What if I said the probÂlem with STEM eduÂcaÂtion is that it doesn’t include nearÂly enough art? For one thing, I would only echo what STEAM proÂpoÂnents have said for years. This doesÂn’t only mean that stuÂdents should study the arts with the same seriÂousÂness as they do the sciÂences. But that sciÂence should be taught through the arts, as it was in the 19th cenÂtuÂry when NatÂuÂralÂists relied on fine art illusÂtraÂtion.
Maybe increasÂing comÂplexÂiÂty demands charts and graphs, but there are reaÂsons othÂer than hip antiÂquarÂiÂanÂism to cherÂish 19th cenÂtuÂry sciÂenÂtifÂic art, and to aim for someÂthing close to its high aesÂthetÂic stanÂdards. Humans seem to find nature far more awe-inspirÂing when it’s mediÂatÂed by paintÂing, poetÂry, narÂraÂtive, music, fine art phoÂtogÂraÂphy, etc. We want to be emoÂtionÂalÂly moved by sciÂence. As such, few guides to the natÂurÂal world have eleÂvatÂed their subÂjects as highÂly as British & ExotÂic MinÂerÂalÂoÂgy, a mulÂtiÂvolÂume refÂerÂence work for… well, rocks, to put it vulÂgarÂly, pubÂlished between 1802 and 1817.
DurÂing these years, “notable natÂuÂralÂist, illusÂtraÂtor, and minÂerÂalÂoÂgist James SowerÂby drew intriÂcate picÂtures of minÂerÂals in an effort to illusÂtrate the topoÂgraphÂic minÂerÂalÂoÂgy of Great Britain and minÂerÂals not yet known to it,” writes Nicholas Rougeux. “These illusÂtraÂtions were some of the finest on the subÂject and are still conÂsidÂered by some to be to this day.” Though he was sureÂly comÂpenÂsatÂed for his work, Sowerby’s detailed drawÂings come across as labors of devoÂtion.
You have nevÂer seen such rocks as these, no matÂter how many uncut gems you’ve held in your hand. Because these illusÂtraÂtions turn them into someÂthing else—crystalline palaces, alien organs, petÂriÂfied exploÂsions, moldy loaves of bread… all the many shapes that time can take in rock form. They aren’t all beauÂtiÂful rocks, but they are each beauÂtiÂfulÂly-renÂdered with lines that might remind us of the most skilled comÂic artists, who are perÂhaps some of the last inherÂiÂtors of this kind of graphÂic style. SowerÂby himÂself illusÂtratÂed sevÂerÂal othÂer sciÂenÂtifÂic works, includÂing series on biolÂoÂgy, mycolÂoÂgy, and a colÂor sysÂtem of his own devisÂing.
“We feel much pleaÂsure in preÂsentÂing our friends with a figÂure and account of the most perÂfect and rare specÂiÂmen yet found of this subÂstance,” begins the text accomÂpaÂnyÂing Hydrargillite, above, which resemÂbles a small, misÂshapen moon or asterÂoid. Rougeux also takes quite a bit of pleaÂsure in his work of recovÂerÂing these refÂerÂence books and makÂing them beauÂtiÂfulÂly useÂful once again for 21st cenÂtuÂry readÂers. You can read his detailed account of the origÂiÂnal illusÂtraÂtions and his adapÂtaÂtion of them for use on the webhere.
While appreÂciÂatÂing the finÂer points of colÂor, line, and comÂpoÂsiÂtion in Rougeux’s tapesÂtry of vinÂtage minÂerÂal illusÂtraÂtions, you might just inadÂverÂtentÂly expand your knowlÂedge and appreÂciÂaÂtion of minÂerÂalÂoÂgy. You can also read the entire British & ExotÂic MinÂerÂalÂoÂgy, if you’ve got the time and incliÂnaÂtion, at the InterÂnet Archive.
