Watch an Accurate Reconstruction of the World’s Oldest Computer, the 2,200 Year-Old Antikythera Mechanism, from Start to Finish

There’s noth­ing like an ancient mys­tery, espe­cial­ly one as seem­ing­ly insol­u­ble as the ori­gins of “the world’s first com­put­er,” the Antikythera mech­a­nism. Dis­cov­ered off the coast of the Greek island of Antikythera in 1901, the cor­rod­ed col­lec­tion of gears and dials seemed fake to sci­en­tists at first because of its inge­nious­ness. It has since been dat­ed to 100 to 150 BC and has inspired decades of research and spec­u­la­tive recon­struc­tion. Yet, no one knows who made it, and more impor­tant­ly, no one knows how it was made.

“The dis­tance between this device’s com­plex­i­ty and oth­ers made at the same time is infi­nite,” says Adam Woj­cik, a mate­ri­als sci­en­tist at the Uni­ver­si­ty Col­lege of Lon­don. “Frankly, there is noth­ing like it that has ever been found. It’s out of this world.”

The expres­sion should not make us think of ancient aliens — the Antikythera mech­a­nism con­tains more than enough evi­dence of human lim­i­ta­tion, show­ing a geo­cen­tric mod­el of the cos­mos with the only five plan­ets its mak­er would have known.

The 2,000-plus year-old device con­tin­ues to reveal its secrets, includ­ing hid­den inscrip­tions found dur­ing CT scans of the object, as Smith­son­ian report­ed in 2015. The mech­a­nism is “sim­i­lar in size to a man­tel clock, and bits of wood found on the frag­ments sug­gest it was housed in a wood­en case. Like a clock, the case would’ve had a large cir­cu­lar face with rotat­ing hands. There was a knob or han­dle on the side, for wind­ing the mech­a­nism for­ward or back­ward. And as the knob turned, trains of inter­lock­ing gear­wheels drove at least sev­en hands at var­i­ous speeds. Instead of hours and min­utes, the hands dis­played celes­tial time.”

If the Antikythera mech­a­nism is a “celes­tial clock,” who bet­ter to design and build its recon­struc­tion than a clock­mak­er? That is exact­ly what we see in the videos above, cre­at­ed for the clock­mak­ing YouTube chan­nel Click­spring. Using the best sci­en­tif­ic mod­el of the mech­a­nism to date — pub­lished this year by Dr. Tony Freeth and col­leagues of the Antikythera Mech­a­nism Research Project — Click­spring shows how the device might have fit togeth­er and makes edu­cat­ed guess­es about the right place­ment of its dozens of small parts.

You can see a pre­view of the Antikythera recon­struc­tion project at the top, watch the full project above, and see indi­vid­ual episodes show­cas­ing dif­fer­ent phas­es of con­struc­tion on YouTube. The mod­el “con­forms to all the phys­i­cal evi­dence,” Freeth writes, “and match­es the descrip­tions in the sci­en­tif­ic inscrip­tions engraved on the mech­a­nism itself.” What no one can fig­ure out, how­ev­er, is just how the ancient Greek arti­sans who made it shaped pre­ci­sion met­al parts with­out lath­es and oth­er mod­ern tools of the machine-mak­ers trade. Researchers, and clock­mak­ers, may have pieced togeth­er the Antikythera puz­zle, but the mys­tery of how it came into exis­tence at all remains unsolved.

Relat­ed Con­tent:

How the World’s Old­est Com­put­er Worked: Recon­struct­ing the 2,200-Year-Old Antikythera Mech­a­nism

Researchers Devel­op a Dig­i­tal Mod­el of the 2,200-Year-Old Antikythera Mech­a­nism, “the World’s First Com­put­er”

Mod­ern Artists Show How the Ancient Greeks & Romans Made Coins, Vas­es & Arti­sanal Glass

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

Wikipedia’s Surprising Power in Shaping Science: A New MIT Shows How Wikipedia Shapes Scientific Research

If you were in high school or col­lege when Wikipedia emerged, you’ll remem­ber how stren­u­ous­ly we were cau­tioned against using such an “unre­li­able source” for our assign­ments. If you went on to a career in sci­ence, how­ev­er, you now know how impor­tant a role Wikipedia plays in even pro­fes­sion­al research. It may thus sur­prise you to learn that stu­dents still get more or less the same warn­ing about what, two decades lat­er, has become the largest ency­clo­pe­dia and fifth most-vis­it­ed web site in the world. “Many of us use Wikipedia as a source of infor­ma­tion when we want a quick expla­na­tion of some­thing,” say MIT’s cita­tion guide­lines. “How­ev­er, Wikipedia or oth­er wikis, col­lab­o­ra­tive infor­ma­tion sites con­tributed to by a vari­ety of peo­ple, are not con­sid­ered reli­able sources for aca­d­e­m­ic cita­tion.”

That quo­ta­tion appears, some­what iron­i­cal­ly, in a recent MIT research paper called “Sci­ence is Shaped by Wikipedia: Evi­dence From a Ran­dom­ized Con­trol Tri­al.” Its authors, Neil C. Thomp­son from MIT and Dou­glas Han­ley from the Uni­ver­si­ty of Pitts­burgh, use both “Big Data” and exper­i­men­tal approach­es to sup­port their claim that “incor­po­rat­ing ideas into a Wikipedia arti­cle leads to those ideas being used more in the sci­en­tif­ic lit­er­a­ture.”

