An Animated History of Dogs, Inspired by Keith Haring

in Animation, Biology, Education, K-12, Nature, Science | April 5th, 2019

That quiv­er­ing teacup Chi­huahua…

The long-suf­fer­ing Labrador whose child-friend­ly rep­u­ta­tion has led to a life­time of ear tug­ging and tail pulling…

The wheez­ing French bull­dog, whose own­er has out­fit­ted with a full wardrobe of hood­ies, tutus, rain slick­ers, and paja­mas…

All descend­ed from wolves.

As anthro­pol­o­gist and sci­ence edu­ca­tor David Ian Howe explains in the ani­mat­ed TED-Ed les­son, A Brief His­to­ry of Dogs, above, at first glance, can­is lupus seemed an unlike­ly choice for man’s best friend.

For one thing, the two were in direct com­pe­ti­tion for elk, rein­deer, bison, and oth­er tasty prey wan­der­ing Eura­sia dur­ing the Pleis­tocene Epoch.

Though both hunt­ed in groups, run­ning their prey to the point of exhaus­tion, only one roast­ed their kills, cre­at­ing tan­ta­liz­ing aro­mas that drew bold­er wolves ever-clos­er to the human camps.

The ones who will­ing­ly dialed down their wolfish­ness, mak­ing them­selves use­ful as com­pan­ions, secu­ri­ty guards and hunt­ing bud­dies, were reward­ed come sup­per­time. Even­tu­al­ly, this mutu­al­ly ben­e­fi­cial tail wag­ging became full on domes­ti­ca­tion, the first such ani­mal to come under the human yoke.

The intense focus on pure­breds did­n’t real­ly become a thing until the Vic­to­ri­ans began host­ing dog shows. The push to iden­ti­fy and pro­mote breed-spe­cif­ic char­ac­ter­is­tics often came at a cost to the ani­mals’ well­be­ing, as Neil Pem­ber­ton and Michael Wor­boys point out in BBC His­to­ry Mag­a­zine:

…the improve­ment of breeds towards ‘per­fec­tion’ was con­tro­ver­sial. While there was approval for the greater reg­u­lar­i­ty of type, many fanciers com­plained that stan­dards were being set on arbi­trary, large­ly aes­thet­ic grounds by enthu­si­asts in spe­cial­ist clubs, with­out con­cern for util­i­ty or the health of the ani­mal. This meant that breeds were chang­ing, and not always for the bet­ter. For exam­ple, the mod­ern St Bernard was said to be a beau­ti­ful ani­mal, but would be use­less in Alpine res­cue work.

Cat-fanciers, rest assured that the oppo­si­tion received fair and equal cov­er­age in a feline-cen­tric TED-Ed les­son, pub­lished ear­li­er this year.

And while we applaud TED-Ed for spark­ing our curios­i­ty with its “Brief His­to­ry of” series, cov­er­ing top­ics as far rang­ing as cheese, numer­i­cal sys­tems, goths, video games, and tea, sure­ly we are not the only ones won­der­ing why the late artist Kei­th Har­ing isn’t thanked or name checked in the cred­its?

Every canine-shaped image in this ani­ma­tion is clear­ly descend­ed from his icon­ic bark­ing dog.

While we can’t explain the omis­sion, we can direct read­ers toward Jon Nelson’s great analy­sis of Haring’s rela­tion­ship with dogs in Get Leashed:

They’re sym­bol­ic of unan­swered ques­tions, preva­lent in the 80s: “Can I do this?” “Is this right?” “What are you doing?” “What is hap­pen­ing?” Dogs stand by peo­ple, bark­ing or danc­ing along, some­times in pre­car­i­ous sce­nar­ios, even involved in some of Haring’s explic­it­ly sex­u­al work. Dogs are nei­ther approv­ing nor dis­ap­prov­ing of what peo­ple do in the images; their mouth angle is neu­tral or even hap­py. In some cas­es, human bod­ies wear a dog’s head, pos­si­bly stat­ing that we know only our own enjoy­ment, unaware, like a dog, of life’s next stage or the con­se­quences of our actions.

Vis­it Eth­no­cynol­o­gy, David Ian Howe’s Insta­gram page about the ancient rela­tion­ship between humans and dogs.

