ance?

In addi­tion to his Youtube chan­nel, Iwaku­ni main­tains an Insta­gram account where he posts pho­tos of join­ery not just in the work­shop but as employed in the con­struc­tion and main­te­nance of real build­ings. “Joiner­ies can be used to replace a dam­aged part,” he writes, “allow­ing the struc­ture to stand for anoth­er hun­dreds of years.” To do it prop­er­ly requires not just a painstak­ing­ly honed set of skills, but a per­pet­u­al­ly sharp­ened set of tools — in Iwaku­ni’s case, the vis­i­ble sharp­ness of which draws aston­ished com­ment from wood­work­ing afi­ciona­dos around the world. “Blimey,” as one Metafil­ter user writes, “it’s hard enough get­ting a knife sharp enough to slice onions.” What an audi­ence Iwaku­ni could com­mand if he expand­ed from wood­work­ing Youtube into cook­ing Youtube, one can only imag­ine.

Relat­ed Con­tent:

Mes­mer­iz­ing GIFs Illus­trate the Art of Tra­di­tion­al Japan­ese Wood Join­ery — All Done With­out Screws, Nails, or Glue

See How Tra­di­tion­al Japan­ese Car­pen­ters Can Build a Whole Build­ing Using No Nails or Screws

Watch Japan­ese Wood­work­ing Mas­ters Cre­ate Ele­gant & Elab­o­rate Geo­met­ric Pat­terns with Wood

20 Mes­mer­iz­ing Videos of Japan­ese Arti­sans Cre­at­ing Tra­di­tion­al Hand­i­crafts

Nick Offer­man Explains the Psy­cho­log­i­cal Ben­e­fits of Woodworking–and How It Can Help You Achieve Zen in Oth­er Parts of Your Life

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Buddhist Monk Covers Metallica’s ”Enter Sandman,” Then Meditates

Since the start of the pan­dem­ic, we’ve peri­od­i­cal­ly fea­tured Kos­san, a Japan­ese Bud­dhist monk who has a pen­chant for singing punk, met­al and rock clas­sics, accom­pa­nied by gongs, drums and oth­er instru­ments. In the past, he’s cov­ered the Ramones’ “Teenage Lobot­o­my,” “Queen’s “We Will Rock You,” and the Bea­t­les’ “Yel­low Sub­ma­rine”–not to men­tion Judas Priest’s “Break­ing the Law.” In his lat­est clip, Kos­san offers a unique take on Metal­li­ca’s 1991 clas­sic “Enter Sand­man,” then winds down, of course, with a lit­tle med­i­ta­tion. Enjoy.

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

Relat­ed Con­tent:

Japan­ese Bud­dhist Monk Cov­ers Ramones’ “Teenage Lobot­o­my,” “Queen’s “We Will Rock You,” Bea­t­les’ “Yel­low Sub­ma­rine” & More

Bud­dhist Monk Cov­ers Judas Priest’s “Break­ing the Law,” Then Breaks Into Med­i­ta­tion

Japan­ese Priest Tries to Revive Bud­dhism by Bring­ing Tech­no Music into the Tem­ple: Attend a Psy­che­del­ic 23-Minute Ser­vice

Med­i­ta­tion for Begin­ners: Bud­dhist Monks & Teach­ers Explain the Basics

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Jimi Hendrix’s Home Audio System & Record Collection Gets Recreated in His London Flat

A vis­it to William Faulkner’s house once con­vinced me I’d seen his ghost. Mil­lions of peo­ple com­mune with Elvis’s spir­it at Grace­land each year. Some lucky per­son will end up with Toni Morrison’s per­son­al library, and maybe also her Tribeca con­do. No mat­ter how well we think we know a favorite artist, there’s noth­ing like con­nect­ing with the spaces and things they left behind. Since 2016, Jimi Hen­drix devo­tees have been able to make a pil­grim­age to the Lon­don apart­ment he shared with his girl­friend, Kathy Etch­ing­ham, between 1968 and 1969.

The flat on 23 Brook Street has been set up the way it was when Hen­drix lived there, thanks to Han­del & Hen­drix in Lon­don, who also main­tain the house of George Frid­er­ic Han­del just next door. The only oth­er con­nec­tion between the two artists is Hendrix’s own­er­ship of two copies of Handel’s Mes­si­ah, “both of which show signs of wear and tear,” the foun­da­tion notes, and “which would have been uncan­ny lis­ten­ing so near to where it was com­posed.” Jimi taste­ful­ly dec­o­rat­ed the apart­ment to his tastes, and told Etch­ing­ham it was “my first real home of my own.”