Test­ing the exis­tence of an under­ly­ing causal rela­tion­ship, they “com­mis­sioned sub­ject mat­ter experts to cre­ate new Wikipedia arti­cles on sci­en­tif­ic top­ics not cov­ered in Wikipedia.” Half of these arti­cles were added to Wikipedia, and half retained as a con­trol group. “Review­ing the rel­e­vant jour­nal arti­cles pub­lished lat­er, they find that “the word-usage pat­terns from the treat­ment group show up more in the prose in the sci­en­tif­ic lit­er­a­ture than do those from the con­trol group.”

In oth­er words, Wikipedia does indeed appear to shape sci­ence — or as Whar­ton pro­fes­sor Ethan Mol­lick put it on Twit­ter, “The secret heart of acad­e­mia is… Wikipedia.” Expand­ing on the idea, he added that “Wikipedia is used like a review arti­cle,” which sur­veys the cur­rent state of a par­tic­u­lar sci­en­tif­ic field. “Review arti­cles are extreme­ly influ­en­tial on the direc­tion of sci­en­tif­ic research, and while Wikipedia arti­cles are gen­er­al­ly less influ­en­tial, there are more of them, they are more up-to-date, and they are free.” That last point — and the implied con­trast to tra­di­tion­al, sci­en­tif­ic jour­nals with their often shock­ing­ly high sub­scrip­tion fees — becomes a key point in Thomp­son and Han­ley’s advo­ca­cy for pub­lic repos­i­to­ries of knowl­edge in gen­er­al, with their pow­er to gal­va­nize research across the whole world. The pow­er of open cul­ture is con­sid­er­able; the pow­er of open sci­ence, per­haps even more so.

You can read Han­ley and Thomp­son’s study on the pow­er of Wikipedia free online: “Sci­ence is Shaped by Wikipedia: Evi­dence From a Ran­dom­ized Con­trol Tri­al.”

Relat­ed Con­tent:

Lis­ten to Wikipedia: A Web Site That Turns Every Wikipedia Edit Into Ambi­ent Music in Real Time

NASA’s New Online Archive Puts a Wealth of Free Sci­ence Arti­cles Online

Roy­al Soci­ety Opens Online Archive; Puts 60,000 Papers Online

Free Online Cours­es: The Sci­ences

200 Free Text­books: A Meta Col­lec­tion

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

The Age of Cathedrals: A Free Online Course from Yale University

Image by Rafes­mar, via Wiki­me­dia Com­mons

From Yale pro­fes­sor Howard Bloch comes Age of Cathe­drals, an online course that offers “an intro­duc­tion to some of the most aston­ish­ing archi­tec­tur­al mon­u­ments the world has ever known—Gothic cathe­drals,” includ­ing Notre Dame, Chartres, and Saint-Denis. The course descrip­tion adds: “We shall study the art, lit­er­a­ture, intel­lec­tu­al life, eco­nom­ics, and new social arrange­ments that arose in the shad­ow of the cathe­drals and that were such an impor­tant part of the revival of cities in the twelfth and thir­teenth cen­turies. The goal of the course is a bet­ter appre­ci­a­tion of the High Mid­dle Ages, a world that is still rec­og­niz­ably our own.”

You can take Age of Cathe­drals for free by select­ing the audit option upon enrolling. If you want to take the course for a cer­tifi­cate, you will need to pay a fee.

Age of Cathe­drals has been added to our list of Free His­to­ry 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. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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

Relat­ed Con­tent:

Enroll in Harvard’s Free Online Archi­tec­ture Course: An Intro­duc­tion to the His­to­ry & The­o­ry of Archi­tec­ture

Mak­ing Archi­tec­ture: A Free Online Course from the IE School of Archi­tec­ture and Design

Euro­pean Paint­ings: From Leonar­do to Rem­brandt to Goya–A Free Online Course from the Uni­ver­si­dad Car­los III de Madrid (UC3M

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

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Blockchain and Money: A Free Online Course from MIT

Taught by MIT pro­fes­sor Gary Gensler, Blockchain and Mon­ey is “for stu­dents wish­ing to explore blockchain tech­nol­o­gy’s poten­tial use—by entre­pre­neurs and incumbents—to change the world of mon­ey and finance. The course begins with a review of Bit­coin and an under­stand­ing of the com­mer­cial, tech­ni­cal, and pub­lic pol­i­cy fun­da­men­tals of blockchain tech­nol­o­gy, dis­trib­uted ledgers, and smart con­tracts. The class then con­tin­ues on to cur­rent and poten­tial blockchain appli­ca­tions in the finan­cial sec­tor.”

You can watch all 23 lec­tures above, or on YouTube. A syl­labus and oth­er course mate­ri­als can be found on MIT’s web­site. More relat­ed cours­es are list­ed below.