Relat­ed Con­tent:

An Ani­mat­ed His­to­ry of Cats: How Over 10,000 Years the Cat Went from Wild Preda­tor to Sofa Side­kick

Dis­cov­er David Lynch’s Bizarre & Min­i­mal­ist Com­ic Strip, The Angri­est Dog in the World (1983–1992)

Pho­tos of Famous Writ­ers (and Rock­ers) with their Dogs

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City April 15 for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

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Buckminster Fuller Rails Against the “Nonsense of Earning a Living”: Why Work Useless Jobs When Technology & Automation Can Let Us Live More Meaningful Lives

in Art, Creativity, Economics, Education, Politics, Technology | March 13th, 2019

We are a haunt­ed species: haunt­ed by the specter of cli­mate change, of eco­nom­ic col­lapse, and of automa­tion mak­ing our lives redun­dant. When Marx used the specter metaphor in his man­i­festo, he was iron­i­cal­ly invok­ing Goth­ic tropes. But Com­mu­nism was not a boogey­man. It was a com­ing real­i­ty, for a time at least. Like­wise, we face very real and sub­stan­tial com­ing real­i­ties. But in far too many instances, they are also man­u­fac­tured, under ide­olo­gies that insist there is no alter­na­tive.

But let’s assume there are oth­er ways to order our pri­or­i­ties, such as valu­ing human life as an end in itself. Per­haps then we could treat the threat of automa­tion as a ghost: insub­stan­tial, imma­te­r­i­al, maybe scary but harm­less. Or treat it as an oppor­tu­ni­ty to order our lives the way we want. We could stop invent­ing bull­shit, low-pay­ing, waste­ful jobs that con­tribute to cycles of pover­ty and envi­ron­men­tal degra­da­tion. We could slash the num­ber of hours we work and spend time with peo­ple and pur­suits we love.

We have been taught to think of this sce­nario as a fan­ta­sy. Or, as Buck­min­ster Fuller declared in 1970—on the thresh­old of the “Malthu­sian-Dar­win­ian” wave of neolib­er­al thought to come—“We keep invent­ing jobs because of this false idea that every­body has to be employed at some kind of drudgery…. He must jus­ti­fy his right to exist.” In cur­rent par­lance, every per­son must some­how “add val­ue” to share­hold­ers’ port­fo­lios. The share­hold­ers them­selves are under no oblig­a­tion to return the favor.

What about adding val­ue to our own lives? “The true busi­ness of peo­ple,” says Fuller, “should be to go back to school and think about what­ev­er it was they were think­ing about before some­body came along and told them they had to earn a liv­ing.” Against the “spe­cious notion” that every­one should have to make a wage to live–this “non­sense of earn­ing a living”–he takes a more mag­nan­i­mous view: “It is a fact today that one in ten thou­sand of us can make a tech­no­log­i­cal break­through capa­ble of sup­port­ing all the rest,” who then may go on to make mil­lions of small break­throughs of their own.

He may have sound­ed over­con­fi­dent at the time. But fifty years lat­er, we see engi­neers, devel­op­ers, and ana­lysts of all kinds pro­claim­ing the com­ing age of automa­tion in our life­times, with a major­i­ty of jobs to be ful­ly or par­tial­ly auto­mat­ed in 10–15 years. It is a tech­no­log­i­cal break­through capa­ble of dis­pens­ing with huge num­bers of peo­ple, unless its ben­e­fits are wide­ly shared. The cor­po­rate world sticks its head in the sand and issues guide­lines for retrain­ing, a solu­tion that will still leave mass­es unem­ployed. No mat­ter the state of the most recent jobs report, seri­ous loss­es in near­ly every sec­tor, espe­cial­ly man­u­fac­tur­ing and ser­vice work, are unavoid­able.

The jobs we invent have changed since Fuller’s time, become more con­tin­gent and less secure. But the obses­sion with cre­at­ing them, no mat­ter their impact or intent, has only grown, a run­away delu­sion no one can seem to stop. Should we fear automa­tion? Only if we col­lec­tive­ly decide the cur­rent course of action is all there is, that “every­body has to earn a living”—meaning turn a profit—or drop dead. As Con­gress­woman Alexan­dria Ocasio-Cortez—echoing Fuller—put it recent­ly at SXSW, “we live in a soci­ety where if you don’t have a job, you are left to die. And that is, at its core, our prob­lem…. We should not be haunt­ed by the specter of being auto­mat­ed out of work.”