EarÂliÂer this month, StanÂford’s Online High School offered (in partÂnerÂship with StanÂford ConÂtinÂuÂing StudÂies) a free, five-day course “Teach Your Class Online: The EssenÂtials.” With many schools startÂing the next acaÂdÂeÂmÂic year online, this course found a large audiÂence. 7,000 teachÂers signed up. Aimed at midÂdle and high school teachÂers, the course covÂered “genÂerÂal guideÂlines for adaptÂing your course to an online forÂmat, best pracÂtices for varÂied sitÂuÂaÂtions, comÂmon pitÂfalls in online course design, and how to trouÂbleshoot stuÂdent issues online.”
The videos from “Teach Your Class Online: The EssenÂtials” are all now availÂable online. You can watch them in sequenÂtial order, movÂing from top to botÂtom, here. Or watch them on this StanÂford hostÂed page. Day 1 (above) proÂvides a genÂerÂal introÂducÂtion to teachÂing online. See topÂics covÂered in Days 2–5 below.
Please feel free to share these videos with any teachÂers. And if anyÂone watchÂes these lecÂtures and takes good class notes (ones othÂer teachÂers can use), please let us know. We would be hapÂpy to help share them with othÂer teachÂers.
FinalÂly, just to give you a litÂtle backÂground, StanÂford’s Online High School has operÂatÂed as a fulÂly-online, indeÂpenÂdent, accredÂitÂed high school since 2006. StanÂford ConÂtinÂuÂing StudÂies proÂvides open enrollÂment coursÂes to adults worldÂwide. All of its coursÂes are curÂrentÂly online. For anyÂone interÂestÂed, CoursÂera also offers a speÂcialÂizaÂtion (a series of five coursÂes) on online learnÂing called the VirÂtuÂal Teacher. It can be explored here.
Day 2
GetÂting SpeÂcifÂic: SitÂuÂaÂtions and Tools
SciÂence: Labs in Online PedÂaÂgogy
Day 3
Online ClassÂroom ExamÂple Clips
BuildÂing and MainÂtainÂing a ClassÂroom
ComÂmuÂniÂty
Day 4
Review of SubÂmitÂted SamÂple LesÂson Drafts
TrouÂbleshootÂing ObstaÂcles to SucÂcess in the Online EnviÂronÂment
Day 5
Math: Using WritÂing Tablets and WhiteÂboards
ModÂern LanÂguages: Tips for HighÂly InterÂacÂtive Class DurÂing Which StuÂdents ActiveÂly Speak and Write in the TarÂget LanÂguage
HumanÂiÂties: ProÂducÂtive ClassÂroom ConÂverÂsaÂtions About ChalÂlengÂing SubÂjects
This fall, many teachÂers (across the counÂtry and the world) will be asked to teach online–something most teachÂers have nevÂer done before. To assist with that tranÂsiÂtion, the StanÂford Online High School and StanÂford ConÂtinÂuÂing StudÂies have teamed up to offer a free online course called TeachÂing Your Class Online: The EssenÂtials. Taught by vetÂerÂan instrucÂtors at StanÂford Online High School (OHS), this course “will help midÂdle and high school instrucÂtors move from genÂerÂal conÂcepts for teachÂing online to the pracÂtiÂcal details of adaptÂing your class for your stuÂdents.” The course is free and runs from 1–3 pm CalÂiÂforÂnia time, July 13 — 17. You can sign up here.
For anyÂone interÂestÂed, StanÂford will also offer addiÂtionÂal coursÂes that give teachÂers the chance to pracÂtice teachÂing their mateÂrÂiÂal online and get feedÂback from StanÂford Online High School instrucÂtors. Offered from July 20 — July 24, those coursÂes cost $95. Click to this page, and scroll down to enroll.
In one casÂcade of events after anothÂer, peoÂple are findÂing out the norÂmal they once knew doesn’t exist anyÂmore. Instead it feels as if we’re livÂing through sevÂerÂal past crises at once, tryÂing to cram as much hisÂtorÂiÂcal knowlÂedge as we can to make sense of the moment. 2020 espeÂcialÂly feels like an echo of 1918–1919, when the “deadÂliest epiÂdemÂic of all time,” as The Great CoursÂes calls the “SpanÂish flu,” killed milÂlions (then the U.S. devolved into a wave of racist vioÂlence.) By offerÂing examÂples of both negÂaÂtive and posÂiÂtive responsÂes, the hisÂtoÂry, sociÂolÂoÂgy, and epiÂdemiÂolÂoÂgy of the 1918 flu can guide deciÂsion-makÂing as we preÂpare for a secÂond wave of COVID-19 infecÂtions.