Hendrix’s home was made com­plete by a 100-plus col­lec­tion of LPs and a high-end audio sys­tem that has recent­ly been recre­at­ed in col­lab­o­ra­tion with the mak­ers of the orig­i­nal com­po­nents: Bang & Olufsen, Lowther, and LEAK sup­ply the same or sim­i­lar mod­els of turntable, speak­er, and ampli­fi­er, respec­tive­ly, on which Jimi lis­tened to Han­del next door to the ghost of Han­del. Hear­ing those records in Jimi’s space, the way he heard them, says Nabi­hah Iqbal in a video that debuted on Hendrix’s birth­day, Novem­ber 27th, is “a time-trav­el­ing expe­ri­ence.”

Iqbal choos­es her favorites from the collection—Bob Dylan, Ravi Shankar, Mud­dy Waters, Djan­go Reinhardt—discussing them as they qui­et­ly play in the back­ground. For the full Hen­drix expe­ri­ence, we’d need to crank the vin­tage ampli­fi­er to 11. He liked to lis­ten loud. Etch­ing­ham “recalled that they had to ‘stick a ha’penny with sel­l­otape onto the turntable arm… oth­er­wise it would jump up and down the loud­er it got.” He would occa­sion­al­ly blow the rein­forced speak­ers dur­ing par­ties and have to take them in for repair.

The flat also func­tioned as a com­po­si­tion room, and Hendrix’s friends stopped by to jam. (Richie Havens debuted his “anti-war anthem ‘Hand­some John­ny’ to a small par­ty in the flat on Hendrix’s Epi­phone acoustic gui­tar.”) Han­del & Hen­drix in Lon­don have revived the prac­tice with their Hen­drix Flat Ses­sions, invit­ing musi­cians to play in the space. Above, Mar­cus Macha­do talks about what Hen­drix means to him and jams a ver­sion of “Voodoo Child (Slight Return)” while sit­ting on Hendrix’s bed.

See sev­er­al more Hen­drix Flat Ses­sions here. The records in Hen­drix’s col­lec­tion “cov­er blues, jazz, folk, rock, psy­che­delia and even a hand­ful of clas­si­cal LPs.” See Iqbal’s selec­tions, with anno­ta­tions from Han­del & Hen­drix in Lon­don, here. The Hen­drix Flat is cur­rent­ly open to the pub­lic on Sat­ur­days.

via Vinyl Fac­to­ry

Relat­ed Con­tent:  

Watch Rare Footage of Jimi Hen­drix Per­form­ing “Voodoo Child” in Maui, Plus a Trail­er for a New Doc­u­men­tary on Jimi Hendrix’s Leg­endary Maui Per­for­mances (1970)

How Sci­ence Fic­tion Formed Jimi Hen­drix

Behold Moe­bius’ Many Psy­che­del­ic Illus­tra­tions of Jimi Hen­drix

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

Comic Book Writer Fred Van Lente Touts “Comic Supremacy” on Pretty Much Pop: A Culture Podcast #72

Fred Van Lente has writ­ten for more than 15 years for his own Evil Twin Comics, Mar­vel and oth­er out­lets. In this episode of Pret­ty Much Pop, he joins your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt to dis­cuss comics as an idio­syn­crat­ic form of lit­er­a­ture.

In the realm of non-fic­tion, Ryan start­ed with the beloved Action Philoso­phers! series in 2004 with illus­tra­tor Ryan Dunlavey, and this team has gone on to cre­ate the very suc­cess­ful Com­ic Book His­to­ry of Comics, plus more recent­ly Action Pres­i­dents, Action Activists (avail­able free in asso­ci­a­tion with the NYC Depart­ment of Edu­ca­tion’s Civics for All pro­gram), and have just begun releas­ing The Com­ic Book His­to­ry of Ani­ma­tion. While the non-fic­tion comics for­mat is com­mon in places like Japan, and has a sto­ried his­to­ry in Amer­i­ca, hav­ing been used to train sol­diers in World War II, this is still some­thing of a nov­el­ty in Amer­i­ca as comics still strug­gle to over­come their rep­u­ta­tion in (as Ryan puts it) “trash for morons.” Giv­en that visu­al con­tent is well known to help peo­ple learn as com­pared to text alone, the use of tools like Action Pres­i­dents in class­rooms should­n’t be sur­pris­ing.

