1,100 Delicate Drawings of Root Systems Reveals the Hidden World of Plants

We know that plants can inspire art. If you, per­son­al­ly, still require con­vinc­ing on that point, just have a look at Eliz­a­beth Twining’s Illus­tra­tions of the Nat­ur­al Orders of Plants, the draw­ings of Ernst Hein­rich Haeck­el, Eliz­a­beth Black­well’s A Curi­ous Herbal, and Nan­cy Anne Kings­bury Woll­stonecraft’s Spec­i­mens of the Plants and Fruits of the Island of Cuba — not to men­tion the paint­ings of Geor­gia O’ Keeffe — all pre­vi­ous­ly fea­tured here on Open Cul­ture. But those works con­cern them­selves only with plant life as it exists above ground.

What goes on down below, under­neath the soil? That you can see for your­self — and with­out hav­ing to pull up one of our fine flow­er­ing (or non-flow­er­ing) friends to do so — at Wagenin­gen Uni­ver­si­ty’s online archive of root sys­tem draw­ings. “The out­come of 40 years of  root sys­tem exca­va­tions in Europe,” says that site, the col­lec­tion con­tains 1,180 dia­grams of species from Abies alba (best known today as a kind of Christ­mas tree) to Zygo­phyl­lum xan­thoxy­lon (a faint­ly scrub­by-look­ing native of the arid and semi-arid regions of con­ti­nents like Africa and Aus­tralia).

The site explains that “the draw­ings, their analy­sis and descrip­tion were done by Univ. Prof. Dr. Erwin Licht­eneg­ger (1928–2004) and Univ. Prof. Dr. Lore Kutschera (1917–2008), leader of Pflanzen­sozi­ol­o­gis­ches Insti­tut, Kla­gen­furt, (now in Bad Gois­ern, Aus­tria).”

Over the course of 40 years, writes The Wash­ing­ton Post’s Erin Blake­more, Licht­eneg­ger and Kustchera “col­lab­o­rat­ed on an enor­mous ‘root atlas’ that maps the under­ground tra­jec­to­ries of com­mon Euro­pean plants.” Cre­at­ed through “a labo­ri­ous sys­tem of dig­ging up and doc­u­ment­ing the intri­cate sys­tems,” these draw­ings are “also art in their own right, hon­or­ing the beau­ty of a part of plants most nev­er give that much thought.”

Even the least botan­i­cal­ly aware among us knows that plants have roots, but how many of us are aware of the scale and com­plex­i­ty those roots can attain? “Root sys­tems allow plants to gath­er the water and min­er­als they use to grow,” writes Blake­more. “As the root sys­tem grows, it cre­ates more and more path­ways that allow water to get into the deep sub­soil, and fos­ter­ing the growth of microbes that ben­e­fit oth­er life. Strong root sys­tems can pre­vent ero­sion, pro­tect­ing the land on which they grow. And the struc­tures allow the soil to cap­ture car­bon.” Thus root sys­tems, nev­er a par­tic­u­lar locus of cool­ness, have the dis­tinc­tion of doing their part to fight cli­mate change. And thanks to Licht­eneg­ger and Kustcher­a’s draw­ings, they under­score the capac­i­ty of art to reveal worlds hid­den to most of us. View all of the images here.

via Colos­sal

Relat­ed Con­tent:

Behold an Inter­ac­tive Online Edi­tion of Eliz­a­beth Twining’s Illus­tra­tions of the Nat­ur­al Orders of Plants (1868)

His­toric Man­u­script Filled with Beau­ti­ful Illus­tra­tions of Cuban Flow­ers & Plants Is Now Online (1826)

Ernst Haeckel’s Sub­lime Draw­ings of Flo­ra and Fau­na: The Beau­ti­ful Sci­en­tif­ic Draw­ings That Influ­enced Europe’s Art Nou­veau Move­ment (1889)

A Curi­ous Herbal: 500 Beau­ti­ful Illus­tra­tions of Med­i­c­i­nal Plants Drawn by Eliz­a­beth Black­well in 1737 (to Save Her Fam­i­ly from Finan­cial Ruin)