The three-part lecÂture series here, excerptÂed from the largÂer course MysÂterÂies of the MicroÂscopÂic World (availÂable with a Free TriÂal to the Great CoursÂes Plus), begins by boldÂly callÂing this hisÂtorÂiÂcal lacuÂna “A ConÂspirÂaÂcy of Silence.” Tulane proÂfesÂsor Bruce E. Fleury quotes Alfred CrosÂby, who writes in America’s ForÂgotÂten PanÂdemÂic, “the imporÂtant and almost incomÂpreÂhenÂsiÂble fact about the SpanÂish influenÂza, is that it killed milÂlions upon milÂlions of peoÂple in a year or less… and yet, it has nevÂer inspired awe, not in 1918 and not since.”
EpiÂdemÂic disÂeases that have had tremenÂdous impact in the past have become the subÂject of litÂerÂary epics. Few epiÂdemics have accomÂplished mass death “through sheer brute force” like the 1918 flu. The numÂbers are truÂly stagÂgerÂing, in the tens to hunÂdreds of milÂlions worldÂwide, with U.S. deaths dwarfÂing the comÂbined casuÂalÂties of all the counÂtry’s major wars. Yet there are only a few menÂtions of the flu in AmerÂiÂcan litÂerÂaÂture from the time. Fleury menÂtions some reaÂsons for the amneÂsia: WWI “took cenÂter stage,” surÂvivors were too trauÂmaÂtized to want to rememÂber. We may still wonÂder why we should look back over 100 years ago and learn about the past when curÂrent events are so all-conÂsumÂing.
“HisÂtoÂry comÂpels us not to look away,” proÂfesÂsor Fleury says, “lest we fail to learn the lessons paid for by our parÂents and our grandÂparÂents.” FaulknÂer, it seems, was right that the past is nevÂer past. But we need not respond in the same failed ways each time. The abilÂiÂty to study and learn from hisÂtoÂry gives us critÂiÂcal perÂspecÂtive in perÂilous, uncerÂtain times.
Two pieces of readÂing advice I’ve carÂried throughÂout my life came from two earÂly favorite writÂers, HerÂman Melville and C.S. Lewis. In one of the myrÂiÂad pearls he tossÂes out as asides in his prose, Melville asks in Moby Dick, “why read wideÂly when you can read deeply?” Why spread our minds thin? Rather than agoÂnize over what we don’t know, we can dig into the relÂaÂtiveÂly few things we do until we’ve masÂtered them, then move on to the next thing.
Melville’s counÂsel may not suit every temÂperaÂment, dependÂing on whether one is a fox or a hedgeÂhog (or an Ahab). But Lewis’ advice might just be indisÂpensÂable for develÂopÂing an outÂlook as broad-mindÂed as it is deep. “It is a good rule,” he wrote, “after readÂing a new book, nevÂer to allow yourÂself anothÂer new one till you have read an old one in between. If that is too much for you, you should at least read one old one to every three new ones.”
Many othÂer famous readÂers have left behind simÂiÂlar pieces of readÂing advice, like Edward BulÂwÂer-LytÂton, author of notoÂriÂous openÂer “It was a dark and stormy night.” As though refinÂing Lewis’ sugÂgesÂtion, he proÂposed, “In sciÂence, read, by prefÂerÂence, the newest works; in litÂerÂaÂture, the oldÂest. The clasÂsic litÂerÂaÂture is always modÂern. New books revive and redecÂoÂrate old ideas; old books sugÂgest and invigÂoÂrate new ideas.”
