The Power of Power Naps: Salvador Dali Teaches You How Micro-Naps Can Give You Creative Inspiration

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Image by Allan War­ren, via Wiki­me­dia Com­mons

In high school, I had a his­to­ry teacher who was, in his spare time, a mil­lion­aire own­er of sev­er­al mari­nas. He taught, he told us, because he loved it. Was he a good teacher? Not by the lights of most ped­a­gog­i­cal stan­dards, but he did intend, amidst all his las­si­tude and total lack of orga­ni­za­tion, to leave us all with some­thing more impor­tant than his­to­ry: the secret of his suc­cess. What was it, you ask? Naps. Each day he tout­ed the pow­er of pow­er naps with a pros­e­ly­tiz­er’s relent­less enthu­si­asm: 15 min­utes a few times a day, the key to wealth and hap­pi­ness.

We all thought he was benign­ly nuts, but maybe he was on to some­thing after all. It seems that many very wise, pro­duc­tive people—such as Albert Ein­stein, Aris­to­tle, and Sal­vador Dali—have used pow­er naps as sources of refresh­ment and inspi­ra­tion. Except that while my his­to­ry teacher rec­om­mend­ed no less than ten min­utes, at least one of these famous gents pre­ferred less than one. Dali used a method of tim­ing his naps that ensured his sleep would not last long. He out­lined it thus, accord­ing to Life­hack­er:

1. Sleep sit­ting upright (Dali rec­om­mends a Span­ish-style bony arm­chair)

2. Hold a key in your hand, between your fin­gers (for the bohemi­an, use a skele­ton key)

3. Relax and fall asleep (but not for too long…)

4. As you fall asleep, you’ll drop the key. Clang bang clang!

5. Wake up inspired!

Dali called it, fit­ting­ly, “Slum­ber with a key,” and to “accom­plish this micro nap,” writes The Art of Man­li­ness, he “placed an upside-down plate on the floor direct­ly below the key.” As soon as he fell asleep, “the key would slip through his fin­gers, clang the plate, and awak­en him from his nascent slum­ber.” He claimed to have learned this trick from Capuchin monks and rec­om­mend­ed it to any­one who worked with ideas, claim­ing that the micro nap “reviv­i­fied” the “phys­i­cal and psy­chic being.”

Dali includ­ed “Slum­ber with a key” in his book for aspir­ing painters, 50 Secrets of Mag­ic Crafts­man­ship, along with such nos­trums as “the secret of the rea­son why a great draughts­man should draw while com­plete­ly naked” and “the secret of the peri­ods of car­nal absti­nence and indul­gence to be observed by the painter.” We might be inclined to dis­miss his nap tech­nique as a sur­re­al­ist prac­ti­cal joke. Yet The Art of Man­li­ness goes on to explain the cre­ative poten­tial in the kind of nap I used to take in his­to­ry class—dozing off, then jerk­ing awake just before my head hit the desk:

The expe­ri­ence of this tran­si­tion­al state between wake­ful­ness and sleep is called hyp­n­a­gogia. You’re float­ing at the very thresh­old of con­scious­ness; your mind is slid­ing into slum­ber, but still has threads of aware­ness dan­gling in the world…. While you’re in this state, you may see visions and hal­lu­ci­na­tions (often of shapes, pat­terns, and sym­bol­ic imagery), hear nois­es (includ­ing your own name or imag­ined speech), and feel almost phys­i­cal sen­sa­tions…. The expe­ri­ence can essen­tial­ly be described as “dream­ing while awake.”

The ben­e­fits for a sur­re­al­ist painter—or any cre­ative per­son in need of a jolt out of the ordinary—seem obvi­ous. Many vision­ar­ies such as William Blake, John Keats, and Samuel Tay­lor Coleridge have made use of wak­ing dream states as well­springs of inspi­ra­tion. Both Beethoven and Wag­n­er com­posed while half asleep.