“We should be excit­ed about automa­tion,” she went on, “because what it could poten­tial­ly mean is more time to edu­cate our­selves, more time cre­at­ing art, more time invest­ing in and inves­ti­gat­ing the sci­ences.” How­ev­er that might be achieved, through sub­si­dized health, edu­ca­tion, and basic ser­vices, new New Deal and Civ­il Rights poli­cies, a Uni­ver­sal Basic Income, or some cre­ative syn­the­sis of all of the above, it will not pro­duce a utopia—no polit­i­cal solu­tion is up that task. But con­sid­er­ing the ben­e­fits of sub­si­diz­ing our human­i­ty, and the alter­na­tive of let­ting its val­ue decline, it seems worth a shot to try what econ­o­mist Bill Black calls the “pro­gres­sive pol­i­cy core,” which, coin­ci­den­tal­ly, hap­pens to be “cen­trist in terms of the elec­torate’s pref­er­ences.”

via Kot­tke

Relat­ed Con­tent:

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

The Life & Times of Buck­min­ster Fuller’s Geo­des­ic Dome: A Doc­u­men­tary

Every­thing I Know: 42 Hours of Buck­min­ster Fuller’s Vision­ary Lec­tures Free Online (1975)

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

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An Ancient Egyptian Homework Assignment from 1800 Years Ago: Some Things Are Truly Timeless

in Education, History, Writing | January 16th, 2019

Every gen­er­a­tion of school­child­ren no doubt first assumes home­work to be a his­tor­i­cal­ly dis­tinct form of pun­ish­ment, devel­oped express­ly to be inflict­ed on them. But the par­ents of today’s mis­er­able home­work-doers also, of course, had to do home­work them­selves, as did their par­ents’ par­ents. It turns out that you can go back sur­pris­ing­ly far in his­to­ry and still find exam­ples of the men­ace of home­work, as far back as ancient Egypt, a civ­i­liza­tion from which one exam­ple of an out-of-class­room assign­ment will go on dis­play at the British Library’s exhi­bi­tion Writ­ing: Mak­ing Your Mark, which opens this spring.

“Begin­ning with the ori­gins of writ­ing in Egypt, Mesopotamia, Chi­na and the Amer­i­c­as, the exhi­bi­tion will explore the many man­i­fes­ta­tions, pur­pos­es and forms of writ­ing, demon­strat­ing how writ­ing has con­tin­u­al­ly enabled human progress and ques­tion­ing the role it plays in an increas­ing­ly dig­i­tal world,” says the British Library’s press release.

“From an ancient wax tablet con­tain­ing a schoolchild’s home­work as they strug­gle to learn their Greek let­ters to a Chi­nese type­writer from the 1970s, Writ­ing: Mak­ing Your Mark will show­case over 30 dif­fer­ent writ­ing sys­tems to reveal that every mark made – whether on paper or on a screen – is the con­tin­u­a­tion of a 5,000 year sto­ry and is a step towards deter­min­ing how writ­ing will be used in the future.”

That wax tablet, pre­served since the sec­ond cen­tu­ry A.D., bears Greek words that Live­science’s Mindy Weis­berg­er describes as “famil­iar to any kid whose par­ents wor­ry about them falling in with a bad crowd”: “You should accept advice from a wise man only” and “You can­not trust all your friends.” First acquired by the British Library in 1892 but not pub­licly dis­played since the 1970s, the tablet’s sur­face pre­serves “a two-part les­son in Greek that pro­vides a snap­shot of dai­ly life for a pupil attend­ing pri­ma­ry school in Egypt about 1,800 years ago.” Its lines, “copied by this long-ago stu­dent were not just for prac­tic­ing pen­man­ship; they were also intend­ed to impart moral lessons.”