Albert EinÂstein shared neiÂther Lewis’ reliÂgion nor Bulwar-Lytton’s love of semiÂcolons, but he did share both their outÂlook on readÂing the ancients. EinÂstein approached the subÂject in terms of modÂern arroÂgance and ignoÂrance and the bias of preÂsenÂtism, writÂing in a 1952 jourÂnal artiÂcle:
SomeÂbody who only reads newsÂpaÂpers and at best books of conÂtemÂpoÂrary authors looks to me like an extremeÂly near-sightÂed perÂson who scorns eyeÂglassÂes. He is comÂpleteÂly depenÂdent on the prejÂuÂdices and fashÂions of his times, since he nevÂer gets to see or hear anyÂthing else. And what a perÂson thinks on his own withÂout being stimÂuÂlatÂed by the thoughts and expeÂriÂences of othÂer peoÂple is even in the best case rather palÂtry and monotÂoÂnous.
There are only a few enlightÂened peoÂple with a lucid mind and style and with good taste withÂin a cenÂtuÂry. What has been preÂserved of their work belongs among the most preÂcious posÂsesÂsions of mankind. We owe it to a few writÂers of antiqÂuiÂty (PlaÂto, ArisÂtoÂtle, etc.) that the peoÂple in the MidÂdle Ages could slowÂly extriÂcate themÂselves from the superÂstiÂtions and ignoÂrance that had darkÂened life for more than half a milÂlenÂniÂum.
NothÂing is more needÂed to overÂcome the modÂernist’s snobÂbishÂness.
EinÂstein himÂself read both wideÂly and deeply, so much so that he “became a litÂerÂary motif for some writÂers,” as Dr. AntoÂnia Moreno González notes, not only because of his parÂaÂdigm-shatÂterÂing theÂoÂries but because of his genÂerÂalÂly well-roundÂed pubÂlic genius. He was freÂquentÂly asked, and hapÂpy to volÂunÂteer, his “ideas and opinions”—as the title of a colÂlecÂtion of his writÂing calls his non-sciÂenÂtifÂic work, becomÂing a pubÂlic philosoÂpher as well as a sciÂenÂtist.
We might credÂit EinÂstein’s libÂerÂal attiÂtude toward readÂing and education—in the clasÂsiÂcal sense of the word “libÂerÂal”— as a driÂving force behind his endÂless intelÂlecÂtuÂal curiosÂiÂty, humilÂiÂty, and lack of prejÂuÂdice. His diagÂnoÂsis of the probÂlem of modÂern ignoÂrance may strike us as grossÂly underÂstatÂed in our curÂrent politÂiÂcal cirÂcumÂstances. As for what conÂstiÂtutes a “clasÂsic,” I like ItaÂlo CalviÂno’s expanÂsive defÂiÂnÂiÂtion: “A clasÂsic is a book that has nevÂer finÂished sayÂing what it has to say.”
The late 19th CenÂtuÂry was the time of Charles DarÂwin and James Clerk Maxwell, of Thomas EdiÂson and AlexanÂder GraÂham Bell. It was a goldÂen age of sciÂence and techÂnolÂoÂgy. So you might wonÂder how hard it was to get into one of the top techÂniÂcal uniÂverÂsiÂties in that era.
The answer, accordÂing to this video? Not very hard.
At least that was the case in 1869 at the MassÂaÂchuÂsetts InstiÂtute of TechÂnolÂoÂgy, or MIT, as the young AusÂtralian sciÂence and math teacher Toby Hendy explains on her excelÂlent YouTube chanÂnel, Tibees. MIT was brand new and desÂperÂate for tuition revÂenue in 1869, so the object of the test wasÂn’t to whitÂtle a masÂsive field of appliÂcants down to a manÂageÂable size. It was simÂply to make sure that incomÂing stuÂdents could hanÂdle the work.