The inter­view also gets into Ryan’s fic­tion work, from Cow­boys & Aliens, which was turned into a 2011 Jon Favreau/Steven Spiel­berg film entire­ly with­out Ryan’s involve­ment, to titles like Mar­vel Zom­bies and X‑Men Noir which use alter­nate dimen­sion ver­sions of pop­u­lar char­ac­ters to tell sto­ries too dark and/or whim­si­cal to have much pos­si­bil­i­ty of ever being trans­ferred to the screen. Despite comics’ rep­u­ta­tion as being basi­cal­ly like elab­o­rate film sto­ry-boards, their low over­head is exact­ly what dis­tin­guish­es them so strong­ly from film: Their cre­ativ­i­ty is unlim­it­ed by bud­get, and cre­ators can take tremen­dous risks. What­ev­er the main­stream palata­bil­i­ty of (alter­nate dimen­sion) Peter Park­er eat­ing Aunt May’s brain, this has been one of the most pop­u­lar things that Ryan’s been involved with among com­ic book read­ers.

Learn more about Fred’s work at fredvanlente.com. You can read there about how Fred con­structs scripts; the one Mark refers to with the mys­te­ri­ous­ly changed coat is right there high­light­ed at the top of this page, and there are also sev­er­al sam­ple scripts includ­ing the one for Action Philoso­phers: Immanuel Kant that demon­strates Fred’s meth­ods for vivid­ly explain­ing a com­plex idea.

Hear more of this pod­cast at prettymuchpop.com. This episode includes bonus dis­cus­sion you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

Are You Happy, David Lynch?

Film­mak­er David Lynch answers a basic life ques­tion from Mary Anne Hobbs, BBC Radio 6 DJ, dur­ing a fan Q&A. The accom­pa­ny­ing video appar­ent­ly comes from The Art Life doc­u­men­tary trail­er.

The source of Lynch’s hap­pi­ness? Most like­ly med­i­ta­tion. Find more on that below.

Relat­ed Con­tent:

David Lynch Explains How Med­i­ta­tion Boosts Our Cre­ativ­i­ty (Plus Free Resources to Help You Start Med­i­tat­ing)

David Lynch Visu­al­izes How Tran­scen­den­tal Med­i­ta­tion Works with Sharpie & Big Pad of Paper

David Lynch Mus­es About the Mag­ic of Cin­e­ma & Med­i­ta­tion in a New Abstract Short Film

David Lynch Cre­ates a Very Sur­re­al Plug for Tran­scen­den­tal Med­i­ta­tion

An Ani­mat­ed David Lynch Explains Where He Gets His Ideas

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Don’t Think Twice: A Poignant Film Documents How Bob Dylan & The Beatles Bring Joy to a Dementia Patient

It’s often said the sense of smell is most close­ly con­nect­ed to long-term mem­o­ry. The news offers lit­tle com­fort to us for­get­ful peo­ple with a dimin­ished sense of smell. But increas­ing­ly, neu­ro­sci­en­tists are dis­cov­er­ing how sound can also tap direct­ly into our deep­est mem­o­ries. Patients with Alzheimer’s and demen­tia seem to come alive, becom­ing their old selves when they hear music they rec­og­nize, espe­cial­ly if they were musi­cians or dancers in a for­mer life.

“Sound is evo­lu­tion­ar­i­ly ancient,” Nina Kraus, a neu­ro­sci­en­tist at North­west­ern Uni­ver­si­ty, tells NPR. “It is deeply, deeply root­ed in our ner­vous sys­tem. So the mem­o­ries that we make, the sound-to-mean­ing con­nec­tions that we have and that we’ve made through­out our lives are always there. And it’s a mat­ter of being able to access them.” The ear­worms we find our­selves hum­ming all day; the songs we nev­er for­get how to sing… these are keys to a store­house of mem­o­ry.

Sto­ries doc­u­ment­ing demen­tia patients in the pres­ence of music usu­al­ly focus, under­stand­ably, on those who have lost brain func­tion due to old age. In “Don’t Think Twice,” the short doc­u­men­tary above, we meet John Fudge, who sus­tained a trau­mat­ic brain injury when he fell from the white cliffs of Dover and split his head open at 24 years old. “The extent of his injuries weren’t revealed,” writes Aeon, “until decades lat­er, when doc­tors decid­ed to per­form a brain scan after John slipped into a deep depres­sion.”

