A Teaser Trailer for Fahrenheit 451: A New Film Adaptation of Ray Bradbury’s Ever-Relevant Novel

From HBO comes a teas­er trail­er for an upcom­ing adap­ta­tion of Ray Brad­bury’s Fahren­heit 451, a film that went into pro­duc­tion a year before the 2016 election–that is, before things in Amer­i­ca took a turn for the worse and the weird. That life has start­ed to imi­tate Brad­bury’s art has­n’t been lost on the film’s direc­tor, Ramin Bahrani, who told crit­ics at the Tele­vi­sion Crit­ics Asso­ci­a­tion:

Polit­i­cal­ly things are going in a very strange direc­tion in terms of what is real and what is not real… I think we’ve been going in that direc­tion for a long time, it’s just now kind of being revealed to us more clear­ly. So I think from a high lev­el, that’s a prob­lem.…

I don’t want to focus so much on [Trump] because I don’t want to excuse the 30, 40 years pri­or to that. He’s just an exag­ger­a­tion of it now…

I don’t want us to for­get what Brad­bury said, that we asked for this… We are [also] elect­ing again this thing [a smart­phone] in my pock­et . We are elect­ing to give it all away to this.

Between the tech­no­log­i­cal advance­ments in last 20 years and pol­i­tics, I think Bradbury’s biggest con­cern about the ero­sion of cul­ture is now… and the speed at which this is advanc­ing is expo­nen­tial.

Will we actu­al­ly get ahead of the dam, or will it just be a flood and up to some oth­er gen­er­a­tion to bring back all of Bradbury’s heroes?

The new film star­ring Michael B. Jor­dan, and Michael Shan­non will come out this spring. Stay tuned.

via Devour

Relat­ed Con­tent:

To Read This Exper­i­men­tal Edi­tion of Ray Bradbury’s Fahren­heit 451, You’ll Need to Add Heat to the Pages

Ray Brad­bury Reveals the True Mean­ing of Fahren­heit 451: It’s Not About Cen­sor­ship, But Peo­ple “Being Turned Into Morons by TV”

Father Writes a Great Let­ter About Cen­sor­ship When Son Brings Home Per­mis­sion Slip to Read Ray Bradbury’s Cen­sored Book, Fahren­heit 451

Who Was Afraid of Ray Brad­bury & Sci­ence Fic­tion? The FBI, It Turns Out (1959)

by | Permalink | Make a Comment ( 1 ) |

Smartify, a Shazam for Art, Lets You Use Your Phone to Scan, Identify & Learn About Major Works of Art

Not so long ago, art muse­ums were known as tem­ples of qui­et con­tem­pla­tion, despite dai­ly inva­sions by rau­cous school groups.

Now, the onus is on the muse­ums to bring the moun­tain to Mohammed. Those kids have smart­phones. How long can a muse­um hope to stay relevant—nay, survive—without an app?

Many of the muse­ums who’ve already part­nered up with Smar­ti­fy—an app (Mac-Android) that lets you take a pic­ture of art­work with your phone and instant­ly access infor­ma­tion about them—have exist­ing apps of their own in place: the Met­ro­pol­i­tan Muse­um of Art in New York, the Her­mitage in St. Peters­burg, Amsterdam’s Rijksmu­se­um, to name a few.

These insti­tu­tion­al apps pro­vide vis­i­tors with an expand­ed view of the sort of infor­ma­tion one com­mon­ly finds on a muse­um card, in addi­tion to such prac­ti­cal­i­ties as gallery lay­outs and cal­en­dars of events. More often than not, there’s an option to “save” an art­work the vis­i­tor finds captivating—no word on what this fea­ture is doing to post­card sales in muse­um shops, so per­haps print isn’t dead yet.

Giv­en all the muse­um apps free for the down­load­ing, for whom is Smar­ti­fy, a “Shaz­am for art,” intend­ed?

Per­haps the glo­be­trot­ting muse­um hop­per eager to con­sol­i­date? Its devel­op­ers are adamant that it’s intend­ed to com­ple­ment, not replace, in-per­son vis­its to the insti­tu­tions where the works are housed, so arm­chair muse­um goers are advised to look else­where, like Google Arts & Cul­ture.

Per­haps the biggest ben­e­fi­cia­ries will be the small­er gal­leries and muse­ums ill equipped to launch free­stand­ing apps of their own. Smartify’s web­site states that it relies on “annu­al mem­ber­ship from muse­um part­ners, in-app trans­ac­tions, adver­tis­ing and data sales to rel­e­vant arts organ­i­sa­tions.”

Ear­ly adopters com­plained that while the app (Mac-Android) had no trou­ble iden­ti­fy­ing famous works of art, it came up emp­ty on the less­er-known pieces. That’s a pity as these are the works vis­i­tors are most like­ly to seek fur­ther infor­ma­tion on.

One of the devel­op­ers com­pared the Smar­ti­fy expe­ri­ence to vis­it­ing a muse­um in the com­pa­ny of “an enthu­si­as­tic and knowl­edge­able friend telling you more about a work of art.”

Maybe bet­ter to do just that, if the option exists? Such a friend would not be ham­pered by the copy­right laws that ham­per Smar­ti­fy with regard to cer­tain works. A friend might even stand you a hot choco­late or some pricey scone in the muse­um cafe.

At any rate, the app (Mac-Android) is now avail­able for vis­i­tors to take for a spin in 22 dif­fer­ent muse­ums and gal­leries in the UK, US, and Europe, with the promise of more to come.