Two Mil­lion Won­drous Nature Illus­tra­tions Put Online by The Bio­di­ver­si­ty Her­itage Library

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

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

People in the Middle Ages Slept Not Once But Twice Each Night: How This Lost Practice Was Rediscovered

The impor­tance of a good night’s sleep has been fea­tured now and again here on Open Cul­ture. But were a medieval Euro­pean to vis­it our time, he’d prob­a­bly ask — among oth­er ques­tions — if we did­n’t mean a good night’s sleeps, plur­al. The evi­dence sug­gests that the peo­ple of the Mid­dle Ages slept not straight through the night but in two dis­tinct stretch­es. This prac­tice has come back to light in recent years thanks to the research of his­to­ri­an Roger Ekirch, author of At Day’s Close: Night in Times Past. “Both phas­es of sleep last­ed rough­ly the same length of time,” he writes in that book, “with indi­vid­u­als wak­ing some­time after mid­night before return­ing to rest.”

But “not every­one, of course, slept accord­ing to the same timetable. The lat­er at night that per­sons went to bed, the lat­er they stirred after their ini­tial sleep; or, if they retired past mid­night, they might not awak­en at all until dawn. Thus, in ‘The Squire’s Tale’ in The Can­ter­bury Tales, Canacee slept ‘soon after evening fell’ and sub­se­quent­ly awak­ened in the ear­ly morn­ing fol­low­ing ‘her first sleep’; in turn, her com­pan­ions, stay­ing up much lat­er, ‘lay asleep till it was ful­ly prime’ (day­light).” Proof wide­spread “bipha­sic sleep” exists not just in Chaucer, but — for those who know where to look — all over the sur­viv­ing doc­u­ments from medieval Europe.

“In France, the ini­tial sleep was the pre­mier somme,” writes BBC.com’s Zaria Gorvett. “In Italy, it was pri­mo son­no. In fact, Eckirch found evi­dence of the habit in loca­tions as dis­tant as Africa, South and South­east Asia, Aus­tralia, South Amer­i­ca and the Mid­dle East”; the ear­li­est ref­er­ence he turned up comes from Home­r’s Odyssey. What­ev­er their era of his­to­ry, bipha­sic sleep­ers seem to have made good use of their inter­vals of wake­ful­ness, known in Eng­lish as “the watch.” Dur­ing it, peas­ants worked, Chris­tians prayed, and thieves thieved, “but most of all, the watch was use­ful for social­iz­ing – and for sex.” After a long day’s work, “the first sleep took the edge off their exhaus­tion and the peri­od after­wards was thought to be an excel­lent time to con­ceive copi­ous num­bers of chil­dren.”

Bipha­sic sleep and its atten­dant habits did­n’t sur­vive the 19th cen­tu­ry. The rea­sons, as Ekirch explains in the inter­view above, have to do with the Indus­tri­al Rev­o­lu­tion, that great dis­rup­tion of tra­di­tions fol­lowed since time immemo­r­i­al. Along with “the increas­ing preva­lence of arti­fi­cial illu­mi­na­tion both with­in homes and out­side,” he says, “bed­times were pushed back, even though peo­ple still awak­ened at the same time in the morn­ing.” Apart from intro­duc­ing new tech­nolo­gies, the Indus­tri­al Rev­o­lu­tion “also changed peo­ples’ atti­tudes toward work,” mak­ing human­i­ty “increas­ing­ly time-con­scious: pro­duc­tiv­i­ty, effi­cien­cy were the hall­marks of the 19th cen­tu­ry.” We con­tin­ue to set store by them today, though we also han­dle the dis­rup­tion of sleep in our own, dis­tinc­tive­ly 21st-cen­tu­ry ways. Would any­one care to explain to our medieval time-trav­el­er the prac­tice of mid­night Twit­ter-scrolling?

via BBC/Medieval­ists

Relat­ed Con­tent:

How Sleep Can Become Your “Super­pow­er:” Sci­en­tist Matt Walk­er Explains Why Sleep Helps You Learn More and Live Longer

Sleep or Die: Neu­ro­sci­en­tist Matthew Walk­er Explains How Sleep Can Restore or Imper­il Our Health