Sci­en­tists have found wak­ing dream states use­ful as well. We’ve already men­tioned Ein­stein. Bril­liant math­e­mati­cian, engi­neer, philoso­pher, and the­o­ret­i­cal physi­cist Hen­ri Poin­care also found inspi­ra­tion in micro naps. He point­ed out that the impor­tant thing is to make ready use of any insights you glean dur­ing your few sec­onds of sleep by writ­ing them down imme­di­ate­ly (have pen and paper ready). Then, the con­scious mind must take over: “It is nec­es­sary,” wrote Poin­care, “to put in shape the results of this inspi­ra­tion, to deduce from them the imme­di­ate con­se­quences, to arrange them,” and so forth. He also sug­gests that “ver­i­fi­ca­tion” of one’s hyp­n­a­gog­ic insights is need­ed above all, but this step, while crit­i­cal for the math­e­mati­cian, seems super­flu­ous for the artist.

So the micro nap comes to us with a very respectable pedi­gree, but does it real­ly work or is it a psy­cho­log­i­cal place­bo? The author of the Almost Bohemi­an blog writes that he has prac­ticed the tech­nique for sev­er­al weeks and found it “rel­a­tive­ly suc­cess­ful” in restor­ing ener­gy, though he has yet to har­ness it for inspi­ra­tion. If you asked empir­i­cal sleep researchers, they might tend to agree with my his­to­ry teacher: “Sleep lab­o­ra­to­ry stud­ies show,” writes Lynne Lam­berg in her book Bodyrhythms, “that a nap must last at least ten min­utes to affect mood and per­for­mance.” This says noth­ing at all, how­ev­er, about how long it takes to open a door­way to the uncon­scious and steal a bit of a dream to put to use in one’s wak­ing work.

Aside from the very spe­cif­ic use of the micro nap, the longer pow­er nap—anywhere from 10–40 minutes—can work won­ders in improv­ing “mood, alert­ness and per­for­mance,” writes the Nation­al Sleep Foun­da­tion. Short naps seem to work best as they leave one feel­ing refreshed but not grog­gy, and do not inter­fere with your reg­u­lar sleep cycle. The Sleep Foun­da­tion cites a NASA study “on sleepy mil­i­tary pilots and astro­nauts” which found that “a 40-minute nap improved per­for­mance by 34% and alert­ness by 100%.” Life­hack­er points to stud­ies show­ing that “pow­er naps, short 10 to 15 minute naps, improve men­tal effi­cien­cy and pro­duc­tiv­i­ty,” which is why com­pa­nies like Google and Apple allow their employ­ees to doze off for a bit when drowsy.

One stress man­age­ment site observes that the 10–15 minute pow­er nap does not even require a pil­low or blan­ket; “you don’t even need to go to sleep! You just need a com­fort­able place to lie on your back, put your feet up, and breathe com­fort­ably.” Such a prac­tice will not like­ly turn you into a world famous artist, poet, or sci­en­tist (or mil­lion­aire mari­na-own­ing, altru­is­tic high school teacher). It will like­ly reju­ve­nate your mind and body so that you can make much bet­ter use of the time you spend not sleep­ing.

via The Art of Man­li­ness

Relat­ed Con­tent:

How a Good Night’s Sleep — and a Bad Night’s Sleep — Can Enhance Your Cre­ativ­i­ty

Why You Do Your Best Think­ing In The Show­er: Cre­ativ­i­ty & the “Incu­ba­tion Peri­od”

How to Take Advan­tage of Bore­dom, the Secret Ingre­di­ent of Cre­ativ­i­ty

Music That Helps You Sleep: Min­i­mal­ist Com­pos­er Max Richter, Pop Phe­nom Ed Sheer­an & Your Favorites

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

Artist Turns Famous Paintings, from Raphael to Monet to Lichtenstein, Into Innovative Soundscapes

I’ve long won­dered what it would feel like to have synes­the­sia, the neu­ro­log­i­cal phe­nom­e­non — this straight from Wikipedia — “in which stim­u­la­tion of one sen­so­ry or cog­ni­tive path­way leads to auto­mat­ic, invol­un­tary expe­ri­ences in a sec­ond sen­so­ry or cog­ni­tive path­way.” A synes­thete, in oth­er words, might “see” cer­tain col­ors when they read cer­tain words, or “hear” cer­tain sounds when they see cer­tain col­ors. Non-synes­thetes such as myself have trou­ble accu­rate­ly imag­in­ing such an expe­ri­ence, but we can get one step clos­er with the work of Greek artist-musi­cian-physi­cist Yian­nis Krani­d­i­o­tis, who, in his “Ichographs” series, turns the col­ors of famous paint­ings into sound.