Those whose knowl­edge of art his­to­ry is vast are like­ly to be under­whelmed, but it could be a way for those vis­it­ing with kids and teens to keep every­one engaged for the dura­tion. As one enthu­si­as­tic user wrote:

As a child­hood Poke­mon fan and avid art fan, this is a dream come true. This is like a Pokedex for art lol. If you ever watched the ani­me, Ash Ketchum would scan a Poke­mon with his Pokedex and get the details of its name, type, habits, etc. This app does that but instead of scan­ning mon­sters, it scans and ana­lyzes art work then gives you the load (sic) down about it.

Those with Inter­net pri­va­cy con­cerns may choose to heed, instead, the user who wrote:

Be aware, they want to gath­er as a “side effect” your pri­vate art col­lec­tion. I just want­ed to try it out with some of my art pieces (Gün­ther Förg, Richter, etc) but it does­n’t work if you don’t give them your loca­tion data. Be care­ful!

 

Muse­ums and Gal­leries Whose Images/Art Appear in Smar­ti­fy as of Jan­u­ary 2018

USA:

J. Paul Get­ty Muse­um

Los Ange­les Coun­ty Muse­um of Art (LACMA)

Lagu­na Art Muse­um

Muse­um of Con­tem­po­rary Pho­tog­ra­phy

Freer | Sack­ler Gal­leri­es­The Met­ro­pol­i­tan Muse­um of Art

The Met Clois­ters

 

UK:

The Bowes Muse­um

Mid­dles­brough Insti­tute of Mod­ern Art

Ben Uri Gallery

The Wal­lace Col­lec­tion

Roy­al Acad­e­my of Arts

Nation­al Gallery

Sculp­ture in the City

 

Europe:

Rijksmu­se­um

Rijksmu­se­um Twen­the

Lit­tle Beaux-Arts

Museo Cor­rer

Museo San Dona­to (MPSArt)

The State Her­mitage Muse­um

The Pushkin Muse­um of Fine Arts

 

Down­load Smar­ti­fy for Mac or Android.

via Dezeen

Relat­ed Con­tent:

Google’s Free App Ana­lyzes Your Self­ie and Then Finds Your Dop­pel­ganger in Muse­um Por­traits

1.8 Mil­lion Free Works of Art from World-Class Muse­ums: A Meta List of Great Art Avail­able Online

Where to Find Free Art Images & Books from Great Muse­ums, and Free Books from Uni­ver­si­ty Press­es

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

Philip K. Dick’s Electric Dreams, the New Series Starring Bryan Cranston, Anna Paquin & Steve Buscemi, Now Streaming Free on Amazon Prime

Do I like Philip K. Dick? Do androids dream of elec­tric sheep? Hon­est­ly, I don’t think we’ll ever be able to answer such ques­tions about the sub­jec­tive expe­ri­ence of arti­fi­cial beings. But I know for cer­tain that I like Philip K. Dick. Deeply admire, respect, fear, even… there are many words I could use to describe the way I feel about his imag­i­na­tion and vision. And I could say much the same about the film adap­ta­tions of Dick’s work, up to and includ­ing Blade Run­ner 2049, which wasn’t as visu­al­ly over­whelm­ing on the small screen after its release on stream­ing video but still as emo­tion­al­ly cap­ti­vat­ing in its nar­ra­tive, pac­ing, score, and direc­tor Denis Villeneuve’s fideli­ty to, and expan­sion of, the orig­i­nal film’s use of col­or and mon­u­men­tal, future-bru­tal­ist archi­tec­ture to tell a sto­ry.

Though he very much want­ed to break out of sci­ence fic­tion and achieve the sta­tus of a “lit­er­ary” writer—the dis­tinc­tions in his day being much hard­er and faster—Dick’s fic­tion has pro­vid­ed the ulti­mate source for the cin­e­mat­ic sci-fi epic for sev­er­al decades now, and shows lit­tle sign of falling out of favor. The com­mer­cial and cre­ative ques­tion seems to be not whether Dick’s sto­ries still res­onate, but whether they trans­late to tele­vi­sion as bril­liant­ly as they do to film. Crit­i­cal opin­ion can sharply divide on Amazon’s adap­ta­tion of Dick’s alter­na­tive his­to­ry nov­el The Man in the High Cas­tle (about a world in which the Axis pow­ers tri­umphed), which might be “pon­der­ous,” “bor­ing,” and—in its sec­ond season—“the worst TV show of the year,” or “the sec­ond best show Ama­zon has ever made.”

How much this lat­ter judg­ment con­veys depends upon how high­ly, on the whole, one rates the qual­i­ty of pro­gram­ming from that cor­po­rate mega-jug­ger­naut threat­en­ing to over­take near­ly every aspect of con­sumer cul­ture. To say that I find it iron­ic that such an enti­ty pos­sess­es not only one Philip K. Dick prop­er­ty, but now two, with its lat­est Dick-inspired anthol­o­gy show Philip K. Dick­’s Elec­tric Dreams, would be to gross­ly under­state the case. The author who imag­ined an intru­sive inter­net of things and a dystopi­an world where adver­tise­ments appear in our minds might also find this sit­u­a­tion some­what… Dick-ian (Dick-like? Dick-ish?). But such is the world we live in. Putting these ironies aside, let’s revis­it the ques­tion: do Dick­’s sto­ries work as well on TV as they do on film?

Find out for your­self. The first sea­son of Philip K. Dick­’s Elec­tric Dreams is now stream­ing on Ama­zon (see the trail­er above), and you can either pur­chase it by episode, or binge-stream the whole thing gratis with a 30-day free tri­al of Ama­zon Prime. Giv­en that the series, which adapts sto­ries from a col­lec­tion of the same title, is not the prod­uct of one sin­gu­lar vision but a dif­fer­ent cre­ative team each time, you may agree with Evan Nar­cisse at Giz­mo­do, who writes that the episodes “don’t just vary in aes­thet­ics; they vary wide­ly in qual­i­ty.” It has a star-stud­ded cast—including Anna Paquin, Janelle Mon­ae, Ter­rance Howard, Steve Busce­mi, and Bryan Cranston (who co-produced)—and some impres­sive pro­duc­tion val­ues.