Blockchain and Mon­ey has been added to our list of Free Busi­ness 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. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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

Relat­ed Con­tent 

What Actu­al­ly Is Bit­coin? Princeton’s Free Online Course “Bit­coin and Cur­ren­cy Tech­nolo­gies” Pro­vides Much-Need­ed Answers

Bit­coin and Cryp­tocur­ren­cy Tech­nolo­gies: A Free Course from Prince­ton

Cryp­tocur­ren­cy and Blockchain: An Intro­duc­tion to Dig­i­tal Currencies–A Free Online Cours­es from the Uni­ver­si­ty of Penn­syl­va­nia

The Prince­ton Bit­coin Text­book Is Now Free Online

Hear the Amati “King” Cello, the Oldest Known Cello in Existence (c. 1560)

The Stradi­vari fam­i­ly has received all of the pop­u­lar acclaim for per­fect­ing the vio­lin. But we should know the name Amati — in whose Cre­mona work­shop Anto­nio Stradi­vari appren­ticed in the 17th cen­tu­ry. The vio­lin-mak­ing fam­i­ly was immense­ly impor­tant to the refine­ment of clas­si­cal instru­ments. “Born around 1505,” writes Jor­dan Smith at CMuse, founder Andrea Amati “is con­sid­ered the father of mod­ern vio­lin­mak­ing. He made major steps for­ward in improv­ing the design of vio­lins, includ­ing through the devel­op­ment of sound-holes” into their now-famil­iar f‑shape.

Among Amati’s cre­ations is the so-called “King” cel­lo, made in the mid-1500s, part of a set of 38 stringed instru­ments dec­o­rat­ed and “paint­ed in the style of Limo­ges porce­lain” for the court of King Charles IX of France.

The instru­ment is now the old­est known cel­lo and “one of the few Amati instru­ments still in exis­tence.” And yet, call­ing the “King” a cel­lo is a bit of a his­tor­i­cal stretch. “The ter­mi­nol­o­gy refer­ring to the ear­ly forms of cel­lo is con­vo­lut­ed and incon­sis­tent,” Matthew Zeller notes at the Strad. “Andrea Amati would like­ly have referred to the ‘King’ as the bas­so (bass vio­lin).”

Images cour­tesy of Nation­al Music Muse­um

The instru­ment remained in the French court until the French Rev­o­lu­tion, after which the bas­so fell out of favor and the “King” was “dras­ti­cal­ly reduced in size” through an alter­ation process that “stood at the fore­front of musi­cal instru­ment devel­op­ment dur­ing the last quar­ter of the 18th cen­tu­ry and through­out the 19th,” a way trans­form obso­lete forms into those more suit­able for con­tem­po­rary music. “By 1801,” Zeller writes, “the date that the ‘King’ might have been reduced, large-for­mat bas­sos were obso­lete, dis­card­ed in favour of the small­er-bod­ied cel­los.”

Zeller has stud­ied the exten­sive alter­ation of the “King” cel­lo (includ­ing a new neck and enlarge­ment from three strings to four) with CT scans of its joints and exam­i­na­tions of now-dis­tort­ed dec­o­ra­tions. The reduc­tion means we can­not hear its orig­i­nal glo­ry — and it was, by all accounts, a glo­ri­ous instru­ment, “a mem­ber of a larg­er fam­i­ly of instru­ments of fixed mea­sure­ments relat­ed togeth­er by pro­found math­e­mat­i­cal, geo­met­ri­cal, and acousti­cal rela­tion­ships of size and tone,” writes Yale con­ser­va­tor Andrew Dip­per, “which gave the set the abil­i­ty to per­form, in uni­son, some of the world’s first orches­tral music for bowed strings.”

We can, how­ev­er, hear the “King” cel­lo (briefly, at the top) in its cur­rent (cir­ca 1801), form, and it still sounds stun­ning. Cel­list Joshua Koesten­baum vis­it­ed the cel­lo at its home in the Nation­al Music Muse­um in Ver­mil­lion, South Dako­ta in 2005 to play it. “It didn’t take much effort to find the instrument’s nat­u­ral­ly sweet, warm sound,” he says. “It was incred­i­bly easy to play — com­fort­able, plea­sur­able, for­giv­ing, and user-friend­ly…. I felt at home.” Learn more about the lat­est research on the “King” cel­lo at Google Arts & Cul­ture and the Strad.

Relat­ed Con­tent: 

Why Vio­lins Have F‑Holes: The Sci­ence & His­to­ry of a Remark­able Renais­sance Design

Watch Price­less 17-Cen­tu­ry Stradi­var­ius and Amati Vio­lins Get Tak­en for a Test Dri­ve by Pro­fes­sion­al Vio­lin­ists

Watch the Mak­ing of a Hand-Craft­ed Vio­lin, from Start to Fin­ish, in a Beau­ti­ful­ly-Shot Doc­u­men­tary

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

A Beautiful, High-Resolution Map of the Internet (2021)


The begin­nings of the Inter­net were unchart­ed ter­ri­to­ry, espe­cial­ly before the days of graph­ic browsers. You had a num­ber, you dialed up to a loca­tion. Cer­tain loca­tions were named after their host uni­ver­si­ties or gov­ern­ment sites and that made sense in an old-school tele­phone exchange way. But the rest was just a vast ocean of data, of strange lands, and many, many bar­ri­ers. How big, exact­ly, is the inter­net? And how do we mea­sure it? What is the “space” of cyber­space?