MIT opened in 1865, just after the end of the CivÂil War. The idea was to creÂate a EuroÂpean-style polyÂtechÂnic uniÂverÂsiÂty to meet the demands of an increasÂingÂly indusÂtriÂal econÂoÂmy. The origÂiÂnal camÂpus was in Boston, across the Charles RivÂer from its curÂrent locaÂtion in CamÂbridge. Only 15 stuÂdents signed up in 1865. Tuition was $100 for the whole year. There was no forÂmal entrance test. AccordÂing to an artiÂcle from the school’s Archives and SpeÂcial ColÂlecÂtions,
The “conÂdiÂtions for admisÂsion” secÂtion of MIT’s catÂaÂlogue for 1865–66 indiÂcates that canÂdiÂdates for admisÂsion as first year stuÂdents must be at least sixÂteen years old and must give satÂisÂfacÂtoÂry eviÂdence “by examÂiÂnaÂtion or othÂerÂwise” of a comÂpeÂtent trainÂing in arithÂmetic, geomÂeÂtry, EngÂlish gramÂmar, geogÂraÂphy, and the “rudiÂments of French.” Rapid and legÂiÂble handÂwritÂing was also stressed as being “parÂticÂuÂlarÂly imporÂtant.” By 1869 the handÂwritÂing requireÂment and French had been dropped, but algeÂbra had been added and stuÂdents needÂed to pass a qualÂiÂfyÂing exam in the required subÂject areas. An ancilÂlary effect was to proÂtect unqualÂiÂfied stuÂdents from disÂapÂpointÂment and proÂfesÂsors from wastÂing their time.
A couÂple of years earÂliÂer, in 1867, the MIT ExecÂuÂtive ComÂmitÂtee reportÂed that facÂulÂty memÂbers had felt it necÂesÂsary to ask parÂents of “some incomÂpeÂtent and inatÂtenÂtive stuÂdents to withÂdraw them from the school, wishÂing to spare them the morÂtiÂfiÂcaÂtion of an examÂiÂnaÂtion which it was cerÂtain they could not pass.”
NowaÂdays, the stuÂdents who make it into MIT have averÂage SAT and ACT scores in the 99th perÂcentile. Of 21,312 first-year appliÂcants hopÂing to join the Class of 2023, only 1,427 made it. That’s an admisÂsion rate of 6.7 perÂcent. What a difÂferÂence 150 years can make!
To take the 1869 entrance examÂiÂnaÂtion in EngÂlish, AlgeÂbra, GeomÂeÂtry and ArithÂmetic, and to see the corÂrect answers, visÂit this cached artiÂcle from the MIT webÂsite.
While there are obviÂousÂly much greater tragedies unfoldÂing daiÂly, it’s hard not to empathize with stuÂdents who have watched countÂless speÂcial events—proms, comÂmenceÂments, spring sports, perÂforÂmances, hotÂly anticÂiÂpatÂed rites of passage—go poof.
In New York City, stuÂdents in ParÂsons School of Design’s NarÂraÂtive Spaces: Design Tools for SpaÂtial StoÂryÂtelling course were crestÂfallÂen to learn that their upcomÂing open-to-the-pubÂlic exhiÂbiÂtion of group and solo projects in the West Village—the cenÂterÂpiece of the class and a huge opporÂtuÂniÂty to conÂnect with an audiÂence outÂside of the classroom—was sudÂdenÂly off the menu.
MulÂtiÂdisÂciÂpliÂnary artist Jeff Stark, who co-teachÂes the class with Pamela ParkÂer, was disÂapÂpointÂed on their behalves.
Stark’s own work, from Empire DriÂve In to Miss RockÂaway ArmaÂda, is rootÂed in live expeÂriÂence, and New York City holds a speÂcial place in his heart. (He also edits the weekÂly email list NonÂsense NYC, an invaluÂable resource for indeÂpenÂdent art and Do-It-YourÂself events in the city.)
StuÂdent Rylie Cooke, an AusÂtralian who aspires to launch a design comÂpaÂny, found that her research deepÂened her conÂnecÂtion to artiÂfacts she encounÂtered at the ReliÂquary, as she came to appreÂciÂate the fabled CopacaÂbana’s influÂence on the popÂuÂlar culÂture, food, and music of the periÂod:
… with COVID-19 it became imporÂtant to have this conÂnecÂtion to the artiÂfacts as I wasÂn’t able to physÂiÂcalÂly touch or look at them when ParÂsons moved to online for the semesÂter. I am a very hands-on creÂative and I love curatÂing things, espeÂcialÂly in an exhibÂit forÂmat.
Rather than scrap their goal of pubÂlic exhiÂbiÂtion, the class decidÂed to take things into the virÂtuÂal realm, husÂtling to adapt their origÂiÂnal conÂcepts to a pureÂly screen-based expeÂriÂence, The New York SupÂper Club: From Nightlife to Social DisÂtancÂing.