But Elec­tric Dreams also has a sig­nif­i­cant chal­lenge set before it: “to show both new view­ers and con­ver­sant fans why Dick’s oeu­vre mat­ters, which is hard in a world where we’re eeri­ly close to some of his fic­tion­al real­i­ties.” Indeed—as we pon­der whether we might be char­ac­ters in a sim­u­lat­ed real­i­ty, our thoughts and beliefs manip­u­lat­ed by pow­er­ful com­pa­nies like those in Dick’s unset­tling Ubik—watch­ing the show might add yet anoth­er lay­er of bewil­der­ment to the already very strange expe­ri­ence of every­day life these days. But then again, “if you feel weird­ed out while watch­ing, that just means the show is doing its job.”

Relat­ed Con­tent:

A New 2‑In‑1 Illus­trat­ed Edi­tion of Philip K. Dick’s Do Androids Dream of Elec­tric Sheep? & A Scan­ner Dark­ly

Free Philip K. Dick: Down­load 13 Great Sci­ence Fic­tion Sto­ries

33 Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books & Free eBooks

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

170+ Courses Starting at Stanford Continuing Studies This Week: Explore the Catalogue of Campus and Online Courses

Quick fyi: I spend my days at Stan­ford Con­tin­u­ing Stud­ies, where we’ve devel­oped a rich line­up of online cours­es, many of which will get start­ed this week. The cours­es aren’t free. But they’re first rate, giv­ing adult students–no mat­ter where they live–the chance to work with ded­i­cat­ed teach­ers and stu­dents.

The cat­a­logue includes a large num­ber of online Cre­ative Writ­ing cours­es, cov­er­ing the Nov­el, the Mem­oir, Cre­ative Non­fic­tion, Food Writ­ing, Poet­ry and more. For the pro­fes­sion­al, the pro­gram offers online busi­ness cours­es in sub­jects like Project Man­age­ment, Busi­ness Com­mu­ni­ca­tion, Design Think­ing, Cre­at­ing Star­tups and Val­ue Invest­ing. And there’s a grow­ing num­ber of online Lib­er­al Arts Cours­es too. Take for exam­ple Draw­ing Inspi­ra­tion: Devel­op­ing a Cre­ative Prac­tice; The Geol­o­gy and Wines of Cal­i­for­nia and France; and Cyber Tech­nolo­gies and Their World-Chang­ing Dis­rup­tions: Elec­tion Hack­ing, Fake News, and Beyond.

If you live in the San Fran­cis­co Bay Area, check out the larg­er cat­a­logue. Stan­ford Con­tin­u­ing Stud­ies has 170+ cours­es get­ting start­ed this Win­ter quar­ter, many tak­ing place in Stan­ford’s class­rooms. Here are a few on-cam­pus cours­es I might rec­om­mend: Lead­ers Who Made the 20th Cen­tu­ryJames Joyce’s Ulysses, and Stan­ford Sat­ur­day Uni­ver­si­ty: 2018.

Relat­ed Con­tent:

Free: A Crash Course in Design Think­ing from Stanford’s Design School

Stan­ford Uni­ver­si­ty Launch­es Free Course on Devel­op­ing Apps with iOS 10

How Walk­ing Fos­ters Cre­ativ­i­ty: Stan­ford Researchers Con­firm What Philoso­phers and Writ­ers Have Always Known

Take a Free Course on Dig­i­tal Pho­tog­ra­phy from Stan­ford Prof Marc Lev­oy

How to Start a Start-Up: A Free Course from Y Com­bi­na­tor Taught at Stan­ford

Binge-Watch Carl Sagan’s Original Cosmos Series Free Online (Available for a Limited Time)

FYI. Carl Sagan’s 13-episode series Cos­mos orig­i­nal­ly aired in 1980 and became one of the most wide­ly watched series in the his­to­ry of Amer­i­can pub­lic TV. The show also won two Emmys and a Peabody Award.

Right now, you can watch the orig­i­nal Cos­mos episodes over on Twitch.TV. From time to time, Twitch airs marathon ses­sions of old pro­grams. They did Julia Child’s “The French Chef” back in 2016. Now it’s Sagan’s turn.

Usu­al­ly the videos are only avail­able for a few days. So you might want to start your binge-watch­ing ses­sion now. If you miss the boat, you could always pick up a copy of the show on Blu-Ray.

Twitch.TV orig­i­nal­ly aired the Cos­mos series last spring as part of a Sci­ence Week cel­e­bra­tion. Read their press release for more infor­ma­tion.

Update: Neil deGrasse Tyson just coin­ci­den­tal­ly announced this on Twit­ter: “Yup. We got the band back togeth­er. Anoth­er sea­son of Cos­mos is offi­cial­ly real. COSMOS: Pos­si­ble Worlds To air on & in a year — Spring 2019. Be there.”