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

Buck­min­ster Fuller’s Dymax­ion Sleep Plan: He Slept Two Hours a Day for Two Years & Felt “Vig­or­ous” and “Alert”

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

What Did Peo­ple Eat in Medieval Times? A Video Series and New Cook­book Explain

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

Animals Laugh Too: UCLA Study Finds Laughter in 65 Species, from Rats to Cows

Every pet own­er knows that ani­mals love to play, but laugh­ter seems reserved for humans, a few apes, and maybe a few birds good at mim­ic­k­ing humans and apes. As it turns out, accord­ing to a new arti­cle pub­lished in the jour­nal Bioa­coustics, laugh­ter has been “doc­u­ment­ed in at least 65 species,” Jes­si­ca Wolf writes at UCLA News­room. “That list includes a vari­ety of pri­mates, domes­tic cows and dogs, fox­es, seals, and mon­goos­es, as well as three bird species, includ­ing para­keets and Aus­tralian mag­pies.” This is a far cry from just a few years ago when apes and rats were the “only known ani­mals to get the gig­gles,” as Liz Lan­g­ley wrote at Nation­al Geo­graph­ic in 2015.

Yes, rats laugh. How do sci­en­tists know this? They tick­le them, of course, as you can see in the video just above. (Rat tick­ling, it turns out, is good for the ani­mals’ well being.) The pur­pose of this exper­i­ment was to bet­ter under­stand human touch — and tick­ling, says study author Michael Brecht, “is one of the most poor­ly under­stood forms of touch.”

Laugh­ter, on the oth­er hand, seems some­what bet­ter under­stood, even among species sep­a­rat­ed from us by tens of mil­lions of years of evo­lu­tion. In their recent arti­cle, UCLA pri­ma­tol­o­gist Sasha Win­kler and UCLA pro­fes­sor of com­mu­ni­ca­tion Greg Bryant describe how “play vocal­iza­tions” sig­nal non-aggres­sion dur­ing rough­hous­ing. As Win­kler puts it:

When we laugh, we are often pro­vid­ing infor­ma­tion to oth­ers that we are hav­ing fun and also invit­ing oth­ers to join. Some schol­ars have sug­gest­ed that this kind of vocal behav­ior is shared across many ani­mals who play, and as such, laugh­ter is our human ver­sion of an evo­lu­tion­ar­i­ly old vocal play sig­nal.

Gen­er­al­ly, humans are unlike­ly to rec­og­nize ani­mal laugh­ter as such or even per­ceive it at all. “Our review indi­cates that vocal play sig­nals are usu­al­ly incon­spic­u­ous,” the authors write. Rats, for exam­ple, make “ultra­son­ic vocal­iza­tions” beyond the range of human hear­ing. The play vocal­iza­tions of chim­panzees, on the oth­er hand, are much more sim­i­lar to human laugh­ter, “although there are some dif­fer­ences,” Win­kler notes in an inter­view. “Like, they vocal­ize in both the in-breath and out breath.”

Why study ani­mal laugh­ter? Beyond the inher­ent inter­est of the top­ic — an espe­cial­ly joy­ful one for sci­en­tif­ic researchers — there’s the seri­ous busi­ness of under­stand­ing how “human social com­plex­i­ty allowed laugh­ter to evolve from a play-spe­cif­ic vocal­iza­tion into a sophis­ti­cat­ed prag­mat­ic sig­nal,” as Win­kler and Bryant write. We use laugh­ter to sig­nal all kinds of inten­tions, not all of them play­ful. But no mat­ter how many uses humans find for the vocal sig­nal, we can see in this new review arti­cle how deeply non-aggres­sive play is embed­ded through­out the ani­mal world and in our evo­lu­tion­ary his­to­ry. Read “Play vocal­i­sa­tions and human laugh­ter: a com­par­a­tive review” here.