“Exam­in­ing the rela­tion­ship between col­or and sound fre­quen­cies,” writes Hyper­al­ler­gic’s Claire Voon, “Krani­d­i­o­tis has recent­ly com­posed a sound­scape for Raphael’s ‘Madon­na del Pra­to’ (1505), or ‘Madon­na of the Mead­ow.’ His result­ing video work, ‘Ichographs MdelP,’ visu­al­izes the break­ing up of the paint­ing into 10,000 cubic par­ti­cles that cor­re­spond to var­i­ous sounds, hon­ing in on spe­cif­ic parts of the can­vas to explore the dif­fer­ent tones of dif­fer­ent col­ors.” You can view that video at the top of the post, and see even more at Krani­d­i­o­tis’ Vimeo chan­nel.

Voon quotes Krani­d­i­o­tis as explain­ing the basic idea behind the project: “Each col­or of a paint­ing can be an audio fre­quen­cy. Each par­ti­cle, like a pix­el in our com­put­er screen, car­ries a col­or and at the same time an audio fre­quen­cy (sinu­soidal wave).” He chose a Renais­sance paint­ing “to gen­er­ate a high con­trast between the clas­si­cal aes­thet­ics and the dig­i­tal trans­for­ma­tions that occur,” as well as to make use of its “blue and red col­ors that help to cre­ate a com­plex and inter­est­ing audio result.”

The artist has more to say at The Cre­ators Project, explain­ing that “there are areas of sound and col­or (light) that humans can per­ceive with their eyes and ears (hear­ing and vis­i­ble range) and areas where we need spe­cial equip­ment (like infrasound—ultrasound and infrared—ultraviolet ranges). As a physi­cist, I was always fas­ci­nat­ed by these com­mon prop­er­ties and I was inves­ti­gat­ing ways to high­light and jux­ta­pose them.”

You can enjoy more Icho­graph­ic expe­ri­ences in the oth­er two videos embed­ded here, the first an overview of the process as applied to a vari­ety of paint­ings from a vari­ety of eras, and then a piece focused on trans­form­ing into sound the col­ors of Claude Mon­et’s 1894 “Rouen Cathe­dral, West Facade.” While Krani­d­i­o­tis’ process does­n’t draw from these works of visu­al art any­thing you’d call music, per se, the son­ic tex­tures do make for an intrigu­ing­ly incon­gru­ous ambi­ent accom­pa­ni­ment to these well-known can­vas­es. If the Lou­vre offered his “com­po­si­tions” loaded onto those lit­tle audio-tour devices, maybe I’d actu­al­ly use one.

via Hyper­al­ler­gic/The Cre­ators Project

Relat­ed Con­tent:

Free Course: An Intro­duc­tion to the Art of the Ital­ian Renais­sance

Take a 3D Vir­tu­al Tour of the Sis­tine Chapel, St. Peter’s Basil­i­ca and Oth­er Art-Adorned Vat­i­can Spaces

Bach’s Bran­den­burg Con­cer­to #4, Visu­al­ized by the Great Music Ani­ma­tion Machine

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Artist Julie Green Paints the Last Suppers of 600+ Death Row Inmates on Ceramic Plates

What would you choose for your last meal?

The com­fort food of your child­hood?

Or some lav­ish dish you nev­er had a chance to taste?

What might your choice reveal about your race, region­al ori­gins, or eco­nom­ic cir­cum­stances?

Artist Julie Green devel­oped a fas­ci­na­tion with death row inmates’ final meals while teach­ing in Okla­homa, where the per capi­ta exe­cu­tion rate exceeds Texas’ and con­demned pris­on­ers’ spe­cial menu requests are a mat­ter of pub­lic record:

Fried fish fil­lets with red cock­tail sauce from Long John Silver’s

Large pep­per­oni piz­za with sausage and extra mush­rooms and a large grape soda.

Chateaubriand steak, medi­um rare with A‑1 steak sauce, fried shrimp entree with cock­tail sauce, large baked pota­to with but­ter, sour cream, chopped scal­lions, bacon bits, salt and pep­per, six pieces of gar­lic but­ter toast, whole Ken­tucky Bour­bon pecan pie, one liter of Coca Cola Clas­sic, and bag of ice

Last Meal Plate

The lat­ter order, from April 29, 2014, was denied on the grounds that it would have exceed­ed the $15-per-cus­tomer max. The pris­on­er who’d made the request skipped his last meal in protest.