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

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

via Big­Think

Relat­ed Con­tent:

Carl Sagan Pre­dicts the Decline of Amer­i­ca: Unable to Know “What’s True,” We Will Slide, “With­out Notic­ing, Back into Super­sti­tion & Dark­ness” (1995)

Carl Sagan Presents His “Baloney Detec­tion Kit”: 8 Tools for Skep­ti­cal Think­ing

Carl Sagan & the Dalai Lama Meet in 1991 and Dis­cuss When Sci­ence Can Answer Big Ques­tions Bet­ter Than Reli­gion

The Pio­neer­ing Physics TV Show, The Mechan­i­cal Uni­verse, Is Now on YouTube: 52 Com­plete Episodes from Cal­tech

by | Permalink | Make a Comment ( 4 ) |

Google’s Free App Analyzes Your Selfie and Then Finds Your Doppelganger in Museum Portraits

Hav­ing the abil­i­ty to vir­tu­al­ly explore the his­to­ry, back sto­ries, and cul­tur­al sig­nif­i­cance of art­works from over a thou­sand muse­ums gen­er­ates nowhere near the excite­ment as a fea­ture allow­ing users to upload self­ies in hopes of locat­ing an Insta­gram-wor­thy dop­pel­gänger some­where in this vast dig­i­tal col­lec­tion.

On the oth­er hand, if this low-brow inno­va­tion leads great hordes of mil­len­ni­als and iGen-ers to cross the thresh­olds of muse­ums in over 70 coun­tries, who are we to crit­i­cize?

So what if their pri­ma­ry moti­va­tion is snap­ping anoth­er self­ie with their Flem­ish Renais­sance twin? As long as one or two devel­op a pas­sion for art, or a par­tic­u­lar muse­um, artist, or peri­od, we’re good.

Alas, some dis­grun­tled users (prob­a­bly Gen X‑ers and Baby Boomers) are giv­ing the Google Arts & Cul­ture app (iPhone-Android) one-star reviews, based on their inabil­i­ty to find the only fea­ture for which they down­loaded it.

Allow us to walk you through.

After installing the app (iPhone-Android) on your phone or tablet, scroll down the home­page to the ques­tion “Is your por­trait in a muse­um?”

The sam­pling of art­works fram­ing this ques­tion sug­gest that the answer may be yes, regard­less of your race, though one need not be a Gueril­la Girl to won­der if Cau­casian users are draw­ing their match­es from a far larg­er pool than users of col­or…

Click “get start­ed.” (You’ll have to allow the app to access your device’s cam­era.)

Take a self­ie. (I sup­pose you could hedge your bets by switch­ing the cam­era to front-fac­ing ori­en­ta­tion and aim­ing it at a pleas­ing pre-exist­ing head­shot.)

The app will imme­di­ate­ly ana­lyze the self­ie, and with­in sec­onds, boom! Say hel­lo to your five clos­est match­es.

In the name of sci­ence, I sub­ject­ed myself to this process, grin­ning as if I was sit­ting for my fourth grade school pic­ture. I and received the fol­low­ing results, none of them high­er than 47%:

Vic­to­rio C. Edades’ Moth­er and Daugh­ter (flat­ter­ing­ly, I was pegged as the daugh­ter, though at 52, the resem­blance to the moth­er is a far truer match.)

Gus­tave Courbet’s Jo, la Belle Irlandaise (Say what? She’s got long red hair and skin like Snow White!)

Hen­ry Inman’s por­trait of Pres­i­dent Mar­tin Van Buren’s daugh­ter-in-law and defac­to White House host­ess, Angel­i­ca Sin­gle­ton Van Buren (Well, she looks ….con­ge­nial. I do enjoy par­ties…)

 and Sir Antho­ny van Dyck’s post-mortem paint­ing of Vene­tia, Lady Dig­by, on her Deathbed (Um…)

Hop­ing that a dif­fer­ent pose might yield a high­er match I chan­neled artist Nina Katchadouri­an, and adopt­ed a more painter­ly pose, unsmil­ing, head cocked, one hand lyri­cal­ly rest­ing on my breast­bone… for good mea­sure, I moved away from the win­dow. This time I got:

Joseph Stella’s Boy with a Bag­pipe (Maybe this wasn’t such a hot idea with regard to my self-image?)

Cipri­ano Efsio Oppo Por­trait of Isabel­la (See above.)

Adolph Tidemand’s Por­trait of Guro Sil­vers­dat­ter Tra­ven­dal (Is this uni­verse telling me it’s Babush­ka Time?)

Johannes Chris­tiann Janson’s A Woman Cut­ting Bread (aka Renounce All Van­i­ty Time?)

and Anders Zorn’s Madon­na (This is where the mean cheer­leader leaps out of the bath­room stall and calls me the horse from Guer­ni­ca, right?)

Mer­ci­ful­ly, none of these results topped the 50% mark, nor did any of the exper­i­ments I con­duct­ed using self­ies of my teenage son (whose 4th clos­est match had a long white beard).

Per­haps there are still a few bugs to work out?

If you’re tempt­ed to give Google Arts and Culture’s exper­i­men­tal por­trait fea­ture a go, please let us know how it worked out by post­ing a com­ment below. Maybe we’re twins, I mean, triplets!

If such folderol is beneath you, please avail your­self of the app’s orig­i­nal fea­tures:

  • Zoom Views — Expe­ri­ence every detail of the world’s great­est trea­sures
  • Vir­tu­al Real­i­ty — Grab your Google Card­board view­er and immerse your­self in arts and cul­ture
  • Browse by time and col­or — Explore art­works by fil­ter­ing them by col­or or time peri­od
  • Vir­tu­al tours — Step inside the most famous muse­ums in the world and vis­it icon­ic land­marks
  • Per­son­al col­lec­tion — Save your favorite art­works and share your col­lec­tions with friends
  • Near­by — Find muse­ums and cul­tur­al events around you
  • Exhibits — Take guid­ed tours curat­ed by experts
  • Dai­ly digest — Learn some­thing new every time you open the app
  • Art Rec­og­niz­er — Learn more about art­works at select muse­ums by point­ing your device cam­era at them, even when offline
  • Noti­fi­ca­tions — sub­scribe to receive updates on the top arts & cul­ture sto­ries

Down­load Google Arts and Cul­ture or update to Ver­sion 6.0.17 here (for Mac) or here (for Android).