Relat­ed Con­tent:

Eye of the Pan­golin: The Search for an Ani­mal on the Edge 

How Sounds Are Faked For Nature Doc­u­men­taries: Meet the Artists Who Cre­ate the Sounds of Fish, Spi­ders, Orang­utans, Mush­rooms & More

Down­load Ani­mals and Ethics 101: Think­ing Crit­i­cal­ly About Ani­mal Rights (Free)

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

The Omicron Variant Explained by Neil deGrasse Tyson & Regeneron President George Yancopoulos

What is the Omi­cron Vari­ant? How do vac­cines work? And what about mon­o­clon­al anti­body ther­a­py? On this episode of StarTalk, Neil deGrasse Tyson has a wide-rang­ing and quite infor­ma­tive con­ver­sa­tion with George Yan­copou­los, pres­i­dent of Regen­eron, the com­pa­ny that cre­at­ed the mon­o­clon­al anti­body ther­a­py now being used in the fight against COVID-19. And there’s an inter­est­ing side note: Dur­ing the 1970s, Tyson and Yan­copou­los were high school class­mates togeth­er at Bronx Sci­ence. They’ve both come a long way, and now they re-unite to explain the sci­ence behind the lat­est phase of the pan­dem­ic.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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

Relat­ed Con­tent 

1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

MIT Presents a Free Course on the COVID-19 Pan­dem­ic

How the COVID-19 Vac­cines Could Be Cre­at­ed So Quick­ly: Two Ani­mat­ed Videos Explain the How mRNA Vac­cines Were Devel­oped, and How They Work

Albertus Seba’s Cabinet of Natural Curiosities: Discover One of the Most Prized Natural History Books of All Time (1734–1765)

In the eigh­teenth cen­tu­ry, a Euro­pean could know the world in great detail with­out ever leav­ing his home­land. Or he could, at least, if he got into the right indus­try. So it was with Alber­tus Seba, a Dutch phar­ma­cist who opened up shop in Ams­ter­dam just as the eigh­teenth cen­tu­ry began. Giv­en the city’s promi­nence as a hub of inter­na­tion­al trade, which in those days was most­ly con­duct­ed over water, Seba could acquire from the crew mem­bers of arriv­ing ships all man­ner of plant and ani­mal spec­i­mens from dis­tant lands. In this man­ner he amassed a ver­i­ta­ble pri­vate muse­um of the nat­ur­al world.

The “cab­i­nets of curiosi­ties” Seba put togeth­er — as col­lec­tors of won­ders did in those days — ranked among the largest on the con­ti­nent. But when he died in 1736, his mag­nif­i­cent col­lec­tion did not sur­vive him. He’d already sold much of it twen­ty years ear­li­er to Peter the Great, who used it as the basis for Rus­si­a’s first muse­um, the Kun­stkam­mer in St. Peters­burg.

What remained had to be auc­tioned off in order to fund one of Seba’s own projects: the Locu­pletis­si­mi rerum nat­u­ral­i­um the­sauri accu­ra­ta descrip­tio, or “Accu­rate descrip­tion of the very rich the­saurus of the prin­ci­pal and rarest nat­ur­al objects,” pages of which you can view at the Pub­lic Domain Review and the Met­ro­pol­i­tan Muse­um of Art.

This four-vol­ume set of books con­sti­tut­ed an attempt to cat­a­log the vari­ety of liv­ing things on Earth, a for­mi­da­ble endeav­or that Seba was nev­er­the­less well-placed to under­take, ren­der­ing each one in engrav­ings made life­like by their depth of col­or and detail. The lav­ish pro­duc­tion of the The­saurus (more recent­ly repli­cat­ed in the con­densed form of Taschen’s Cab­i­net of Nat­ur­al Curiosi­ties) pre­sent­ed a host of chal­lenges both phys­i­cal and eco­nom­ic. But there was also the intel­lec­tu­al prob­lem of how, exact­ly, to orga­nize all its tex­tu­al and visu­al infor­ma­tion. As orig­i­nal­ly pub­lished, it groups its spec­i­mens by phys­i­cal sim­i­lar­i­ties, in a man­ner vague­ly sim­i­lar to the much more influ­en­tial sys­tem pub­lished by Swedish sci­en­tist Carl Lin­naeus in 1735.