There have been maps that over­lay the internet’s main land­lines onto the map of the earth—this Vox arti­cle shows the spi­dery web grow­ing from the first four loca­tions of ARPANET until the whole world is con­nect­ed. But that’s not how we think of it. Sure­ly Open Cul­ture is always where you, dear read­er, reside, and this writer’s undis­closed loca­tion has noth­ing to do with it. Maybe the inter­net is real­ly the space that it takes up in our minds, in our lives, and in the amount of inter­net traf­fic.

Ama­teur graph­ic design­er Mar­tin Var­gic visu­al­ized those spaces as coun­tries on a vast globe inspired by Nation­al Geo­graph­ic Mag­a­zine. (Although Nation­al Geo­graph­ic bor­rowed its car­to­graph­ic style from some of the first print­ed maps of the world.) Var­gic first pub­lished his map in 2014 when he was a stu­dent in Slo­va­kia. And now he has decid­ed to update the map for 2021. (See the map in high res­o­lu­tion here.) Large con­ti­nents rep­re­sent the main web­sites of the Inter­net: Face­book, Google, Apple, Ama­zon. The seas rep­re­sent the afore­men­tioned ocean of data under dif­fer­ent names: Ocean of Infor­ma­tion, North Con­nec­tion Ocean, etc. To com­pare his rel­a­tive­ly spare orig­i­nal map to the one he just released is to notice how much more crowd­ed this world has become, and how divid­ed.

First, his method­ol­o­gy.

Var­gic based the rel­a­tive size of each web­site on its aver­age traf­fic between Jan­u­ary 2020 and Jan­u­ary 2021, accord­ing to Alexa Rank, the Ama­zon-owned Alexa Internet’s mea­sure of how pop­u­lar a web­site is, cal­cu­lat­ed by unique users and page views.

How­ev­er, the cen­ter of the map is now dif­fer­ent. This now depicts the “core and back­bone of the Inter­net as we know it,” Var­gic said. This means a core of ser­vice providers sur­round­ed by larg­er islands of web browsers (Chrome, Fire­fox, et al).

While the 2014 map con­sid­ered web­site size as the main orga­niz­er and con­tained around 200 web­sites, this ver­sion con­tains 3,000. The north of the globe fea­tures coun­try clus­ters: a group­ing of aca­d­e­m­ic, research, and free edu­ca­tion sites (wikipedia, archive.org, etc.), gov­ern­men­tal web­sites to the east and con­spir­a­cy QAnon lands to the west.

The Antarc­ti­ca of the map? The Dark Web, where the Onion isn’t a par­o­dy news site and TOR isn’t the sci-fi/­fan­ta­sy pub­lish­er.

You might find some of Vargic’s deci­sions odd, or you might just spend your time won­der­ing how much of the inter­net is indeed an unknown land, with large “coun­tries” you’ve nev­er heard of, but with mil­lions of “res­i­dents”. It might not be real, but Vargic’s map will put you in an explorato­ry mood while you light off for the ter­ri­to­ries. You can view it in a high res­o­lu­tion for­mat here. Pur­chase it as a poster here.

Relat­ed Con­tent:

The His­to­ry of the Inter­net in 8 Min­utes

How the Inter­net Archive Dig­i­tizes 3,500 Books a Day–the Hard Way, One Page at a Time

The Old­est Known Globe to Depict the New World Was Engraved on an Ostrich Egg, Maybe by Leonar­do da Vin­ci (1504)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

A Side Splitting Medieval TikTok Account: Get a Laugh at Medieval Yoga Poses & Much More

@greedypeasant🧘‍♀️ Medieval Yoga 🧘 #medievaltik­tok #yoga #yogalover #peace­with­in #fyp #fory­ou #fory­oupage♬ orig­i­nal sound — Tyler Gun­ther

Tik­Tok, the short-form video-shar­ing plat­form, is an are­na where the young dom­i­nate — last sum­mer, The New York Times report­ed that over a third of its 49 mil­lion dai­ly users in the US were aged 14 or younger.

Yet some­how, a ful­ly grown medieval peas­ant has become one of its most com­pelling pres­ences, breezi­ly shar­ing his yoga reg­i­men, above, his obses­sion with tas­sels and ornate sleeves, and the Met­ro­pol­i­tan Tran­sit Authority’s plans to upcy­cle his era’s tor­ture devices as New York City sub­way exit gates.

30-year-old Brook­lyn-based artist Tyler Gun­ther views his cre­ation, Greedy Peas­ant, as “the man­i­fes­ta­tion of all the strange medieval art we now enjoy in meme form”:

Often times medieval his­to­ry focus­es on roy­als, wars, popes and plagues. With this peas­ant guide, we get to expe­ri­ence the world through the lens of a queer artist who is just try­ing to make sure every­one is on time for their cos­tume fit­tings for the East­er pageant. 

Ear­li­er, Gunther’s medieval fix­a­tion found an out­let in comics that he post­ed to Insta­gram.