Note: We’re get­ting reports that the app does­n’t seem to be avail­able in every geo­graph­i­cal loca­tion. If it’s not avail­able where you live, we apol­o­gize in advance.

via Good House­keep­ing

Relat­ed Con­tent:

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

Google Art Project Expands, Bring­ing 30,000 Works of Art from 151 Muse­ums to the Web

Google Cre­ates a Dig­i­tal Archive of World Fash­ion: Fea­tures 30,000 Images, Cov­er­ing 3,000 Years of Fash­ion His­to­ry

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

Stream Big Playlists of Music from Haruki Murakami’s Personal Vinyl Collection and His Strange Literary Worlds

Haru­ki Muraka­mi read­ers, or even those of us who’ve just read about his nov­els, know to expect cer­tain things from his books: cats, ears, wells, strange par­al­lel real­i­ties, and above all music. And not just any music, but high­ly delib­er­ate selec­tions from the West­ern clas­si­cal, pop, and jazz canons, all no doubt pulled straight from the shelves of the writer’s vast per­son­al record library. That per­son­al library may well have grown a few records vaster today, giv­en that it’s Murakami’s 69th birth­day. To mark the occa­sion, we’ve round­ed up a few hit playlists of music from the Nor­we­gian WoodThe Wind-Up Bird Chron­i­cle, and 1Q84 author’s work as well as his life.

At the top of the post we have a Youtube playlist of songs from the artists fea­tured in Murakami’s non-fic­tion Por­trait in Jazz books, still, like most of his essay­is­tic writ­ing, untrans­lat­ed into Eng­lish. We orig­i­nal­ly high­light­ed it in a post on his for­mi­da­ble love of that most Amer­i­can of all musi­cal tra­di­tions, which got him run­ning a jazz bar in Tokyo years before he became a nov­el­ist. Just above, you’ll find a 96-song Spo­ti­fy playlist of the songs fea­tured in his nov­els, fea­tur­ing jazz record­ings by the likes of Miles Davis, Duke Elling­ton, and Thelo­nious Monk, the clas­si­cal com­po­si­tions of Mozart, Bach, Beethoven, and Haydn, and pop num­bers from the Beach Boys, Elvis Pres­ley, Hall and Oates, and Michael Jack­son.

Final­ly, you can close out this musi­cal Muraka­mi birth­day with the Spo­ti­fy playlist above of music from his own vinyl col­lec­tion — though at 3,350 songs in total, it will prob­a­bly extend the cel­e­bra­tion beyond a day. Even that lis­ten­ing expe­ri­ence sure­ly rep­re­sents only a frac­tion of what Muraka­mi keeps on his shelves, all of it offer­ing poten­tial mate­r­i­al for his next inex­plic­a­bly grip­ping sto­ry. And though the Eng­lish-speak­ing world still awaits its trans­la­tion of Murakami’s lat­est nov­el Killing Com­menda­tore, which came out in Japan last year, you can hear the music it name-checks in the Youtube playlist below. Some­thing about the mix — Richard Strauss, Sheryl Crow, the Mod­ern Jazz Quar­tet, Duran Duran — sug­gests we’re in for anoth­er Murakami­an read­ing expe­ri­ence indeed:

Relat­ed Con­tent:

An Intro­duc­tion to the World of Haru­ki Muraka­mi Through Doc­u­men­taries, Sto­ries, Ani­ma­tion, Music Playlists & More

A 3,350-Song Playlist of Music from Haru­ki Murakami’s Per­son­al Record Col­lec­tion

Haru­ki Murakami’s Pas­sion for Jazz: Dis­cov­er the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

Haru­ki Muraka­mi Lists the Three Essen­tial Qual­i­ties For All Seri­ous Nov­el­ists (And Run­ners)

Read Online Haru­ki Murakami’s New Essay on How a Base­ball Game Launched His Writ­ing Career

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

19-Year-Old Student Uses Early Spy Camera to Take Candid Street Photos (Circa 1895)

We are gen­er­al­ly accus­tomed to think­ing of 19th cen­tu­ry pho­tog­ra­phy as quite sta­t­ic and rigid, and for much of its ear­ly his­to­ry, tech­ni­cal lim­i­ta­tions ensured that it was. Por­trai­ture espe­cial­ly pre­sent­ed a chal­lenge to ear­ly pho­tog­ra­phers, since it involved sub­jects who want­ed, or need­ed, to move, while long expo­sure times called for max­i­mum still­ness. Thus, we have the stiff, unsmil­ing pos­es of peo­ple try­ing to make like trees and stay plant­ed in place.

One strik­ing excep­tion, from 1843, shows us a jovial group­ing of three men in the first known pic­ture of mer­ry-mak­ing at the pub. Though staged, and includ­ing one of the duo of pho­tog­ra­phers respon­si­ble for the por­trait, the image has all the vital­i­ty of an off-the-cuff snap­shot. We might be sur­prised to learn that it would only be a few decades lat­er, before the turn of the cen­tu­ry, when tru­ly can­did shots of peo­ple in action could be made with rel­a­tive ease.

Not only were many of these pho­tos can­did, but many were also secre­tive, the prod­uct of the C.P. Stirn Con­cealed Vest Spy Cam­era. The images here come from one such cam­era hid­den in the but­ton­hole of Carl Størmer, a Nor­we­gian math­e­mati­cian and physi­cist who was at the time a 19-year-old stu­dent at the Roy­al Fred­er­ick Uni­ver­si­ty. Størmer strolled the streets of Oslo, greet­ing passers­by and, unbe­knownst to them, tak­ing the por­traits you see here, which show us peo­ple from the peri­od in relaxed, active pos­es, going about their dai­ly lives, “often smil­ing,” writes This is Colos­sal, “and per­haps caught off guard from the young stu­dent angling for the shot.”