Lin­naeus, as it hap­pens, twice vis­it­ed Seba to exam­ine the lat­ter’s famous col­lec­tion. It sure­ly had an influ­ence on his think­ing on how to name every­thing in the bio­log­i­cal realm: not just the likes of trees, owls, snakes, and jel­ly­fish, but also the “parax­o­da,” crea­tures whose exis­tence was sus­pect­ed but not con­firmed. These includ­ed not only the hydra and the phoenix, but also the rhi­noc­er­os and the pel­i­can.

Eigh­teenth-cen­tu­ry Euro­peans pos­sessed much more infor­ma­tion about the world than did their ances­tors, but facts were still more than occa­sion­al­ly inter­mixed with fan­ta­sy. Giv­en the strange­ness of what had recent­ly been doc­u­ment­ed, no one dared put lim­its on the strange­ness of what had­n’t.

Note: A num­ber of the vibrant images on this page come from the Taschen edi­tion.

Relat­ed Con­tent:

The Bio­di­ver­si­ty Her­itage Library Makes 150,000 High-Res Illus­tra­tions of the Nat­ur­al World Free to Down­load

Ernst Haeckel’s Sub­lime Draw­ings of Flo­ra and Fau­na: The Beau­ti­ful Sci­en­tif­ic Draw­ings That Influ­enced Europe’s Art Nou­veau Move­ment (1889)

Behold an Inter­ac­tive Online Edi­tion of Eliz­a­beth Twining’s Illus­tra­tions of the Nat­ur­al Orders of Plants (1868)

A Curi­ous Herbal: 500 Beau­ti­ful Illus­tra­tions of Med­i­c­i­nal Plants Drawn by Eliz­a­beth Black­well in 1737 (to Save Her Fam­i­ly from Finan­cial Ruin)

Explore a New Archive of 2,200 His­tor­i­cal Wildlife Illus­tra­tions (1916–1965): Cour­tesy of The Wildlife Con­ser­va­tion Soci­ety

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

When the Colosseum in Rome Became the Home of Hundreds of Exotic Plant Species

The Colos­se­um is one of the most pop­u­lar tourist attrac­tions in Italy, and thus one of the most pop­u­lar tourist attrac­tions in all of Europe. But the nature of its appeal to its many vis­i­tors has changed over the cen­turies. In the Atlantic, nov­el­ist and pod­cast­er Paul Coop­er notes that, “the belief that Chris­t­ian mar­tyrs had once been fed to the lions in the are­na,” for exam­ple, once made it a renowned site of reli­gious pil­grim­age. (This “despite lit­tle evi­dence that Chris­tians were ever actu­al­ly killed in the are­na.”) But in that same era, the Colos­se­um was also a site of botan­ic pil­grim­age: amid its ruins grew “420 species of plant,” includ­ing some rare exam­ples “found nowhere else in Europe.”

Notable tourists who took note of the Colos­se­um’s rich plant life include Charles Dick­ens, who beheld its “walls and arch­es over­grown with green,” and Per­cy Bysshe Shel­ley, who wrote of how “the copse­wood over­shad­ows you as you wan­der through its labyrinths, and the wild weeds of this cli­mate of flow­ers bloom under your feet.”

Coop­er quotes from these writ­ings in his Atlantic piece, and in an asso­ci­at­ed Twit­ter thread also includes plen­ty of ren­der­ings of the Colos­se­um as it then looked dur­ing the 18th and 19th cen­turies. He even select­ed images from Flo­ra of the Colos­se­um of Rome, or, Illus­tra­tions and descrip­tions of four hun­dred and twen­ty plants grow­ing spon­ta­neous­ly upon the ruins of the Colos­se­um of Rome (read­able free online at the Inter­net Archive), the 1855 work of a less well-known Eng­lish­man named Richard Deakin.