But why Greek? “In the 2nd cen­tu­ry A.D., when this les­son was writ­ten,” writes Smithsonian.com’s Jason Daley, “Egypt had been under Roman rule for almost 200 years fol­low­ing 300 years of Greek and Mace­don­ian rule under the Ptole­my dynasty. Greeks in Egypt held a spe­cial sta­tus below Roman cit­i­zens but high­er than those of Egypt­ian descent. Any edu­cat­ed per­son in the Roman world, how­ev­er, would be expect­ed to know Latin, Greek and — depend­ing on where they lived — local or region­al lan­guages.” It was a bit like the sit­u­a­tion today with the Eng­lish lan­guage, which has become a require­ment for edu­cat­ed peo­ple in a vari­ety of cul­tures — and a sub­ject espe­cial­ly loathed by many a home­work-bur­dened stu­dent the world over.

via Live­science

Relat­ed Con­tent:

You Could Soon Be Able to Text with 2,000 Ancient Egypt­ian Hiero­glyphs

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

The Ancient Egyp­tians Wore Fash­ion­able Striped Socks, New Pio­neer­ing Imag­ing Tech­nol­o­gy Imag­ing Reveals

Muse­um Dis­cov­ers Math Note­book of an 18th-Cen­tu­ry Eng­lish Farm Boy, Adorned with Doo­dles of Chick­ens Wear­ing Pants

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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.

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John Lennon’s Report Card at Age 15: “He Has Too Many Wrong Ambitions and His Energy Is Too Often Misplaced”

in Education, Life, Music | December 10th, 2018

In Sep­tem­ber 1956, a young John Lennon took home a dis­mal report card–the kind that many smart, way­ward kids can prob­a­bly relate to.

French teacher: “An intel­li­gent boy who could be very much bet­ter with a lit­tle con­cen­tra­tion in class.”

Math teacher: “He is cer­tain­ly on the road to fail­ure if this goes on.”

Physics teacher: “His work always lacks effort. He is con­tent to ‘drift’ instead of using his abil­i­ties.”

Reli­gion teacher: “Atti­tude in class most unsat­is­fac­to­ry.”

Head mas­ter: “He has too many wrong ambi­tions and his ener­gy is too often mis­placed.”

Guess they had him all fig­ured out…

via @Michael Beschloss

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:

9‑Year-Old Edward Hop­per Draws a Pic­ture on the Back of His 3rd Grade Report Card

Hip 1960s Latin Teacher Trans­lat­ed Bea­t­les Songs into Latin for His Stu­dents: Read Lyrics for “O Teneum Manum,” “Diei Duri Nox” & More

Famous Writ­ers’ Report Cards: Ernest Hem­ing­way, William Faulkn­er, Nor­man Mail­er, E.E. Cum­mings & Anne Sex­ton

The John Lennon Sketch­book, a Short Ani­ma­tion Made of Lennon’s Draw­ings, Pre­mieres on YouTube

John Lennon Sums Up Elvis, Yoko & Howard Cosell in One Word

 

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

in Education, Film, History, K-12 | November 29th, 2018

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

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

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

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

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

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

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

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

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

Relat­ed Con­tent:

Peter Jackson’s New Film on World War I Fea­tures Incred­i­ble Dig­i­tal­ly-Restored Footage From the Front Lines: Get a Glimpse

Watch World War I Unfold in a 6 Minute Time-Lapse Film: Every Day From 1914 to 1918

The Great War: Video Series Will Doc­u­ment How WWI Unfold­ed, Week-by-Week, for the Next 4 Years

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

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

in Astronomy, Education, K-12 | November 23rd, 2018

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

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

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

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

Orbits are indi­cat­ed with silken threads against a black back­ground.

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

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

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

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

via Messy Nessy

Relat­ed Con­tent:

A Mas­sive, Knit­ted Tapes­try of the Galaxy: Soft­ware Engi­neer Hacks a Knit­ting Machine & Cre­ates a Star Map Fea­tur­ing 88 Con­stel­la­tions

The Ancient Astron­o­my of Stone­henge Decod­ed

Too Big for Any Muse­um, AIDS Quilt Goes Dig­i­tal Thanks to Microsoft

Watch Nina Paley’s “Embroi­der­ma­tion,” a New, Stun­ning­ly Labor-Inten­sive Form of Ani­ma­tion

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

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The Library of Congress Makes Thousands of Fabulous Photos, Posters & Images Free to Use & Reuse

in Archives, Art, Education, Libraries, Photography | November 2nd, 2018

The his­to­ry of the ven­er­a­ble Library of Con­gress demon­strates the vast impor­tance that the founders of the U.S. accord­ed to read­ing and study­ing. It may be one of the country’s most durable insti­tu­tions, “the old­est fed­er­al cul­tur­al insti­tu­tion in the nation,” it pro­claims. While par­ti­san ran­cor, war, and vio­lence recur, the LoC has stolid­ly held an ever-increas­ing­ly diverse col­lec­tion of arti­facts sit­ting peace­ful­ly along­side each oth­er on sev­er­al hun­dred miles of shelves, a mon­u­ment to the life of the mind that ought to get more atten­tion.