The Con­cealed Vest Cam­era was invent­ed by Robert D. Gray, notes Cam­er­a­pe­dia. In 1886, C.P. Stirn bought the rights to the device, and his broth­er Rudolf man­u­fac­tured them in Berlin. The cam­era came in two sizes, “one for mak­ing four 6cm wide round expo­sures… the oth­er with a small­er lens fun­nel, for mak­ing six 4cm wide round expo­sures.” Mar­ket­ed by Stirn & Lyon in New York, the cam­eras sold by the tens of thou­sands (as the ad above informs us).

Størmer’s own cam­era was the small­er ver­sion, as we learn from his com­ments to the St. Hal­l­vard Jour­nal in 1942: “I strolled down Carl Johan, found me a vic­tim, greet­ed, got a gen­tle smile and pulled. Six images at a time and then I went home to switch [the] plate.” The future sci­en­tist, soon to be known for his work on num­ber the­o­ry and his sta­tus as an author­i­ty on polar auro­ra, took around 500 such secret pho­tographs. (See 484 of them at the Nor­we­gian Folke­mu­se­um site.) He even man­aged to get a shot of Hen­rik Ibsen, just above.

The Stirn Vest Cam­era joins a num­ber of oth­er ear­ly clan­des­tine imag­ing devices, includ­ing a tele­scop­ic watch cam­era made in 1886 and book cam­era from 1888. Spy cam­eras were refined over the years, becom­ing essen­tial to espi­onage dur­ing two World Wars and the ensu­ing con­test for glob­al suprema­cy dur­ing the Cold War. But Størmer’s pho­to­graph­ic inter­ests became more ger­mane to his sci­en­tif­ic work. “Togeth­er with O.A. Krognes,” writes the Nor­we­gian North­ern Lights site Nordlys, he “built the first auro­ral cam­eras” and took “more than 40,000 pic­tures” of the phe­nom­e­na (learn more about such work here).

Størmer’s North­ern Lights pho­tos are much hard­er to find online than the charm­ing but­ton­hole cam­era por­traits from his stu­dent days. But just above, see an image from eBay pur­port­ing to show the sci­en­tist and pho­tog­ra­phy enthu­si­ast bun­dled up behind a cam­era, pho­tograph­ing the auro­ra.

via Bored Pan­da/This is Colos­sal

Relat­ed Con­tent:

The First Known Pho­to­graph of Peo­ple Shar­ing a Beer (1843)

See the First Pho­to­graph of a Human Being: A Pho­to Tak­en by Louis Daguerre (1838)

The His­to­ry of Pho­tog­ra­phy in Five Ani­mat­ed Min­utes: From Cam­era Obscu­ra to Cam­era Phone

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

The Film Posters of the Russian Avant-Garde

To com­mem­o­rate the cen­ten­ni­al of Russia’s Octo­ber Rev­o­lu­tion (it seems like only yes­ter­day, com­rade!) Taschen has yet again deliv­ered an impres­sive tome of a book, enti­tled Film Posters of the Russ­ian Avant-Garde. Col­lec­tor Susan Pack has put togeth­er this selec­tion of 250 posters by 27 artists for films both well known and lost to his­to­ry.

The book first came out in 1995, but this new edi­tion is small­er and mul­ti­lin­gual, like many of their new releas­es.

The style still impress­es and influ­ences today, with its com­bi­na­tion of pho­to-real­ist faces and the jagged ener­gy of con­struc­tivism.

Many of the artists nev­er saw the films they were adver­tis­ing, but plain­ly not a bad thing here. Artists like Alek­san­dr Rod­chenko (who was also a design­er and pho­tog­ra­ph­er) and the Sten­berg Broth­ers (sculp­tors and set design­ers) mixed pho­tos with lith­o­graphs, incor­po­rat­ed the film’s cred­its into the actu­al art, and wor­ried not about sell­ing the sto­ry beyond a basic excite­ment lev­el. This was art designed to get peo­ple in the door, regard­less of the film. And, if you think about it, it’s art that could not exist in this cur­rent era. Who would com­mis­sion a film poster blind­ly? Nobody, my friend.

Still, it was in no way ide­al for the artists. They often had less than a day to fin­ish some­thing, and the print­ing press­es were pre-rev­o­lu­tion vin­tage and in var­i­ous stages of repair. And very few, we can assume, thought their posters would be saved and col­lect­ed. Pack’s col­lec­tion often con­tains the only sur­viv­ing copies of a cer­tain work.

Stal­in stopped all this once he took pow­er and insist­ed that only social­ist real­ism be depict­ed in art. This style has its own col­lec­tors, for sure, but there’s always a tinge of kitsch to it all, because it reveals the lie that was the Stal­in era. Where­as the dynamism of these ear­ly posters still main­tain their aes­thet­ic hold, spring­ing from a time where hope, excite­ment, and rev­o­lu­tion were puls­ing through the coun­try and its pop­u­lace.

via Vice/Hyper­al­ler­gic

Relat­ed Con­tent:

40,000 Film Posters in a Won­der­ful­ly Eclec­tic Archive: Ital­ian Tarkovsky Posters, Japan­ese Orson Welles, Czech Woody Allen & Much More

“Glo­ry to the Con­querors of the Uni­verse!”: Pro­pa­gan­da Posters from the Sovi­et Space Race (1958–1963)

Strik­ing French, Russ­ian & Pol­ish Posters for the Films of Andrei Tarkovsky

Down­load 144 Beau­ti­ful Books of Russ­ian Futur­ism: Mayakovsky, Male­vich, Khleb­nikov & More (1910–30)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

A Brief History of Making Deals with the Devil: Niccolò Paganini, Robert Johnson, Jimmy Page & More

When the term “witch hunt” gets thrown around in cas­es of pow­er­ful men accused of harass­ment and abuse, his­to­ri­ans every­where bang their heads against their desks. The his­to­ry of per­se­cut­ing witches—as every school­boy and girl knows from the famous Salem Trials—involves accu­sa­tions mov­ing decid­ed­ly in the oth­er direc­tion.