Green recre­ates these, and hun­dreds of oth­er death row pris­on­ers’ last sup­pers in cobalt blue min­er­al paint on care­ful­ly select­ed sec­ond-hand plates. The influ­ence of Dutch Delft­ware and Span­ish still life paint­ing are evi­dent in her depic­tion of burg­ers, Ken­tucky Fried Chick­en, and pie.

Many of the requests betray a child­like poignan­cy:

A sin­gle hon­ey bun (North Car­oli­na, Jan­u­ary 30, 1998) 

Shrimp and ice cream  (New Mex­i­co, Novem­ber 6, 2001)

 A peanut but­ter and jel­ly sand­wich (Flori­da, Feb­ru­ary 26, 2014)

One man got per­mis­sion for his moth­er to pre­pare his last meal in the prison kitchen. Anoth­er was sur­prised with a birth­day cake after prison staff learned he had nev­er had one before.

Some refrain from exer­cis­ing their right to a spe­cial request, a choice Green doc­u­ments in text. She resorts to sim­i­lar tac­tics when a pris­on­er requests that his final meal be kept con­fi­den­tial.

Final Meal Not Made Public

Each meal Green paints is accom­pa­nied by a menu, the date, and the state in which it was served, but the pris­on­ers and their crimes go unnamed. She has com­mit­ted to pro­duc­ing fifty plates a year until cap­i­tal pun­ish­ment is abol­ished.

Green nar­rates a Last Sup­per slideshow above, or you can browse all the plates in the project, orga­nized by state here.

Relat­ed Con­tent:

What Pris­on­ers Ate at Alca­traz in 1946: A Vin­tage Prison Menu

The Odd Col­lec­tion of Books in the Guan­tanamo Prison Library

Mod­ern Art Was Used As a Tor­ture Tech­nique in Prison Cells Dur­ing the Span­ish Civ­il War

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

815 Free Art Books from World Class Museums: The Met, the Guggenheim, the Getty & LACMA

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What­ev­er else Banksy’s 2010 doc­u­men­tary Exit Through the Gift Shop sug­gests about the strange rela­tion­ship between the worlds of gallery and street art, its title alone hints at a seri­ous prob­lem with the art estab­lish­ment: muse­ums are expen­sive! Unless you are in Wash­ing­ton, DC, where most of the muse­ums are free, you must not only pony up an entrance fee (or “sug­gest­ed dona­tion”), but you must also, well, exit through the gift shop, where you’ll inevitably be tempt­ed to pur­chase some tchotchkes, swag, knick-knacks, or—more like­ly for art lovers—some beau­ti­ful, over­priced book with glossy, full-page repro­duc­tions of the works you rushed past with impa­tient fam­i­ly or stood on tip­toes to glimpse over the heads of tourist crowds.

It’s true, you may some­time have the good for­tune of get­ting to the Met­ro­pol­i­tan Muse­um of Art, the Get­ty, the Guggen­heim, or the LACMA on an off day, with all the time in the world to mill around and take it in. But if you’re any­thing like me, you’ll still find your­self hov­er­ing around the shelves and book tables, try­ing to con­vince your­self not to shell out upwards of $100 or more for some gor­geous cof­fee table vol­ume. (And that’s assum­ing you even get to New York or L.A. to vis­it these muse­ums at all.) Muse­um gift shop art books—whether they high­light the col­lec­tions, oth­er muse­ums, his­toric schools and move­ments, or the tech­niques and devel­op­ment of indi­vid­ual artists—are tan­ta­liz­ing objects, as are the cat­a­logs that accom­pa­ny exhi­bi­tions.

cezanne free art book

Online libraries cre­at­ed by major muse­ums have mit­i­gat­ed many of these issues of cost and dis­tance. While they won’t sub­sti­tute for the feel and smell of new books, nor proud­ly adorn your cof­fee table, hun­dreds of the vol­umes you might cov­et at the gift shop have been dig­i­tized and can be read and down­loaded for free. For exam­ple, if you head over to the Guggen­heim’s web­site, you can browse online cat­a­logs from his­toric exhibits, like that for the Paul Klee 1879–1940 exhib­it from 1967 (top). Then rum­mage through 108 free art books delv­ing into all kinds of mod­ern art.