Then last Feb­ru­ary, he found him­self quar­an­ti­ning in an Aus­tralian hotel room for 2 weeks pri­or to per­form­ing in the Ade­laide Fes­ti­val as part of The Plas­tic Bag Store, artist Robin Fro­hardt’s alter­nate­ly hilar­i­ous and sober­ing immer­sive super­mar­ket instal­la­tion:

My quar­an­tine plans had been to work on a mas­sive set of illus­tra­tions and teach myself the entire Adobe Cre­ative Suite. Instead I just wan­dered from one cor­ner of the hotel room to the next and stared at the office build­ing direct­ly out­side my win­dow. About 4 days in, Robin texted, “Now is your time to make a Tik­Tok.” I had avoid­ed it for so long. I always had an excuse and I was gen­uine­ly con­fused about how the app worked. But with no alter­na­tives left I made a few videos “just to test out some of the fil­ters” and I was instant­ly hooked. 

Now, a green screen and a set of box lights are per­ma­nent­ly installed in his Brook­lyn stu­dio so he can film when­ev­er inspi­ra­tion strikes, pro­vid­ed it’s not too steamy to don the tights, cowls, wigs and woolens that are an inte­gral part of Greedy Peasant’s look.

@greedypeasant🕷🕷🕷 (to be con­tin­ued) #medievaltik­tok #fyp #fory­oupage #fory­ou #spi­der­man♬ orig­i­nal sound — Tyler Gun­ther

One of Gunther’s most eye pop­ping cre­ations came about when Greedy Peas­ant answered an ad post in the town square seek­ing a Spi­der Man (i.e., a man with spi­ders) to com­bat a bug infes­ta­tion:

As a for­mer cos­tume design stu­dent, I’m intrigued by how super­hero uni­forms fit with­in the very con­ser­v­a­tive world of West­ern men’s fash­ion. We’re sup­posed to believe these col­or blocked body­suits are ath­let­ic and high tech. These man­ly men don’t wear them just because they look great in them, they wear them for our pro­tec­tion and the greater good.  But what if one super­hero did val­ue style over sub­stance? Would he still retain his author­i­ta­tive qual­i­ties if his super suit was embroi­dered and bead­ed and drip­ping with tas­sels? This medieval­ist believes so. 

About that tas­sel obses­sion

To me tas­sels rep­re­sent orna­men­ta­tion for ornamentation’s sake at its peak. This dec­o­ra­tive con­cept is so maligned in our cur­rent age. 21st cen­tu­ry design trends are so sleek and smooth, which does make our lives prac­ti­cal and effi­cient. But soon we’ll all be dead. Medieval arti­sans seemed to under­stand this on some lev­el. I think if iPhones were sold in the mid­dle ages they would have 4 tas­sels on each cor­ner. Why? Because it would look very nice. A tas­sel looks beau­ti­ful as a piece of sta­t­ic sculp­ture. It adds an air of author­i­ty and pol­ish to what­ev­er object it is attached to. If that were all they pro­vid­ed us it would be enough. But then sud­den­ly you give your elbow a lit­tle flick and before you know it your sleeve tas­sels are in flight! They are per­form­ing a per­son­al bal­let with their lit­tle strings going wher­ev­er the chore­og­ra­phy may take them. It’s a gift.

@greedypeasant(not) FACTS. ##medievaltik­tok ##nyc ##newyorkc­i­ty ##nychis­to­ry ##fyp ##fory­ou ##fory­oupage♬ orig­i­nal sound — Tyler Gun­ther

Gunther’s keen eye extends to his green screen back­grounds, many of which are drawn from the Met­ro­pol­i­tan Muse­um of Art’s online image col­lec­tion.

He also shoots on loca­tion when the sit­u­a­tion war­rants:

Espe­cial­ly in New York City, where it seems like every neigh­bor­hood has at least one build­ing dressed up to look as if it sur­vived the Black Plague. I love this bla­tant­ly false illu­sion of a hero­ic past. We American’s know it’s a façade. We know the build­ing was built in 1910, not 1410, but some­how it still pleas­es us. Even when I went home to Arkansas to vis­it fam­i­ly, we were con­stant­ly scout­ing film­ing loca­tions which looked con­vinc­ing­ly medieval. Our great­est find were the back rooms and the choir loft of a beau­ti­ful goth­ic revival church in our town.

While Gun­ther is obvi­ous­ly his own star attrac­tion, he alter­nates screen time with a group of “reli­quary ladies,” whose main trio, Brid­getteAman­da and Susan are the queen bees of the side aisle. Even before he used a green screen fil­ter to ani­mate them with his eyes, lips, and a hint of mus­tache, he was drawn to their hair­dos and indi­vid­ual per­son­al­i­ties dur­ing repeat vis­its to the Met Clois­ters.

“As reli­quar­ies, they embody such a spe­cif­ic medieval sen­si­bil­i­ty,” he enthus­es. “Each housed a small body part of a deceased saint, which peo­ple would make a pil­grim­age to see. This com­bi­na­tion of the sacred, macabre and beau­ti­ful includes all my favorite medieval ele­ments.”

@greedypeasantWill the real St. Catherine’s low­er jaw please stand up. ##medievaltik­tok ##his­to­ry­tok ##fyp ##fory­ou ##fory­oupage ##reli­quary ##peas­ant ##arthis­to­ry♬ orig­i­nal sound — Tyler Gun­ther

Get to know Tyler Gunther’s Greedy Peas­ant here.