But we’re very famil­iar with men sup­pos­ed­ly sell­ing out to Satan, dealing—or just dueling—with the dev­il. They weren’t called witch­es for doing so, or burned at the stake. They were blues pio­neers, vir­tu­oso fid­dlers, and gui­tar gods. From the dev­il­ish­ly dash­ing Nic­colò Pagani­ni, to Robert John­son at the Cross­roads, to Jim­my Page’s black mag­ic, to “The Dev­il Went Down to Geor­gia,” to the omnipres­ence of Satan in met­al…. The dev­il “seems to have quite the inter­est in music,” notes the Poly­phon­ic video above.

Before musi­cians came to terms with the dark lord, pow­er-hun­gry schol­ars used demonolo­gy to sum­mon Lucifer­ian emis­saries like Mephistophe­les. The leg­end of Faust dates back to the late 16th cen­tu­ry and a his­tor­i­cal alchemist named Johann Georg Faust, who inspired many dra­mat­ic works, like Christo­pher Marlowe’s The Trag­i­cal His­to­ry of Doc­tor Faus­tus, Johann Goethe’s Faust, Thomas Mann’s Doc­tor Faus­tus, Mikhail Bugakov’s The Mas­ter and Mar­gari­ta, and F.W. Murnau’s 1926 silent film.

The Faust leg­end may be the stur­di­est of such sto­ries, but it is not by any means the ori­gin of the idea. Medieval Catholic saints feared the dev­il’s entice­ments con­stant­ly. Medieval occultists often saw things dif­fer­ent­ly. If we can trace the notion of women con­sort­ing with the dev­il to the Bib­li­cal Eve in the Gar­den, we find male ana­logues in the New Testament—Christ’s temp­ta­tions in the desert, Judas’s thir­ty pieces of sil­ver, the pos­sessed vagrant who sends his demons into a herd of pigs. But we might even say that God made the first deal with the dev­il, in the open­ing wager of the book of Job.

In most examples—Charlie Daniels’ tri­umphal folk tale aside—the deal usu­al­ly goes down bad­ly for the mor­tal par­ty involved, as it did for Robert John­son when the dev­il came for his due, and con­vened the mor­bid­ly fas­ci­nat­ing 27 Club. Goethe impos­es a redemp­tive hap­py end­ing onto Faust that seems to wild­ly over­com­pen­sate for the typ­i­cal fate of souls in hell’s pawn shop. Kierkegaard took the idea seri­ous­ly as a cul­tur­al myth, and wrote in Either/Or that “every notable his­tor­i­cal era will have its own Faust.”

Mod­ern-day Fausts in the pop­u­lar genre of the day, the con­spir­a­cy the­o­ry, are famous enter­tain­ers, as you can see in the unin­ten­tion­al­ly humor­ous super­cut above from a YouTube chan­nel called “End­TimeChris­t­ian.” As it hap­pens in these kinds of nar­ra­tives, the cul­tur­al trope gets tak­en far too lit­er­al­ly as a real event. The Faust leg­end shows us that mak­ing deals with the dev­il has been a lit­er­ary device for hun­dreds of years, pass­ing into pop­u­lar cul­ture, then the blues—a genre haunt­ed by hell hounds and infer­nal crossroads—and its prog­e­ny in rock and roll and hip hop.

Those who talk of sell­ing their souls might real­ly believe it, but they inher­it­ed the lan­guage from cen­turies of West­ern cul­tur­al and reli­gious tra­di­tion. Sell­ing one’s soul is a com­mon metaphor for liv­ing a car­nal life, or get­ting into bed with shady char­ac­ters for world­ly suc­cess. But it’s also a play­ful notion. (A mis­un­der­stood aspect of so much met­al is its com­ic Satan­ic overkill.) John­son him­self turned the sto­ry of sell­ing his soul into an icon­ic boast, in “Cross­roads” and “Me and the Dev­il Blues.” “Hel­lo Satan,” he says in the lat­ter tune, “I believe it’s time to go.”

Chill­ing in hind­sight, the line is the bluesman’s grim­ly casu­al acknowl­edg­ment of how life on the edge would catch up to him. But it was worth it, he also sug­gests, to become a leg­end in his own time. In the short, ani­mat­ed video above from Music Mat­ters, John­son meets the horned one, a slick oper­a­tor in a suit: “Sud­den­ly, no one could touch him.” Often when we talk these days about peo­ple sell­ing their souls, they might even­tu­al­ly end up singing, but they don’t make beau­ti­ful music. In any case, the moral of almost every ver­sion of the sto­ry is per­fect­ly clear: no mat­ter how good the deal seems, the dev­il nev­er fails to col­lect on a debt.