Cezanne-in-the-Studio-by-Carol-Armstrong

The Met­ro­pol­i­tan Muse­um of Art has 456 more books to read—and to download—in their online library. You can, for exam­ple, own a copy of The Age of Car­avag­gio as a PDF on your hard dri­ve, or you can read it online, along with titles cov­er­ing every imag­in­able school, peri­od, artist, and region—“five decades of Met pub­li­ca­tions on art his­to­ry, avail­able to read, down­load, and/or search for free.”

On the oth­er side of the coun­try, we have the impres­sive Get­ty muse­um, well over 200 of whose pub­li­ca­tions you can access imme­di­ate­ly with­out leav­ing your screen at the Get­ty Pub­li­ca­tions Vir­tu­al Library. There you’ll find “free dig­i­tal back­list titles from the Get­ty Pub­li­ca­tions archive,” like Cézanne in the Stu­dio, which you can read online or down­load as a PDF.

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And if you hap­pen to be in Los Ange­les with time on your hands, I know you won’t deny your­self a trip to the fan­tas­tic L.A. Coun­ty Muse­um of Mod­ern Art. But whether or not you’re able to see its dizzy­ing­ly diverse col­lec­tion for your­self, or vis­it its gift shops, there’s lit­tle stop­ping you from brows­ing its online Read­ing Room, where you’ll find sev­er­al online titles free to read and down­load, like this excel­lent pre­sen­ta­tion of Edvard Munch’s lith­o­graphs, etch­ings, and wood­cuts. Whether you’re a stu­dent, a schol­ar, or sim­ply a devot­ed lover of art, your life will be great­ly enhanced by the hun­dreds of books in these free online col­lec­tions.

Relat­ed Con­tent:  

Down­load 448 Free Art Books from The Met­ro­pol­i­tan Muse­um of Art

The Guggen­heim Puts 109 Free Mod­ern Art Books Online

Down­load Over 250 Free Art Books From the Get­ty Muse­um

Down­load 35,000 Works of Art from the Nation­al Gallery, Includ­ing Mas­ter­pieces by Van Gogh, Gau­guin, Rem­brandt & More

Read Free Dig­i­tal Art Cat­a­logues from 9 World-Class Muse­ums, Thanks to the Pio­neer­ing Get­ty Foun­da­tion

Google Puts Over 57,000 Works of Art on the Web

Free Course: An Intro­duc­tion to the Art of the Ital­ian Renais­sance

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

29 Sketchbooks by Renowned Artist Richard Diebenkorn, Containing 1,045 Drawings, Now Freely Viewable Online

Richard Diebenkorn (U.S.A., 1922–1993), Untitled from Sketchbook #4, page 23, 1943–1993. Ink wash with pen and ink on paper. Cantor Arts Center collection, Gift of Phyllis Diebenkorn, 2014.4.25. © The Richard Diebenkorn Foundation

We owe the way we see Cal­i­for­nia today in part to the painter Richard Diebenko­rn, “whose deeply lyri­cal abstrac­tions evoked the shim­mer­ing light and wide-open spaces” of the state “where he spent vir­tu­al­ly his entire life.” Those words come from his 1993 New York Times obit­u­ary, which sug­gest­ed that Diebenko­rn’s resis­tance to brief aes­thet­ic move­ments and art-world fads (a resis­tance aid­ed by the dis­tance between Cal­i­for­nia and New York) would ensure that the influ­ence of his vision long sur­vive him. Now, thanks to Stan­ford Uni­ver­si­ty’s Can­tor Arts Cen­ter, we can look more close­ly than ever at what went into that vision in a new online exhi­bi­tion of Diebenko­rn’s sketch­books.

“Through­out his long career,” writes the Stan­ford Report’s Anna Koster, “Diebenko­rn, AB ’49, kept a sketch­book – a ‘portable stu­dio,’ as he called it – to cap­ture his ideas. These books, now in the Can­tor’s col­lec­tion, span 50 years and rep­re­sent the range of styles and sub­jects he explored, includ­ing deeply per­son­al por­traits of his wife, stud­ies of the fig­ure, land­scape stud­ies and com­po­si­tions that point to Diebenko­rn’s sig­na­ture blend of fig­u­ra­tion and abstrac­tion.” The sketch­books, donat­ed by the artist’s wid­ow and the Diebenko­rn Foun­da­tion, cur­rent­ly sit on dis­play at the Can­tor’s exhi­bi­tion Richard Diebenko­rn: The Sketch­books Revealed, which runs through August 22, 2016.