He was found to have exten­sive brain dam­age, “includ­ing a pro­gres­sive form of demen­tia” called Seman­tic Demen­tia that leaves suf­fer­ers aware of their dete­ri­o­ra­tion while being unable to express them­selves. John’s wife Geral­dine “com­pares his brain to an oak tree, its limbs of knowl­edge being slow­ly trimmed away, caus­ing John great men­tal anguish.” In the short film, how­ev­er, we see how “his musi­cal abil­i­ties” are one “as-yet untrimmed branch.”

John him­self explains how he “near­ly died three times” and Geral­dine assists with her obser­va­tions of his expe­ri­ence. “It’s all there,” she says, “it’s just bits of it have sort of been blanked out…. Over the years, John’s seman­tic under­stand­ing of the world will dete­ri­o­rate.” When a young vol­un­teer named Jon from the Hack­ney Befriend­ing Ser­vice stops by, the gloom lifts as John engages his old pas­sion for play­ing songs by the Bea­t­les and Bob Dylan.

Fol­low the mov­ing sto­ry of how John and Jon became fast friends and excel­lent har­mo­niz­ers and see more inspir­ing sto­ries of how music can change Alzheimer’s and demen­tia patients’ lives for the bet­ter at the links below.

Relat­ed Con­tent:

How Music Can Awak­en Patients with Alzheimer’s and Demen­tia

Demen­tia Patients Find Some Eter­nal Youth in the Sounds of AC/DC

For­mer Bal­le­ri­na with Demen­tia Grace­ful­ly Comes Alive to Tchaikovsky’s Swan Lake

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

A Biostatistician Uses Crochet to Visualize the Frightening Infection Rates of the Coronavirus

Chances are you’ve looked at more graphs this past year than you did over the pre­vi­ous decade — not just while work­ing at home, but while scrolling through cas­cades of often-trou­bling quan­ti­ta­tive infor­ma­tion dur­ing your “off” hours as well. This phe­nom­e­non has hard­ly been lim­it­ed to the Amer­i­cans who obsessed over the pre­dic­tions of and returns from their pres­i­den­tial elec­tion last month, an event turned prac­ti­cal­ly into a sideshow by the ongo­ing pan­dem­ic. Around the world, we’ve all want­ed to know: Where did the coro­n­avirus come from? What is it? Where is it going?

Apolo­gies to Paul Gau­guin, who did­n’t even live to see the Span­ish flu of 1918, a time when nobody could have imag­ined instan­ta­neous­ly and wide­ly shar­ing visu­al ren­der­ings of data about that dis­ease. The world of a cen­tu­ry ago may not have had dynam­ic ani­mat­ed maps and charts, updat­ed in real time, but it did have cro­chet. Whether or not it had then occurred to any­one as a viable medi­um for visu­al­iz­ing the spread of dis­ease, it can be con­vinc­ing today. This is demon­strat­ed by Nor­we­gian bio­sta­tis­ti­cian Kathrine Frey Frøs­lie, who in the video above shows us her cro­cheted rep­re­sen­ta­tions of var­i­ous “R num­bers.”

This now much-heard term, Frøs­lie’s explains, “denotes repro­duc­tion. If the R num­ber is one, this means that each infect­ed per­son will on aver­age infect one new per­son dur­ing the course of the dis­ease. If R equals two, each infect­ed per­son will infect two per­sons,” and so on. Her cro­cheted ver­sion of R=1, with a pop­u­la­tion of ten, is small and nar­row — it looks, in oth­er words, entire­ly man­age­able. Such a dis­ease “will always be always present, but the num­ber of infect­ed per­sons will be con­stant.” Her R=0.9, which steadi­ly nar­rows in a way that resem­bles an unfin­ished Christ­mas stock­ing, looks even less threat­en­ing.

Alas, “for the coro­n­avirus, the R is most­ly larg­er than one.” In cro­cheted form, even R=1.1 is pret­ty for­mi­da­ble; when she brings out her R=1.5, “it is evi­dent that we have a prob­lem. Even the cro­chet patch kind of crum­bles.” Then out comes R=2, which must have been quite a project: its ten orig­i­nal infec­tions bloom into 2,560 new cas­es, all rep­re­sent­ed in almost organ­i­cal­ly dense folds of yarn. As for R=2.5, when Frøs­lie even­tu­al­ly gets it hoist­ed onto her lap, you’ll have to see it to believe it. Through­out 2020, of course, many of our at-home hob­bies have grown to mon­strous pro­por­tions — even those tak­en up by med­ical sci­en­tists.