Relat­ed Con­tent:

160,000 Pages of Glo­ri­ous Medieval Man­u­scripts Dig­i­tized: Vis­it the Bib­lio­the­ca Philadel­phien­sis

A Free Yale Course on Medieval His­to­ry: 700 Years in 22 Lec­tures

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

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

The Illuminated Manuscripts of Medieval Europe: A Free Online Course from the University of Colorado

Dr. Roger Louis Martínez-Dávi­la and Ana B. Sanchez-Prieto–two aca­d­e­mics work­ing out of the Uni­ver­si­ty of Col­orado and Uni­ver­si­dad Com­plutense Madrid (Spain)–have teamed up to present Deci­pher­ing Secrets: The Illu­mi­nat­ed Man­u­scripts of Medieval Europe. The free course cov­ers the fol­low­ing ground:

Per­haps no oth­er rel­ic of the Euro­pean Mid­dle Ages cap­tures our imag­i­na­tion more than illu­mi­nat­ed medieval man­u­scripts, or those doc­u­ments dec­o­rat­ed with images and col­ored pig­ments. Serv­ing as win­dows unto a lost world of kings, ladies, faith, war, and cul­ture, they com­mu­ni­cate com­plex visu­al and tex­tu­al nar­ra­tives of Europe’s col­lec­tive cul­tur­al her­itage and pat­ri­mo­ny. In this fash­ion, illu­mi­nat­ed man­u­scripts are dynam­ic mes­sages from our com­mu­nal past that are still rel­e­vant today in fields like graph­ic design and typog­ra­phy.

In this sev­en-week course, stu­dents will explore the mate­r­i­al cre­ation, con­tent, and his­tor­i­cal con­text of illu­mi­nat­ed medieval Euro­pean man­u­scripts. Stu­dents will acquire an intro­duc­to­ry knowl­edge of their dis­tin­guish­ing char­ac­ter­is­tics, their cat­a­logu­ing and peri­odiza­tion (when they were cre­at­ed), the meth­ods uti­lized to pro­duce them, and their his­tor­i­cal con­text and val­ue.

You can take The Illu­mi­nat­ed Man­u­scripts of Medieval Europe for free by select­ing the audit option upon enrolling. If you want to take the course for a cer­tifi­cate, you will need to pay a fee.

The Illu­mi­nat­ed Man­u­scripts of Medieval Europe has been added to our list of Free His­to­ry Cours­es, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent 

Dis­cov­er the Great Medieval Man­u­script, the Book of Kells, in a Free Online Course

The Medieval Mas­ter­piece, the Book of Kells, Is Now Dig­i­tized & Put Online

How Illu­mi­nat­ed Medieval Man­u­scripts Were Made: A Step-by-Step Look at this Beau­ti­ful, Cen­turies-Old Craft

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

160,000 Pages of Glo­ri­ous Medieval Man­u­scripts Dig­i­tized: Vis­it the Bib­lio­the­ca Philadel­phien­sis

Ethan Hawke Explains How to Give Yourself Permission to Be Creative

The most cre­ative peo­ple, you’ll notice, throw them­selves into what they do with absurd, even reck­less aban­don. They com­mit, no mat­ter their doubts about their tal­ents, edu­ca­tion, finances, etc. They have to. They are gen­er­al­ly fight­ing not only their own mis­giv­ings, but also those of friends, fam­i­ly, crit­ics, financiers, and land­lords. Artists who work to real­ize their own vision, rather than some­one else’s, face a with­er­ing­ly high prob­a­bil­i­ty of fail­ure, or the kind of suc­cess that comes with few mate­r­i­al rewards. One must be will­ing to take the odds, and to renounce, says Ethan Hawke in the short TED talk above, the need for val­i­da­tion or approval.

This is hard news for peo­ple pleasers and seek­ers after fame and rep­u­ta­tion, but in order to over­come the inevitable social obsta­cles, artists must be will­ing, says Hawke, to play the fool. He takes as his exam­ple Allen Gins­berg, who appeared on William F. Buckley’s Fir­ing Line in May of 1968 and, rather than answer Buckley’s charge that his polit­i­cal posi­tions were “naive,” pulled out a har­mo­ni­um and pro­ceed­ed to sing the Hare Krish­na chant (“the most unhar­ried Krish­na I’ve ever heard,” Buck­ley remarked). Upon arriv­ing home to New York, says Hawke, Gins­berg was met by peo­ple who were aghast at what he’d done, feel­ing that he made him­self a clown for mid­dle Amer­i­ca.

Gins­berg was unboth­ered. He was will­ing to be “America’s holy fool,” as Vivian Gor­nick called him, if it meant inter­rupt­ing the con­stant stream of adver­tis­ing and pro­pa­gan­da and mak­ing Amer­i­cans stop to won­der “who is this stu­pid poet?”

Who is this per­son so will­ing to chant at William F. Buck­ley for “the preser­va­tion of the uni­verse, instead of its destruc­tion”? What might he have to say to my secret wish­es? This is what artists do, says Hawke, take risks to express emo­tions, by what­ev­er means are at hand. It is the essence of Ginsberg’s view of cre­ativ­i­ty, to let go of judg­ment, as he once told a writ­ing stu­dent:

Judge it lat­er. You’ll have plen­ty of time to judge it. You have all your life to judge it and revise it! You don’t have to judge it on the spot there. What ris­es, respect it. Respect what ris­es….