A botanist, Deakin did the hard work of cat­a­loging those hun­dreds of plant species grow­ing in the Colos­se­um back in the 1850s. The inter­ven­ing 170 or so years have tak­en their toll on this bio­di­ver­si­ty: as Nature report­ed it, only 242 of these species were still present in the ear­ly 2000s, due in part to “a shift towards species that pre­fer a warmer, dri­er cli­mate” and the growth of the sur­round­ing city. In its hey­day in the first cen­turies of the last mil­len­ni­um, the are­na lay on the out­skirts of Rome, where­as it feels cen­tral today. Pay it a vis­it, and you both will and will not see the Colos­se­um that Dick­ens and Shel­ley did; but then, they nev­er knew it as, say, Titus or Domit­ian did. In recent years there have been moves to restore and even improve ancient fea­tures like the retractable floor; why not dou­ble down on the exot­ic flo­ra while we’re at it?

via The Atlantic

Relat­ed con­tent:

Rome’s Colos­se­um Will Get a New Retractable Floor by 2023 — Just as It Had in Ancient Times

The Roman Colos­se­um Has a Twin in Tunisia: Dis­cov­er the Amphithe­ater of El Jem, One of the Best-Pre­served Roman Ruins in the World

A Vir­tu­al Tour of Ancient Rome, Cir­ca 320 CE: Explore Stun­ning Recre­ations of The Forum, Colos­se­um and Oth­er Mon­u­ments

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

Build­ing The Colos­se­um: The Icon of Rome

With 9,036 Pieces, the Roman Colos­se­um Is the Largest Lego Set Ever

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

The Human Brain: A Free Online Course from MIT

From MIT comes The Human Brain, a series of 18 lec­tures pre­sent­ed by Pro­fes­sor Nan­cy Kan­wish­er. They’re from a course that “sur­veys the core per­cep­tu­al and cog­ni­tive abil­i­ties of the human mind and asks how they are imple­ment­ed in the brain. Key themes include the rep­re­sen­ta­tions, devel­op­ment, and degree of func­tion­al speci­fici­ty of these com­po­nents of mind and brain. The course will take stu­dents straight to the cut­ting edge of the field, empow­er­ing them to under­stand and crit­i­cal­ly eval­u­ate empir­i­cal arti­cles in the cur­rent lit­er­a­ture.”

Watch all of the lec­tures above, and find them added to our list of Free Biol­o­gy Cours­es, a sub­set of our col­lec­tion 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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!

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How Mushroom Time-Lapses Are Filmed: A Glimpse Into the Pioneering Time-Lapse Cinematography Behind the Netflix Documentary Fantastic Fungi

Mush­rooms are hav­ing a moment, thanks in part to pio­neer­ing time-lapse cin­e­matog­ra­ph­er Louie Schwartzberg’s doc­u­men­tary Fan­tas­tic Fun­gi.

Now stream­ing on Net­flix, the film has giv­en rise to a bumper crop of funghi fantat­ics, who sprang up like, well, mush­rooms, to join the exist­ing ranks of cit­i­zen sci­en­tistsculi­nary fansweek­end for­agersama­teur grow­ers, and spir­i­tu­al seek­ers.

Schwartzberg, who ear­li­er visu­al­ized pol­li­na­tion from the flower’s point of view in the Meryl Streep-nar­rat­ed Wings of Life, is a true believ­er in the pow­er of mush­rooms, cit­ing funghi’s role in soil cre­ation and health, and their poten­tial for rem­e­dy­ing a num­ber of press­ing glob­al prob­lems, as well as a host of human ail­ments.

Fan­tas­tic Funghi focus­es on sev­en pil­lars of ben­e­fits brought to the table by the fun­gal king­dom and its Inter­net-like under­ground net­work of myceli­um:

  1. Bio­di­ver­si­ty

A num­ber of projects are explor­ing the ways in which the myceli­um world can pull us back from the bring of  deser­ti­za­tion, water short­age, food short­age, bee colony col­lapsetox­ic con­t­a­m­i­nants, nuclear dis­as­ters, oil spills, plas­tic pol­lu­tion, and glob­al warm­ing.

  1. Inno­va­tion

Mush­room-relat­ed indus­tries are eager to press funghi into ser­vice as envi­ron­men­tal­ly sus­tain­able faux leatherbuild­ing mate­ri­als, pack­ag­ing, and meat alter­na­tives.

  1. Food

From fine din­ing to for­ag­ing off-the-grid, mush­rooms are prized for their culi­nary and nutri­tion­al ben­e­fits.