The plan to wow visÂiÂtors with a periÂod-approÂpriÂate table in the cenÂter of their West VilÂlage exhiÂbiÂtion space became a grid of digÂiÂtal placeÂmats that serve as porÂtals to each project.
Cooke’s conÂtriÂbuÂtion, A Seat at the CopacaÂbana, begins with an interÂview in which baseÂball great MickÂey ManÂtle recounts getÂting into a cloakÂroom brawl as he and felÂlow New York YanÂkees celÂeÂbratÂed a birthÂday with a SamÂmy Davis Jr. set. Recipes for steak and potaÂtoes, ChickÂen a la King, rarebit, and arroz con polÂlo proÂvide flaÂvor for a floorÂshow repÂreÂsentÂed by archival footage of “Let’s Do the CopacaÂbana” starÂring CarÂmen MiranÂda, a MarÂtin and Lewis appearÂance, and a dance rehearsal from 1945. The tour ends at the Copa’s curÂrent incarÂnaÂtion in Times Square, with a vision of pre-socialÂly disÂtanced conÂtemÂpoÂrary merÂryÂmakÂers salÂsa-ing the night away.
(NavÂiÂgate this exhibÂit using toolÂbar arrows at the botÂtom of the screen.)
StuÂdent Hongxi Chen’s invesÂtiÂgaÂtions into The ChiÂna Doll nightÂclub resultÂed in an elabÂoÂrate interÂacÂtive immerÂsive expeÂriÂence on the topÂic of culÂturÂal approÂpriÂaÂtion:
The ChiÂna Doll… was foundÂed in 1946 by CauÂcasian stage proÂducÂer Tom Ball, who deemed it the only “all-oriÂenÂtal” night club in New York. While the club someÂtimes played off “OriÂenÂtal” stereoÂtypes, and titled one of its shows “Slant-Eyed ScanÂdals,” they feaÂtured Asian dancers and Asian singers preÂsentÂing popÂuÂlar songs in a way New YorkÂers had nevÂer seen before. The Dim interÂacÂtive expeÂriÂence unfolds with the stoÂry of Thomas, a waitÂer at the ChiÂna Doll.
As a junior in ParÂsons’ Design and TechÂnolÂoÂgy proÂgram, Chen had plenÂty of preÂviÂous expeÂriÂence forgÂing virÂtuÂal enviÂronÂments, but workÂing with a museÂum colÂlecÂtion was new to him, as was colÂlabÂoÂratÂing on a virÂtuÂal platÂform.
He sought Stark’s advice on creÂatÂing vivid diaÂlogue for his ficÂtionÂal waitÂer.
Chen stayed up until 7 am for two weeks, devourÂing open source tutoÂriÂals in an attempt to wranÂgle and debug the many eleÂments of his ambiÂtious project—audio, video, charÂacÂter modÂels and aniÂmaÂtion, softÂware, game engines, and game servÂer platÂform.
As Chen notÂed at the exhibition’s recent Zoom openÂing (an event that was folÂlowed by a digÂiÂtal dance parÂty), the masÂsive game can be a bit slow to load. Don’t worÂry, it’s worth the wait, espeÂcialÂly as you will have a hand in the stoÂry, steerÂing it to one of five difÂferÂent endÂings.
Chen, an interÂnaÂtionÂal stuÂdent, could not safeÂly return to ChiÂna and has not left his stuÂdent apartÂment since mid-March, but gameÂly states that remainÂing in the same time zone as his school allowed him to comÂmuÂniÂcate effiÂcientÂly with his proÂfesÂsors and the majorÂiÂty of his classÂmates. (Cooke is back home in AusÂtralia.)
Adds Chen:
Even though we are facÂing a difÂfiÂcult cirÂcumÂstance under the panÂdemÂic and had to pivÂot our origÂiÂnal ideas into a virÂtuÂal preÂsenÂtaÂtion, I’m glad that our class was able to quickÂly change plans and adapt to the sitÂuÂaÂtion. This… actuÂalÂly inspired me a lot and opened up ways to invite and conÂnect peoÂple with virÂtuÂal artÂwork.