Tout­ing itself as “the largest library in the world,” its col­lec­tions “are uni­ver­sal, not lim­it­ed by sub­ject, for­mat, or nation­al bound­ary, and include research mate­ri­als from all parts of the world and in more than 450 lan­guages.”

Its first mate­ri­als were, of course, books—including over six-thou­sand books pur­chased from Thomas Jefferson’s pri­vate col­lec­tion after the British burned the orig­i­nal library down in 1814. Now, it “adds approx­i­mate­ly 12,000 items to the col­lec­tion dai­ly,” in every pos­si­ble for­mat one can imag­ine.

And since its dig­i­tal col­lec­tions came online, any­one, any­where in the world can call up these vast resources with an inter­net con­nec­tion and a few clicks. Though we tend to take such things for grant­ed in our fer­vid­ly dis­tract­ed times, a lit­tle reflec­tion should remind us of how incred­i­ble that is. But before we wax too rhap­sod­ic, let’s remem­ber there’s a busi­ness end to the LoC and it’s called the U.S. Copy­right Office, that guardian of intel­lec­tu­al prop­er­ty that both ensures cre­ators can prof­it from their labors and pre­vents the free and open use of so many enrich­ing mate­ri­als long after those cre­ators have need of them.

But the Library has done its dig­i­tal users a ser­vice in this regard as well, with its “Free to Use and Reuse Sets,” a siz­able col­lec­tion of images that the Library “believes… is either in the pub­lic domain, has no known copy­right, or has been cleared by the copy­right own­er for pub­lic use.” (The use of the word “believes” seems to leave room for doubt, but if you got it with per­mis­sion from the LoC, you’re prob­a­bly safe.) Need pho­tographs of Abra­ham Lincoln—and scans of his speech­es, let­ters, and “duel­ing instruc­tions”—for that book you’re writ­ing? You’re cov­ered with this gallery. Need a col­lec­tion of clas­sic chil­dren’s books for your web­site (or your read­ing plea­sure)? Here you go.

From the graph­ic genius of vin­tage WPA and trav­el posters to icon­ic jazz por­traits by William Got­tlieb to base­ball cards to end­less­ly quaint and quirky Amer­i­can road­side attrac­tions to pic­tures of dogs and their peo­ple… you nev­er know when you might need such images, but when you do you now know where to find them. Want to know what’s in the set called “Not an Ostrich”? A valkyrie cat named Brunnhilde, for one thing, and much more here.

The Library cur­rent­ly high­lights its “Poster Parade”—a set of posters from the 1890s to the 1960s fea­tur­ing “trav­el, com­mer­cial prod­ucts, war pro­pa­gan­da, enter­tain­ment, and more”—in col­lab­o­ra­tion with Poster House, a muse­um open­ing in New York next year. These range from delec­table art nou­veau ads to shouty broad­sides telling you to drink your milk, brush your teeth, or have “More Cour­tesy.” Sen­si­ble pre­scrip­tions, but we also need more knowl­edge, study, and thought. Start at the LoC’s Dig­i­tal Col­lec­tions here and har­vest your free to use and reuse images here.

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:

The Library of Con­gress Makes 25 Mil­lion Records From Its Cat­a­log Free to Down­load

Large Archive of Han­nah Arendt’s Papers Dig­i­tized by the Library of Con­gress: Read Her Lec­tures, Drafts of Arti­cles, Notes & Cor­re­spon­dence

Get­ty Images Makes 35 Mil­lion Pho­tos Free to Use Online

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

 

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36 Artists Give Advice to Young Creators: Wim Wenders, Jonathan Franzen, Lydia Davis, Patti Smith, David Byrne, Umberto Eco & More

in Art, Creativity, Education, Life | October 31st, 2018

“What­ev­er you do, nobody else can do that bet­ter than you. You have to find what you can do bet­ter than any­one else, what you have in your­self that nobody else has in them. Don’t do any­thing that you know, deep in your heart, that some­body else can do bet­ter, but do what nobody else can do except for you.” That sounds like fine advice, but when receiv­ing advice we should always con­sid­er the source. In this case we could hard­ly do bet­ter: the source is Wim Wen­ders, direc­tor of Alice in the Cities, Paris, Texas, Wings of Desire, and many oth­er films besides, an auteur sel­dom accused of mak­ing movies any­one else could make.