via Metafil­ter

Relat­ed Con­tent:

Inter­ac­tive Web Site Tracks the Glob­al Spread of the Coro­n­avirus: Cre­at­ed and Sup­port­ed by Johns Hop­kins

Sim­u­lat­ing an Epi­dem­ic: Using Data to Show How Dis­eases Like COVID-19 Spread

Every­thing You Need To Know About Virus­es: A Quick Visu­al Expla­na­tion of Virus­es in 9 Images

The His­to­ry of the Plague: Every Major Epi­dem­ic in an Ani­mat­ed Map

An Artist Cro­chets a Life-Size, Anatom­i­cal­ly-Cor­rect Skele­ton, Com­plete with Organs

The Beau­ti­ful Math of Coral & Cro­chet

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

The Map of Doom: A Data-Driven Visualization of the Biggest Threats to Humanity, Ranked from Likely to Unlikely

Sure­ly you’ve learned, as I have, to fil­ter out the con­stant threats of doom. It’s impos­si­ble to func­tion on high alert all of the time. But one must stay at least min­i­mal­ly informed. To check the news even once a day is to encounter head­line after head­line announc­ing DOOM IS COMING! Say that we’re all desen­si­tized, and rather than react, we eval­u­ate: In what way will doom arrive? How bad will the doom be? There are many com­pet­ing the­o­ries of doom. Which one is most like­ly, and how can we under­stand them in rela­tion to each oth­er?

For this lev­el of analy­sis, we might turn to Dominic Wal­li­man, physi­cist and pro­pri­etor of Domain of Sci­ence, the YouTube chan­nel and web­site that has brought us enter­tain­ing and com­pre­hen­sive maps of sev­er­al sci­en­tif­ic fields, such as biol­o­gy, chem­istry, math­e­mat­ics, com­put­er sci­ence, and quan­tum physics. Is rank­ing apoc­a­lypses a sci­en­tif­ic field of study, you might won­der? Yes, when it is a data-dri­ven threat assess­ment. Wal­li­man sur­veyed and ana­lyzed, as he says in his intro­duc­tion, “all of the dif­fer­ent threats to human­i­ty that exist.”

When the pan­dem­ic hit last win­ter, “we as a soci­ety were com­plete­ly unpre­pared for it,” despite the fact that experts had been warn­ing us for decades that exact­ly such a threat was high on the scale of like­li­hood. Are we focus­ing on the wrong kinds of doom, to the exclu­sion of more press­ing threats? Instead of pan­ick­ing when the coro­n­avirus hit, Wal­li­man cooly won­dered what else might be lurk­ing around the cor­ner. “Crikey,” says the New Zealan­der upon the first reveal of his Map of Doom, “there’s quite a lot aren’t there?”

Not con­tent to just col­lect dis­as­ters (and draw them as if they were all hap­pen­ing at the same time), Wal­li­man also want­ed to find out which ones pose the biggest threat, “using some real data.” After the Map of Doom comes the Chart of Doom, an XY grid plot­ting the like­li­hood and sever­i­ty of var­i­ous crises. These include ancient stal­warts like super vol­ca­noes; far more recent threats like nuclear war and cat­a­stroph­ic cli­mate change; cos­mic threats like aster­oids and col­laps­ing stars; ter­res­tri­al threats like wide­spread soci­etal col­lapse and extra-ter­res­tri­al threats like hos­tile aliens….

At the top of the graph, at the lim­it of “high like­li­hood,” there lies the “already hap­pen­ing zone,” includ­ing, of course, COVID-19, cli­mate change, and volatile extreme weath­er events like hur­ri­canes and tsunamis. At the bot­tom, in the “impos­si­ble to cal­cu­late” zone, we find sci-fi events like rogue AI, rogue black holes, rogue nano-bots, hos­tile aliens, and the col­lapse of the vac­u­um of space. All the­o­ret­i­cal­ly pos­si­ble, but in Wal­li­man’s analy­sis most­ly unlike­ly to occur. As in all of his maps, he cites his sources on the video’s YouTube page.

If you’re not feel­ing quite up to a data pre­sen­ta­tion on mass casu­al­ty events just now, you can down­load the Map and Chart of Doom here and peruse them at your leisure. Pick up a Map of Doom for the wall at Wal­li­man’s site, and while you’re there, why not buy an “I sur­vived 2020” stick­er. Maybe it’s pre­ma­ture, and maybe in poor taste. And maybe in times of doom we need some­one to face the facts of doom square­ly, turn them into car­toon info­graph­ics of doom, and claim vic­to­ries like liv­ing through anoth­er cal­en­dar year.