Judge your own work lat­er, if you must, but what­ev­er you do, Hawke advis­es above, don’t stake your worth on the judg­ments of oth­ers. The cre­ative life requires com­mit­ting instead to the val­ue of human cre­ativ­i­ty for its own sake, with a child­like inten­si­ty that doesn’t apol­o­gize for itself or ask per­mis­sion to come to the sur­face.

Relat­ed Con­tent: 

Allen Gins­berg Talks About Com­ing Out to His Fam­i­ly & Fel­low Poets on 1978 Radio Show (NSFW)

The Long Game of Cre­ativ­i­ty: If You Haven’t Cre­at­ed a Mas­ter­piece at 30, You’re Not a Fail­ure

David Lynch Explains How Sim­ple Dai­ly Habits Enhance His Cre­ativ­i­ty

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

Scientists Create an Interactive Map of the 13 Emotions Evoked by Music: Joy, Sadness, Desire, Annoyance, and More

Most of our playlists today are filled with music about emo­tions: usu­al­ly love, of course, but also excite­ment, defi­ance, anger, dev­as­ta­tion, and a host of oth­ers besides. We lis­ten to these songs in order to appre­ci­ate the musi­cian­ship that went into them, but also to indulge in their emo­tions for our­selves. As for what exact­ly evokes these feel­ings with­in us, lyrics only do part of the job, and per­haps a small part at that. In search of a more rig­or­ous con­cep­tion of which son­ic qual­i­ties trig­ger which emo­tions in lis­ten­ers — and a mea­sure­ment of how many kinds of emo­tions music can trig­ger — sci­en­tists at UC Berke­ley have con­duct­ed a cross-cul­tur­al research project and used the data to make an inter­ac­tive lis­ten­ing map.

The study’s cre­ators, a group includ­ing psy­chol­o­gy pro­fes­sor Dacher Kelt­ner (found­ing direc­tor of the Greater Good Sci­ence Cen­ter) and neu­ro­science doc­tor­al stu­dent Alan Cowen, “sur­veyed more than 2,500 peo­ple in the Unit­ed States and Chi­na about their emo­tion­al respons­es to these and thou­sands of oth­er songs from gen­res includ­ing rock, folk, jazz, clas­si­cal, march­ing band, exper­i­men­tal and heavy met­al.” So writes Berkley News’ Yas­min Anwar, who sum­ma­rizes the broad­er find­ings as fol­lows: “The sub­jec­tive expe­ri­ence of music across cul­tures can be mapped with­in at least 13 over­ar­ch­ing feel­ings: Amuse­ment, joy, eroti­cism, beau­ty, relax­ation, sad­ness, dreami­ness, tri­umph, anx­i­ety, scari­ness, annoy­ance, defi­ance, and feel­ing pumped up.”

Many lis­ten­er respons­es can’t have been ter­ri­bly sur­pris­ing. “Vivaldi’s ‘Four Sea­sons’ made peo­ple feel ener­gized. The Clash’s ‘Rock the Cas­bah’ pumped them up. Al Green’s ‘Let’s Stay Togeth­er’ evoked sen­su­al­i­ty and Israel (Iz) Kamakawiwoʻole’s ‘Some­where over the Rain­bow’ elicit­ed joy.

Mean­while, heavy met­al was wide­ly viewed as defi­ant and, just as its com­pos­er intend­ed, the show­er scene score from the movie Psy­cho trig­gered fear.” The cul­tur­al influ­ence of Hitch­cock, one might object, has by now tran­scend­ed all bound­aries, but accord­ing to the study even Chi­nese clas­si­cal music gets the same basic emo­tions across to Chi­nese and non-Chi­nese lis­ten­ers alike.

Still, all respectable art, even or per­haps espe­cial­ly an abstract one such as music, leaves plen­ty of room for per­son­al inter­pre­ta­tion. You can check your own emo­tion­al respons­es against those of the Berke­ley sur­vey’s respon­dents with its inter­ac­tive lis­ten­ing map. Just roll your cur­sor over any of point on its emo­tion­al ter­ri­to­ries, and you’ll hear a short clip of the song lis­ten­ers placed there. On the penin­su­la of cat­e­go­ry H, “erot­ic, desirous,” you’ll hear Chris Isaak, Wham!, and a great many sax­o­phon­ists; down in the nether­lands of cat­e­go­ry G, “ener­giz­ing, pump-up,” Rick Ast­ley’s immor­tal­ized “Nev­er Gonna Give You Up” and Alien Ant Far­m’s nov­el­ty cov­er of “Smooth Crim­i­nal.” Anwar also notes that “The Shape of You,” Ed Sheeran’s inescapable hit, “sparks joy” — but if I have to hear it one more time at the gym, I can assure you my own emo­tion­al response won’t be quite so pos­i­tive.