Wen­ders’ inter­view clip and the oth­ers here come from “Advice to the Young,” a video series cre­at­ed by the Louisiana Muse­um in Den­mark (which has quite an impres­sive gift shop, inci­den­tal­ly, if you hap­pen to need advice on gift-shop­ping). Jonathan Franzen, author of nov­els like The Cor­rec­tions, Free­dom, and Puri­ty, admits to feel­ing embar­rass­ment about “giv­ing advice to the young writer,” but he still has valu­able words for cre­ators in any domain: “The most impor­tant advice I have is to have fun, to try to cre­ate some­thing that is fun to work on.”

And by fun he means fun like you have on a ten­nis court, where “you’re not just mess­ing around, you’re not just hit­ting the ball wher­ev­er you want — you are focused on hav­ing a game, and once you are in it you are hav­ing fun. That’s the kind of focused fun I’m talk­ing about, and if you are hav­ing that kind of focused fun, there’s a good chance that the read­er will too.”

The range of writ­ers from which Louisiana Muse­um has sought advice also includes Lydia Davis, whose sen­si­bil­i­ty may dif­fer from Franzen’s but who has gar­nered an equal (or even greater) degree of respect from her read­er­ship. “You learn from mod­els and you ana­lyze them, you study them, you ana­lyze them very close­ly, one thing at a time,” she says, begin­ning her more expan­sive advice based on her own method. “You don’t just sort of read the para­graph and say, ‘Oh, that real­ly flows, you know? That’s good.’ You say, ‘What kind of adjec­tives? How many? What kind of nouns? How long are the sen­tences? What’s the rhythm?’ You know, you pick it apart, and that’s very help­ful.” Her oth­er sug­ges­tions include to “be very patient, even patient with chaos” and to keep a note­book (“it takes some of the ten­sion and the wor­ry away, because if you write it down, it may just be a note. It does­n’t have to be the begin­ning of any­thing”).

“Do what you want to do,” Davis con­cludes, “and don’t wor­ry if it’s a lit­tle odd or does­n’t fit the mar­ket.” That bit of guid­ance seems to have worked for her, and in the great vari­ety of forms it can take seems to have worked for seem­ing­ly every oth­er artist. Take Ed Ruscha, for instance, whose can­vass­es of gas sta­tions, cor­po­rate sig­nage, and oth­er icons of Amer­i­can blank­ness must hard­ly have seemed geared toward any par­tic­u­lar “mar­ket” when first he paint­ed them. For the young he has only one piece of advice, received sec­ond-hand and briefly deliv­ered: “No one could ever beat this thing that Max Ernst said. They asked him what a young artist should do, and he said, ‘cut off an ear.’ That’s good advice to fol­low. You can’t beat that.”

Oth­er artists fea­tured in the video playlist include Lau­rie Ander­son, David Byrne, Umber­to Eco, Pat­ti Smith & more.

Relat­ed Con­tent:

21 Artists Give “Advice to the Young:” Vital Lessons from Lau­rie Ander­son, David Byrne, Umber­to Eco, Pat­ti Smith & More

Bri­an Eno’s Advice for Those Who Want to Do Their Best Cre­ative Work: Don’t Get a Job

To Make Great Films, You Must Read, Read, Read and Write, Write, Write, Say Aki­ra Kuro­sawa and Wern­er Her­zog

John Cleese’s Advice to Young Artists: “Steal Any­thing You Think Is Real­ly Good”

Walt Whit­man Gives Advice to Aspir­ing Young Writ­ers: “Don’t Write Poet­ry” & Oth­er Prac­ti­cal Tips (1888)

Ursu­la Le Guin Gives Insight­ful Writ­ing Advice in Her Free Online Work­shop

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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.

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