Relat­ed Con­tent: 

Info­graph­ics Show How the Dif­fer­ent Fields of Biol­o­gy, Chem­istry, Math­e­mat­ics, Physics & Com­put­er Sci­ence Fit Togeth­er

M.I.T. Com­put­er Pro­gram Alarm­ing­ly Pre­dicts in 1973 That Civ­i­liza­tion Will End by 2040

In 1704, Isaac New­ton Pre­dicts the World Will End in 2060

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

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

Cur­rent auto-indus­try wis­dom holds that no car with­out cup hold­ers will sell in Amer­i­ca. Though this also seems to have become increas­ing­ly true across the rest of the world, I like to imag­ine there still exists a coun­try or two whose dri­ving pub­lic holds fast against that par­tic­u­lar design vul­gar­ism. Such places would, of course, lie deep in unre­con­struct­ed Europe, where nobody can go long with­out cof­fee. The solu­tion? The Hertel­la Auto Kaf­feema­chine, the first and only known dash­board-mount­ed cof­fee mak­er.

Man­u­fac­tured specif­i­cal­ly for the Volk­swa­gen Bee­tle, this high­ly civ­i­lized auto­mo­bile acces­so­ry has, 60 years after its intro­duc­tion, near­ly van­ished from exis­tence. Judg­ing by the few known exam­ples, it nev­er had the time to evolve past its tech­ni­cal short­com­ings. For one, it lacks a pow­er switch: “As soon as you plug it into the cig­a­rette lighter, it just gets hot,” writes The Dri­ve’s Peter Holderith. “And as far as the type of cof­fee machine that it is, well, you would have to be pret­ty des­per­ate for caf­feine to make cof­fee in this thing.”

“I always thought they were a per­co­la­tor, or espres­so machine like a Moka… but nope,” says Dave Hord of Clas­sic Car Adven­tures, who pur­chased his own Hertel­la Auto Kaf­feema­chine from an own­er in Ser­bia. It seems “you fill the ves­sel with water, put your cof­fee in the (dou­ble lay­er) screen, and heat up the unit. I pre­sume you heat the unit up with the cof­fee in it, which means this basi­cal­ly brews cof­fee as though it’s tea.” Per­haps only a transcon­ti­nen­tal road-trip­per in 1959 would grow des­per­ate enough to drink it.

Still, as Holderith notes, “the machine does have a few clever fea­tures. The porce­lain cups that came with it appar­ent­ly had a met­al disc on the bot­tom of them that allowed them to stick to the machine mag­net­i­cal­ly” and the unit itself “mounts to the dash with a sim­ple brack­et, allow­ing for the pot to quick­ly be removed and cleaned when nec­es­sary.” Per­haps today’s car design­ers, a group once again look­ing to the past for inspi­ra­tion, will resume the pur­suit of dash­board brew­ing begun by the Hertel­la Auto Kaf­feema­chine. If not, Wes Ander­son can sure­ly find a use for the thing.

via Messy Nessy

Relat­ed Con­tent:

An Espres­so Mak­er Made in Le Corbusier’s Bru­tal­ist Archi­tec­tur­al Style: Raw Con­crete on the Out­side, High-End Parts on the Inside

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

Wake Up & Smell the Cof­fee: The New All-in-One Cof­fee-Mak­er/Alarm Clock is Final­ly Here!

The Time­less Beau­ty of the Cit­roën DS, the Car Mythol­o­gized by Roland Barthes (1957)

178,000 Images Doc­u­ment­ing the His­to­ry of the Car Now Avail­able on a New Stan­ford Web Site

10 Essen­tial Tips for Mak­ing Great Cof­fee at Home

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Marina Abramović’s Method for Overcoming Trauma: Go to a Park, Hug a Tree Tight, and Tell It Your Complaints for 15 Minutes

One of the most renowned of Chi­nese poets, Du Fu, sur­vived the dev­as­tat­ing An Lushan rebel­lion that near­ly brought down the Tang Dynasty and result­ed in an incred­i­ble loss of life around the coun­try. His poems are full of grief, as trans­la­tor David Hin­ton notes. The open­ing of “Spring Land­scape” con­tains “pos­si­bly the most famous line in Chi­nese poet­ry,” and a painful com­ment on human­i­ty’s place in the nat­ur­al world.