(ApparÂentÂly, I’m headÂed to Cafe ZanzÂibar, below, where the drinks are cheap, the aspirin is free, and Cab CalÂloway is a freÂquent headÂlinÂer.)
Stark admits that iniÂtialÂly, his stuÂdents may not have shared his swoonÂing response to the source mateÂrÂiÂal, but they share his love of New York City and the desire to “get in the thick of it.” By bringÂing a GenÂerÂaÂtion Z perÂspecÂtive to this hisÂtorÂiÂcal ephemera, they stake a claim, makÂing work that could help the City ReliÂquary conÂnect to a new audiÂence.
Enter The New York SupÂper Club: From Nightlife to Social DisÂtancÂing here.
Explore the City ReliÂquary online here, and join in the civic pride by parÂticÂiÂpatÂing in its weekÂly InstaÂgram Live events, includÂing ThursÂday ColÂlecÂtors’ Nights.
(All images used with perÂmisÂsion of the artists and The City ReliÂquary)
Many of us kept indoors by the COVID-19 panÂdemÂic for days — or rather weeks, or perÂhaps months — have been imbued with a new sense of wonÂder about our world. SpecifÂiÂcalÂly, we’re wonÂderÂing what’s going on in it. At the same time as the globÂal sciÂenÂtifÂic comÂmuÂniÂty strugÂgles to deterÂmine the nature of the new and still poorÂly underÂstood virus takÂing lives and immoÂbiÂlizÂing economies, we hear digÂiÂtal word of conÂseÂquent pheÂnomÂeÂna also preÂviÂousÂly unknown in our lifeÂtimes: wild aniÂmals, for instance, makÂing their way into the streets of major cities. We live, it turns out, in a stranger, more mysÂteÂriÂous realÂiÂty than we’d imagÂined. ForÂtuÂnateÂly, the interÂnet makes it posÂsiÂble for us to start getÂting a grip on that realÂiÂty here in our homes, not least through free streamÂing NetÂflix docÂuÂmenÂtaries.
“In the Before Times, NetÂflix let teachÂers stream their proÂgramÂming in the classÂroom,” writes Jason KotÂtke. With schools out of sesÂsion, “NetÂflix has decidÂed to put some of their eduÂcaÂtionÂal proÂgramÂming on YouTube for free (full playlist here). For instance, they’ve put all 8 episodes of David Attenborough’s nature series Our PlanÂet online in their entireÂty.”
Released just last year, that NetÂflix debut of the highÂly respectÂed natÂurÂal hisÂtoÂriÂan and broadÂcastÂer covÂers in great visuÂal detail — and, needÂless to say, with highÂly evocaÂtive narÂraÂtion — everyÂwhere from forests and deserts to junÂgles and high seas. If as a startÂing point that all seems a bit epic, as they say, NetÂflix has also made free sinÂgle-servÂing docÂuÂmenÂtary shorts on subÂjects like the stock marÂket, the exclaÂmaÂtion point, and crickÂet (the British Empire sport, not the insect).
Those come from the series Explained, a colÂlabÂoÂraÂtion between NetÂflix and Vox, a site known for its brief “explainÂer” videos on culÂture, sciÂence, and curÂrent events — one of which, on the coroÂnÂavirus itself, we feaÂtured last month here on Open CulÂture. NetÂflix has also made free to stream on Youtube othÂer series like Abstract, which looks at the art of design (and whose debut we feaÂtured here a few years ago), and Babies, a five-part jourÂney into the life of the human infant. If you preÂfer a feaÂture-length docÂuÂmenÂtary expeÂriÂence to a daiÂly view or a binge-watch, you’ll also find on the playlist Ava DuVerÂnay’s 13th, Rachel Lears’ Knock Down the House, and Jeff Orlowski’s ChasÂing Coral. When the orders of “stay home” and “social-disÂtance” come to an end, many of us will feel a stronger desire to explore and learn about the world than ever before — in part because of how much of the time indoors we’ve spent stokÂing our curiosÂiÂty with docÂuÂmenÂtaries like these. Access the playlist of docÂuÂmenÂtaries here.
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall, on FaceÂbook, or on InstaÂgram.
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