  1. Phys­i­cal Health and Well­ness

Will the hum­ble mush­room prove mighty enough to do an end run around pow­er­ful drug com­pa­nies as a source of inte­gra­tive med­i­cine to help com­bat dia­betes, liv­er dis­ease, inflam­ma­tion, insom­nia and cog­ni­tive decline?

  1. Men­tal Health

Researchers at Johns Hop­kinsUCLA, and NYU are run­ning clin­i­cal tri­als on the ben­e­fits of psy­che­del­ic psilo­cy­bin mush­rooms as a tool for treat­ing addic­tion, depres­sion, anx­i­ety, PTSD and sui­ci­dal ideation.

  1. Spir­i­tu­al­i­ty

Of course, there’s also a rich tra­di­tion of reli­gions and indi­vid­ual seek­ers deploy­ing mind alter­ing psy­choac­tive mush­rooms as a form of sacra­ment or a tool for plumb­ing the mys­ter­ies of life.

  1. The Arts

Direc­tor Schwartzberg under­stand­ably views mush­rooms as muse, a fit­ting sub­ject for pho­tog­ra­phy, music, film, poet­ry, art and oth­er cre­ative endeav­ors.

 

With regard to this final pil­lar, many view­ers may be sur­prised to learn how much of the 15 years Schwartzberg ded­i­cat­ed to cap­tur­ing the exquis­ite cycle of fun­gal regen­er­a­tion and decom­po­si­tion took place indoors.

As he explains in the Wired video above, his pre­ci­sion equip­ment excels at cap­tur­ing devel­op­ment that’s invis­i­ble to the human eye, but is no match for such nat­ur­al world dis­rup­tions as insects and wind.

Instead, he and his team built con­trolled grow­ing envi­ron­ments, where high­ly sen­si­tive time lapse cam­eras, dol­lies, timed grow lights, and more cin­e­mat­ic light­ing instru­ments could be left in place.

Set dress­ings of moss and logs, cou­pled with a very short depth of field helped to bring the Great Out­doors onscreen, with occa­sion­al chro­makeyed panora­mas of the nat­ur­al world fill­ing in the gaps.

Even in such lab-like con­di­tions, cer­tain ele­ments were nec­es­sar­i­ly left to chance. Mush­rooms grow noto­ri­ous­ly quick­ly, and even with con­stant mon­i­tor­ing and cal­cu­la­tions, there was plen­ty of poten­tial for one of his stars to miss their mark, shoot­ing out of frame.

Just one of the ways that mush­rooms and humans oper­ate on rad­i­cal­ly dif­fer­ent time­lines. The direc­tor bowed to the shrooms, return­ing to square one on the fre­quent occa­sions when a sequence got away from him.

Pro­vid­ing view­ers an immer­sive expe­ri­ence of the under­ground myceli­um net­work required high pow­ered micro­scopes, a sol­id cement floor, and a bit of movie mag­ic to finesse. What you see in the final cut is the work of CGI ani­ma­tors, who used Schwartzberg’s footage as their blue­print.

Net­flix sub­scribers can stream Fan­tas­tic Fun­gi for free.

From Octo­ber 15 — 17, film­mak­er Louie Schwartzberg is host­ing a free, vir­tu­al Fan­tas­tic Fun­gi Glob­al Sum­mit. Reg­is­ter here.

You can also browse his col­lec­tion of com­mu­ni­ty mush­room recipes and sub­mit your own, down­load Fan­tas­tic Fungi’s Stoned Ape poster, or have a ram­ble through a trove of relat­ed videos and arti­cles in the Mush Room.

Relat­ed Con­tent: 

John Cage Had a Sur­pris­ing Mush­room Obses­sion (Which Began with His Pover­ty in the Depres­sion)

Alger­ian Cave Paint­ings Sug­gest Humans Did Mag­ic Mush­rooms 9,000 Years Ago

The Gold­en Guide to Hal­lu­cino­genic Plants: Dis­cov­er the 1977 Illus­trat­ed Guide Cre­at­ed by Harvard’s Ground­break­ing Eth­nob­otanist Richard Evan Schultes

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

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