The coun­try in ruins, rivers and moun­tains
con­tin­ue. The city grows lush with spring.

Blos­soms scat­ter tears for us, and all these
sep­a­ra­tions in a bird’s cry star­tle the heart.

The poem presents a trag­ic irony. Nature invites us in, seems to promise com­fort and refuge. “Du Fu tells us that birds seem to cry for us, and blos­soms weep,” writes Madeleine Thien at The New York Review of Books. But “of course, this is a fairy-tale view, and ‘in the knowl­edge of its fal­si­ty, heart­break­ing.’”

Is nature indif­fer­ent to human suf­fer­ing? It would seem so to the bro­ken-heart­ed Con­fu­cian poet. But nature is not devoid of fel­low feel­ing. Trees talk to each oth­er, cre­ate social worlds and fam­i­lies, and com­mu­ni­cate with the oth­er plants and ani­mals around them. Japan­ese researchers have shown that the oils trees secrete can mea­sur­ably low­er stress lev­els, reduce hos­til­i­ty and depres­sion, and boost immu­ni­ty. Trees may not weep, but they care.

Trees are also, says per­for­mance artist Mari­na Abramović in the short video above, “per­fect­ly silent listeners”—a rare and valu­able qual­i­ty in times of stress. “They have intel­li­gence. They have feel­ings.” And for this rea­son, a tree is the ide­al com­pan­ion when we need an ear.

You can com­plain to them. And I start­ed this a long time ago when I was in the Ama­zon with the native Indi­ans. You know, they will go to the Sequoia tree, which is one of the old­est on the plan­et. And they will make a dance for the tree. These dances for the tree are so incred­i­bly mov­ing an emo­tion­al. So I thought, Wow! Why don’t I cre­ate an exer­cise that real­ly works for me?

Abramović’s tree ther­a­py is one part of her “Abramović Method,” notes Paper, “a set of tech­niques that enables artists to get to high­er states of con­scious­ness.” She rec­om­mends it for any­one who’s reel­ing from the trau­mas of this year. In our own age of dev­as­ta­tion and iso­la­tion, it cer­tain­ly couldn’t hurt, and per­haps we know more than Du Fu did about how nature sup­ports our emo­tion­al lives.

So “please, go to the park near you,” the artist implores. “Pick the tree you like. Hold the tree tight. Real­ly tight. And just pour your heart into it. Com­plain to the tree for a min­i­mum of 15 min­utes. It’s the best heal­ing that you can do.” Includ­ed in the video is a tes­ti­mo­ni­al from an ex-rug­by play­er, who found the Com­plain­ing to Trees method trans­for­ma­tive. “There is some­thing in it,” he says. “It’s almost like you become part of the tree as well.” Trees are not peo­ple. They don’t dis­pense advice. They lis­ten and con­sole in their own mys­te­ri­ous­ly ancient, silent way.

Relat­ed Con­tent:  

The Secret Lan­guage of Trees: A Charm­ing Ani­mat­ed Les­son Explains How Trees Share Infor­ma­tion with Each Oth­er

The Social Lives of Trees: Sci­ence Reveals How Trees Mys­te­ri­ous­ly Talk to Each Oth­er, Work Togeth­er & Form Nur­tur­ing Fam­i­lies

How the Japan­ese Prac­tice of “For­est Bathing”—Or Just Hang­ing Out in the Woods—Can Low­er Stress Lev­els and Fight Dis­ease

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

The Sistine Chapel of the Ancients: Archaeologists Discover 8 Miles of Art Painted on Rock Walls in the Amazon

All images by José Iri­arte

Over twelve thou­sand years ago, some of the first humans in the Ama­zon hunt­ed, paint­ed, and danced with the mas­sive extinct mam­mals of the ice age: giant sloths and armadil­los, ice-age hors­es, and mastodons…. How do we know? We have pic­tures, or rock paint­ings, rather–many thou­sands of them made around 12,500 years ago and only recent­ly “found on an eight-mile rock sur­face along the Guayabero Riv­er the Colom­bian Ama­zon,” Hakim Bishara reports at Hyper­al­ler­gic. The pre­his­toric won­der has been dubbed the “Sis­tine Chapel of the ancients.”