But if you can’t make it to north­ern Cal­i­for­nia before then, you can have a look at all of them online and behold in detail their 1,045 draw­ings span­ning fifty years of Diebenko­rn’s life. They give not only an insight into how he ren­dered the mate­r­i­al for so many of our Cal­i­for­nia dreams, but how he han­dled his famous­ly con­trar­i­an oscil­la­tions between styles, from Abstract Expres­sion­ism to fig­u­ra­tion and back to the abstract again, with some of his rich­est work in-between. “I was nev­er throw­ing things away when I switched from one way of paint­ing to anoth­er,” he once said. “You can see a con­tin­u­um from rep­re­sen­ta­tion to abstrac­tion, although I must say it nev­er felt like a smooth tran­si­tion while I was in the mid­dle of it.”

via Stan­ford News

Relat­ed Con­tent:

45,000 Works of Art from Stan­ford University’s Can­tor Arts Cen­ter Now Freely View­able Online

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

The Art of Liv­ing: A Free Stan­ford Course Explores Time­less Ques­tions

How the CIA Secret­ly Fund­ed Abstract Expres­sion­ism Dur­ing the Cold War

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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

Genji Scroll 1

Ah, The Tale of Gen­ji — a ver­i­ta­ble Mount Ever­est for stu­dents of the Japan­ese lan­guage, and a fix­ture on so many read­ing lists drawn up by fans of world lit­er­a­ture in trans­la­tion as well. This for­mi­da­ble sto­ry of an emper­or’s son turned com­mon­er, writ­ten most­ly or entire­ly by Heian-peri­od noble­woman Murasa­ki Shik­ibu (also known as Lady Murasa­ki) in the ear­ly 11th cen­tu­ry, makes a cred­i­ble claim to the sta­tus of the very first nov­el (or, as more timid boost­ers might claim for it, the first psy­cho­log­i­cal nov­el, or the first “clas­sic” nov­el).

1200px-Genji_emaki_Yadorigi

It has thus had plen­ty of time to get adapt­ed into oth­er forms: trans­la­tions into mod­ern Japan­ese and oth­er cur­rent­ly under­stand­able lan­guages, anno­tat­ed ver­sions by lat­er gen­er­a­tions of writ­ers, live-action movies, and ani­ma­tion and com­ic books — ani­me and man­ga.

Genji Scroll 2

Many of those Gen­jis appeared in the past hun­dred years. Much clos­er to Murasak­i’s own time is the Gen­ji Mono­gatari Ema­ki, com­mon­ly called the Tale of Gen­ji Scroll, cre­at­ed about a cen­tu­ry after the Gen­ji itself, some­time around 1120 to 1140. Here you see pieces of the scrol­l’s sur­viv­ing sec­tions, thought to con­sti­tute only a small por­tion of the orig­i­nal work meant to depict and explain some of the events of the nov­el. Art his­to­ri­ans haven’t pinned down the iden­ti­ty of the artist, but they do know that the style of these images, cre­at­ed with the female-dom­i­nat­ed tsukuri‑e (or “man­u­fac­tured paint­ing” process), which involves lay­er­ing a draw­ing over pig­ment itself paint­ed over a first draw­ing, strong­ly sug­gests a woman artist.

Genji Scroll 3

The Gen­ji Mono­gatari Ema­ki fits into the longer Japan­ese tra­di­tion of pic­ture scrolls, which first com­bined images and text in a ground­break­ing way in the ninth or tenth cen­tu­ry and, one could argue, con­tin­ue to influ­ence Japan­ese art today.

tale of the genji--cap-39--12--secolo

That goes espe­cial­ly for pop­u­lar Japan­ese art: in Japan, where you can see thou­sands of com­ic book-read­ers of all ages on the trains each and every day, peo­ple take the union of words and images more seri­ous­ly than they do in the West — or at least West­ern com­ic art enthu­si­asts see it that way. So if these evoca­tive images from the Gen­ji Scroll make you want to pick up the nov­el, but you still don’t know if you can han­dle it straight, start with one of the man­ga adap­ta­tions, which, as you can see, have more his­tor­i­cal legit­i­ma­cy than we might have assumed.