Relat­ed Con­tent:

Daniel Lev­itin Shows How Musi­cians Com­mu­ni­cate Emo­tion

Watch Clas­si­cal Music Get Per­fect­ly Visu­al­ized as an Emo­tion­al Roller Coast­er Ride

The Ther­a­peu­tic Ben­e­fits of Ambi­ent Music: Sci­ence Shows How It Eas­es Chron­ic Anx­i­ety, Phys­i­cal Pain, and ICU-Relat­ed Trau­ma

Neu­rosym­pho­ny: A High-Res­o­lu­tion Look into the Brain, Set to the Music of Brain Waves

An Inter­ac­tive Map of the 2,000+ Sounds Humans Use to Com­mu­ni­cate With­out Words: Grunts, Sobs, Sighs, Laughs & More

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

A Data Visualization of Every Italian City & Town Founded in the BC Era


Ancient peo­ple did not think about his­to­ry the way most of us do. It made no dif­fer­ence to con­tem­po­rary read­ers of the pop­u­lar Roman his­to­ri­an, Livy (the “JK Rowl­ing of his day”), that “most of the flesh and blood of [his] nar­ra­tive is fic­ti­tious,” and “many of the sto­ries are not real­ly Roman but Greek sto­ries reclothed in Roman dress,” his­to­ri­an Robert Ogilvie writes in an intro­duc­tion to Livy’s Ear­ly His­to­ry of Rome. Ancient his­to­ri­ans did not write to doc­u­ment facts, but to illus­trate moral, philo­soph­i­cal, and polit­i­cal truths about what they saw as immutable human nature.

Much of what we know about Roman antiq­ui­ty comes not from ancient Roman his­to­ry but from mod­ern arche­ol­o­gy (which is still mak­ing “amaz­ing” new dis­cov­er­ies about Roman cities). The remains of Rome at its apogee date from the time of Livy, who was like­ly born in 59 BC and died cir­ca 12 AD. A con­tem­po­rary, and pos­si­bly a friend, of Augus­tus, the his­to­ri­an lived through a peri­od of immense growth in which the new empire spread across the con­ti­nent, found­ing, build­ing, and con­quer­ing towns and cities as it went — a time, he wrote, when “the might of an impe­r­i­al peo­ple is begin­ning to work its own ruin.”

Livy pre­ferred to look back — “turn my eyes from the trou­bles,” he said — “more than sev­en hun­dred years,” to the date long giv­en for the found­ing of Rome, 753 BC, which seemed ancient enough to him. Mod­ern arche­ol­o­gists have found, how­ev­er, that the city prob­a­bly arose hun­dreds of years ear­li­er, hav­ing been con­tin­u­ous­ly inhab­it­ed since around 1000 BC. Livy’s own pros­per­ous but provin­cial city of Pad­ua only became incor­po­rat­ed into the Roman empire a few decades before his birth. Accord­ing to Livy him­self, Pad­ua was first found­ed in 1183 BC by the Tro­jan prince Antenor…  if you believe the sto­ries….

The point is that ancient Roman dates are sus­pect when they come from lit­er­ary sources (or “his­to­ries”) rather than arti­facts and archae­o­log­i­cal dat­ing meth­ods. What is the dis­tri­b­u­tion of such dates across arti­cles about ancient Rome on Wikipedia? Who could say. But the sheer num­ber of doc­u­ments and arti­facts left behind by the Romans and the peo­ple they con­quered and sub­dued make it easy to recon­struct the his­tor­i­cal stra­ta of Euro­pean cities — though we should allow for more than a lit­tle exag­ger­a­tion, dis­tor­tion, and even fic­tion in the data.

The maps you see here use Wikipedia data to visu­al­ize towns and cities in mod­ern-day Italy found­ed before the first cen­tu­ry — that is, every Ital­ian set­tle­ment of any kind with a “BC” cit­ed in its asso­ci­at­ed arti­cle. Many of these were found­ed by the Romans in the 2nd or 3rd cen­tu­ry BC. Many cities, like Pom­peii, Milan, and Livy’s own Pad­ua, were con­quered or slow­ly tak­en over from ear­li­er peo­ples. Anoth­er ver­sion of the visu­al­iza­tion, above, shows a dis­tri­b­u­tion by col­or of the dates from 10,000 BC to 10 BC. It makes for an equal­ly strik­ing way to illus­trate the his­to­ry, and pre­his­to­ry, of Italy up to Livy’s time — that is, accord­ing to Wikipedia.

The cre­ator of the visu­al­iza­tions obtained the data by scrap­ing 8000 Ital­ian Wikipedia arti­cles for men­tions of “BC” (or “AC” in Ital­ian). Even if we all agreed the open online ency­clo­pe­dia is an author­i­ta­tive source (and we cer­tain­ly do not), we’d still be left with the prob­lem of ancient dat­ing in cre­at­ing an accu­rate map of ancient Roman and Ital­ian his­to­ry. Unre­li­able data does not improve in pic­ture form. But data visu­al­iza­tions can, when com­bined with care­ful schol­ar­ship and good research, make dry lists of num­bers come alive, as Livy’s sto­ries made Roman his­to­ry, as he knew it, live for his read­ers.

See the creator’s dataset below and learn more here.

count 1152

mean 929.47

std 1221.89

min 2

25% 196

50% 342.5

75% 1529.5

max 10000

Relat­ed Con­tent: 

The Roads of Ancient Rome Visu­al­ized in the Style of Mod­ern Sub­way Maps

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

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

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


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