The dis­cov­ery, made last year, was kept secret until the release of a new doc­u­men­tary air­ing this month called Jun­gle Mys­tery: Lost King­doms of the Ama­zon. Palaeo-anthro­pol­o­gist Ella Al-Shamahi, pre­sen­ter of the Chan­nel 4 series and a mem­ber of the team that found the site, explains why it may be hard to imag­ine such great pre­his­toric beasts lum­ber­ing through the rain­for­est.

Their exis­tence in this rock art offers a clue to major cli­ma­to­log­i­cal shifts that have occurred in the region over mil­len­nia. As Al-Shamahi tells The Observ­er:

One of the most fas­ci­nat­ing things was see­ing ice age megafau­na because that’s a mark­er of time. I don’t think peo­ple realise that the Ama­zon has shift­ed in the way it looks. It hasn’t always been this rain­for­est. When you look at a horse or mastodon in these paint­ings, of course they weren’t going to live in a for­est. They’re too big. Not only are they giv­ing clues about when they were paint­ed by some of the ear­li­est peo­ple – that in itself is just mind-bog­gling – but they are also giv­ing clues about what this very spot might have looked like: more savan­nah-like.

“We’re talk­ing about sev­er­al tens of thou­sands of paint­ings,” says the team’s leader, José Iri­arte, pro­fes­sor of archae­ol­o­gy at Exeter Uni­ver­si­ty. “It’s going to take gen­er­a­tions to record them.” The rock wall art illus­trates many extinct species, includ­ing pre­his­toric lama and three-toed hoofed mam­mals with trunks, as well as real­is­tic depic­tions of mon­keys, bats, snakes, tur­tles, tapirs, birds, lizards, fish, and deer. Remains found near the site offer clues to the ancient peo­ples’ diets, which includ­ed piran­ha, alli­ga­tors, snakes, frogs, and “rodents such as paca, capy­bara, and armadil­los,” Bishara notes.

Many of the images are paint­ed to the scale of hand­prints left in many places along the wall, and some are much larg­er. Researchers were par­tic­u­lar­ly sur­prised by the method of com­po­si­tion. Some of the art is so high up it can only be seen by drone. “I’m 5ft 10in,” says Shamahi, “and I would be break­ing my neck look­ing up. How were they scal­ing those walls?” It appears the artists used some form of rap­pelling. There are “depic­tions of wood­en tow­ers among the paint­ings,” reports The Guardian, “includ­ing fig­ures appear­ing to bungee jump from them.”

Fur­ther study in the com­ing decades, and cen­turies, will reveal much more about how the paint­ings were made. The why, how­ev­er, will prove more elu­sive. Iri­arte spec­u­lates they served a sacred pur­pose. “It’s inter­est­ing to see that many of these large ani­mals appear sur­round­ed by small men with their arms raised, almost wor­ship­ping these ani­mals.” The pres­ence of hal­lu­cino­genic plants among the paint­ings leads him to com­pare the paint­ings with con­tem­po­rary Ama­zon­ian peo­ple, for whom “non-humans like ani­mals and plants have souls, and they com­mu­ni­cate and engage with peo­ple in coop­er­a­tive or hos­tile ways through the rit­u­als and shaman­ic prac­tices that we see depict­ed in the rock art.”

What­ev­er their pur­pose, the over 100,000 paint­ings on the eight-mile wall con­tain an immea­sur­able store of infor­ma­tion about ancient Ama­zo­ni­ans’ cre­ativ­i­ty and inge­nu­ity. They also add, per­haps, to the moun­tain of rock art evi­dence sug­gest­ing, Bar­bara Ehren­re­ich argued recent­ly, that before orga­nized war became the dom­i­nant prac­tice of civ­i­liza­tions, “humans once had bet­ter ways to spend their time.” The pub­li­ca­tion of the research team’s find­ings is avail­able here. See more images of the site at Hyper­al­ler­gic and Design­boom and watch the first two episodes of Jun­gle Mys­tery: Lost King­doms of the Ama­zon here.

via Colos­sal

Relat­ed Con­tent:

A Recent­ly-Dis­cov­ered 44,000-Year-Old Cave Paint­ing Tells the Old­est Known Sto­ry

Archae­ol­o­gists Dis­cov­er the World’s First “Art Stu­dio” Cre­at­ed in an Ethiopi­an Cave 43,000 Years Ago

Was a 32,000-Year-Old Cave Paint­ing the Ear­li­est Form of Cin­e­ma?

40,000-Year-Old Sym­bols Found in Caves World­wide May Be the Ear­li­est Writ­ten Lan­guage

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

 


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