Genji Scroll 4

It’s worth not­ing that Oxford has a site where you can down­load a com­plete Eng­lish trans­la­tion of The Tale of the Gen­jiA new trans­la­tion by Den­nis Wash­burn also came out in the last six months.

Relat­ed Con­tent:

The Poet­ry of the Cher­ry Blos­soms Comes to Life in a One Minute Time Lapse Video

Hand-Col­ored Pho­tographs of 19th Cen­tu­ry Japan

Hand-Col­ored 1860s Pho­tographs Reveal the Last Days of Samu­rai Japan

The (F)Art of War: Bawdy Japan­ese Art Scroll Depicts Wrench­ing Changes in 19th Cen­tu­ry Japan

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The British Museum Is Now Open To Everyone: Take a Virtual Tour and See 4,737 Artifacts, Including the Rosetta Stone

rosetta stone

“I met a girl at the British Muse­um once,” a fel­low said to me at a par­ty last week­end. “Her name was Roset­ta. Roset­ta Stone.” A groan­er indeed, but also a reminder of how far we’ve come: where­as you once real­ly would have had to go all the way to the British Muse­um (in Lon­don) to run into good old Roset­ta, now you can get acquaint­ed with her, and 4,633 of the oth­er fas­ci­nat­ing arti­facts of human civ­i­liza­tion held there, with­out even step­ping away from your com­put­er.

The British Muse­um charges noth­ing for admis­sion, of course, but now the inter­net has freed it in the geo­graph­i­cal sense as well.

temple relief

“The British Muse­um recent­ly unveiled the results of its part­ner­ship with the Google Cul­tur­al Insti­tute (GCI),” writes Nation­al Geo­graph­ic’s Kristin Rom­ney, “the world’s largest Google Street View of an inte­ri­or space, cov­er­ing nine floors and 85 per­ma­nent gal­leries of the muse­um.” Have a vir­tu­al walk­through, and you’ll pass dis­plays of about 80,000 notable objects; the high­lights Rom­ney names include the Lewis Chess­men and cat mum­mies, the Elgin Mar­bles, and even archi­tec­tur­al fea­tures of the muse­um itself such as the “the yawn­ing expanse of the museum’s Great Court, the largest pub­lic square in Europe, with ear­ly morn­ing light fil­ter­ing through the 3,312 glass roof panes.”

royal game of ur

After you’ve enjoyed this Street View stroll, you’ll sure­ly want to exam­ine some of these items in greater depth. You can do just that at the vir­tu­al exhibits of the Google Cul­tur­al Insti­tute’s British Muse­um col­lec­tion, where you’ll find high-res­o­lu­tion images of and back­ground infor­ma­tion on 4,737 arti­facts, the Roset­ta Stone includ­ed. Or you can take a close look at a seg­ment of the Elgin Mar­bles, a scene from the Parthenon show­ing “the sacred robe or pep­los of Athena that was escort­ed to the Acrop­o­lis by the pro­ces­sion of the Great Pana­thenaic Fes­ti­val, held in Athens every four years.” Not old enough for you? Then behold the Roy­al Game of Ur, an ear­ly board game of sorts dis­cov­ered in the Roy­al Ceme­tery of the Mesopotami­an city-state of Ur. And even fur­ther illu­mi­na­tion of the ancient world awaits you beyond that, all thanks to this most mod­ern sort of project. You can enter the col­lec­tion here.

Relat­ed Con­tent:

The Com­plete His­to­ry of the World (and Human Cre­ativ­i­ty) in 100 Objects

Vis­it The Muse­um of Online Muse­ums (MoOM): A Mega Col­lec­tion of 220 Online Exhi­bi­tions

The Met­ro­pol­i­tan Muse­um of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

LA Coun­ty Muse­um Makes 20,000 Artis­tic Images Avail­able for Free Down­load

Rijksmu­se­um Dig­i­tizes & Makes Free Online 210,000 Works of Art, Mas­ter­pieces Includ­ed!

Whit­ney Muse­um Puts Online 21,000 Works of Amer­i­can Art, By 3,000 Artists

Google Gives You a 360° View of the Per­form­ing Arts, From the Roy­al Shake­speare Com­pa­ny to the Paris Opera Bal­let

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Brian Eno on Why Do We Make Art & What’s It Good For?: Download His 2015 John Peel Lecture

Eno Peel Lecture

Image by BBC Radio 6

“Sym­phonies, per­fume, sports cars, graf­fi­ti, needle­point, mon­u­ments, tat­toos, slang, Ming vas­es, doo­dles, poo­dles, apple strudels. Still life, Sec­ond Life, bed knobs and boob jobs” — why do we make any of these things? That ques­tion has dri­ven much of the career (and indeed life) of Bri­an Eno, the man who invent­ed ambi­ent music and has brought his dis­tinc­tive, at once intel­lec­tu­al and vis­cer­al sen­si­bil­i­ty to the work of bands like Roxy Music, U2, and Cold­play as well as the realm of visu­al art. Back in Sep­tem­ber, he laid out all the illu­mi­nat­ing and enter­tain­ing answers at which he has thus far arrived in giv­ing the BBC’s 2015 John Peel Lec­ture.

We fea­tured Eno’s wide-rang­ing talk on the nature of art and cul­ture, as well as its util­i­ty to the human race, back when the Beeb offered it stream­ing for a lim­it­ed time only. But now they’ve made it freely avail­able to down­load and lis­ten to as you please: you can down­load the MP3 at this link.

You can also fol­low along, if you like, with the PDF tran­script avail­able here, which will cer­tain­ly be of assis­tance when you go to look up all the peo­ple, ideas, works of art, and pieces of his­to­ry Eno ref­er­ences along the way, includ­ing but not lim­it­ed to the “STEM” sub­jects, Baked Alas­ka, black Chanel frocks, the Rie­mann hypoth­e­sis, Lit­tle Dor­rit, Morse Peck­ham, Coro­na­tion Street, air­plane sim­u­la­tors, the dole, Lord Rei­th, John Peel him­self, Basic Income, Lin­ux, and col­lec­tive joy.

If you haven’t had enough Eno after that — and here at Open Cul­ture, we nev­er get enough Eno — have a look at and a lis­ten to clips of a con­ver­sa­tion he recent­ly had with sci­ence writer Steven John­son, all of which have an intel­lec­tu­al over­lap with the Peel Lec­ture. The first deals with music, some­thing this self-pro­fessed “non-musi­cian” has done much more than his share of think­ing about. The sec­ond has to do with punch­lines, or rather, Eno’s con­cep­tion of a piece of art, not as a thing with val­ue in and of itself, but as a kind of punch­line on the order of “I used to have a car like that.” (To hear its set­up, you’ll have to watch the video.)

In the third, John­son and Eno dis­cuss an idea at the core of the Peel Lec­ture, Eno’s famous def­i­n­i­tion of cul­ture, and lat­er art: “Every­thing you don’t have to do.” That cov­ers all the afore­men­tioned sym­phonies, per­fume, sports cars, graf­fi­ti, needle­point, mon­u­ments, tat­toos, slang, Ming vas­es, doo­dles, poo­dles, apple strudels, still life, Sec­ond Life, bed knobs and boob jobs: “All of those things are sort of unnec­es­sary in the sense that we could all sur­vive with­out doing any of them,” Eno says, “but in fact we don’t. We all engage with them.” And if you want to know why we should keep engag­ing with them, and in fact engage with them more vig­or­ous­ly than ever, Eno can tell you.

Relat­ed Con­tent:

Hear 150 Tracks High­light­ing Bri­an Eno’s Career as a Musi­cian, Com­pos­er & Pro­duc­er & Stream His 2015 John Peel Lec­ture

Jump Start Your Cre­ative Process with Bri­an Eno’s “Oblique Strate­gies”

Revis­it the Radio Ses­sions and Record Col­lec­tion of Ground­break­ing BBC DJ John Peel

Bri­an Eno Lists 20 Books for Rebuild­ing Civ­i­liza­tion & 59 Books For Build­ing Your Intel­lec­tu­al World

Lis­ten to “Bri­an Eno Day,” a 12-Hour Radio Show Spent With Eno & His Music (Record­ed in 1988)

When Bri­an Eno & Oth­er Artists Peed in Mar­cel Duchamp’s Famous Uri­nal

Prof. Iggy Pop Deliv­ers the BBC’s 2014 John Peel Lec­ture on “Free Music in a Cap­i­tal­ist Soci­ety”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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