Relat­ed Con­tent:

The Sto­ry of Blues­man Robert Johnson’s Famous Deal With the Dev­il Retold in Three Ani­ma­tions

Watch Häx­an, the Clas­sic Cin­e­mat­ic Study of Witch­craft Nar­rat­ed by William S. Bur­roughs (1922)

Aleis­ter Crow­ley: The Wickedest Man in the World Doc­u­ments the Life of the Bizarre Occultist, Poet & Moun­taineer

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

How Reading Increases Your Emotional Intelligence & Brain Function: The Findings of Recent Scientific Studies

Image by Sheila Sund, via Flickr Com­mons

Read­ing “availeth much,” to bor­row an old phrase from the King James Bible. To read is to expe­ri­ence more of the world than we can in per­son, to enter into the lives of oth­ers, to orga­nize knowl­edge accord­ing to use­ful schemes and cat­e­gories…. Or, at least it can be. Much recent research strong­ly sug­gests that read­ing improves emo­tion­al and cog­ni­tive intel­li­gence, by chang­ing and acti­vat­ing areas of the brain respon­si­ble for these qual­i­ties.

Is read­ing essen­tial for the sur­vival of the species? Per­haps not. “Humans have been read­ing and writ­ing for only about 5000 years—too short for major evo­lu­tion­ary changes,” writes Greg Miller in Sci­ence. We got by well enough for tens of thou­sands of years before writ­ten lan­guage. But neu­ro­sci­en­tists the­o­rize that read­ing “rewires” areas of the brain respon­si­ble for both vision and spo­ken lan­guage. Even adults who learn to read late in life can expe­ri­ence these effects, increas­ing “func­tion­al con­nec­tiv­i­ty with the visu­al cor­tex,” some researchers have found, which may be “the brain’s way of fil­ter­ing and fine-tun­ing the flood of visu­al infor­ma­tion that calls for our atten­tion” in the mod­ern world.

This improved com­mu­ni­ca­tion between areas of the brain might also rep­re­sent an impor­tant inter­ven­tion into devel­op­men­tal dis­or­ders. One Carnegie Mel­lon study, for exam­ple, found that “100 hours of inten­sive read­ing instruc­tion improved chil­dren’s read­ing skills and also increased the qual­i­ty of… com­pro­mised white mat­ter to nor­mal lev­els.” The find­ings, says Thomas Insel, direc­tor of the Nation­al Insti­tute of Men­tal Health, sug­gest “an excit­ing approach to be test­ed in the treat­ment of men­tal dis­or­ders, which increas­ing­ly appear to be due to prob­lems in spe­cif­ic brain cir­cuits.”

Read­ing can not only improve cog­ni­tion, but it can also lead to a refined “the­o­ry of mind,” a term used by cog­ni­tive sci­en­tists to describe how “we ascribe men­tal states to oth­er persons”—as the Inter­net Ency­clo­pe­dia of Phi­los­o­phy notes—and “how we use the states to explain and pre­dict the actions of those oth­er per­sons.” Improved the­o­ry of mind, or “intu­itive psy­chol­o­gy,” as it’s also called, can result in greater lev­els of empa­thy and per­haps even expand­ed exec­u­tive func­tion, allow­ing us to bet­ter “hold mul­ti­ple per­spec­tives in mind at once,” writes Brit­tany Thomp­son, “and switch between those per­spec­tives.”

Improved the­o­ry of mind comes pri­mar­i­ly from read­ing nar­ra­tives, research sug­gests. One meta-analy­sis pub­lished by Ray­mond A. Mar of Toronto’s York Uni­ver­si­ty reviews many of the stud­ies demon­strat­ing the effect of sto­ry com­pre­hen­sion on the­o­ry of mind, and con­cludes that the bet­ter we under­stand the events in a nar­ra­tive, the bet­ter we are able to under­stand the actions and inten­tions of those around us. The kinds of nar­ra­tives we read, more­over, might also make a dif­fer­ence. One study, con­duct­ed by psy­chol­o­gists David Com­er Kidd and Emanuele Cas­tano of the New School for Social Research, test­ed the effect of dif­fer­ences in writ­ing qual­i­ty on empa­thy respons­es, ran­dom­ly assign­ing 1,000 par­tic­i­pants excerpts from both pop­u­lar best­sellers and lit­er­ary fic­tion.

To define the dif­fer­ence between the two, the researchers referred to crit­ic Roland Barthes’ The Plea­sure of the Text. As Kidd explains:

Some writ­ing is what you call ‘writer­ly’, you fill in the gaps and par­tic­i­pate, and some is ‘read­er­ly’, and you’re enter­tained. We tend to see ‘read­er­ly’ more in genre fic­tion like adven­ture, romance and thrillers, where the author dic­tates your expe­ri­ence as a read­er. Lit­er­ary [writer­ly] fic­tion lets you go into a new envi­ron­ment and you have to find your own way.

The researchers used two the­o­ry of mind tests to mea­sure degrees of empa­thy and found that “scores were con­sis­tent­ly high­er for those who had read lit­er­ary fic­tion than for those with pop­u­lar fic­tion or non-fic­tion texts,” notes Liz Bury at The Guardian. Oth­er research has found that descrip­tive lan­guage stim­u­lates regions of our brains not clas­si­cal­ly asso­ci­at­ed with read­ing. “Words like ‘laven­der,’ ‘cin­na­mon’ and ‘soap,’ for exam­ple,” writes Annie Mur­phy Paul at The New York Times, cit­ing a 2006 study pub­lished in Neu­roIm­age, “elic­it a response not only from the lan­guage-pro­cess­ing areas of our brains, but also those devot­ed to deal­ing with smells.”

Read­ing, in oth­er words, can effec­tive­ly sim­u­late real­i­ty in the brain and pro­duce authen­tic emo­tion­al respons­es: “The brain, it seems, does not make much of a dis­tinc­tion between read­ing about an expe­ri­ence and encoun­ter­ing it in real life”—that is, if the expe­ri­ence is writ­ten about in sen­so­ry lan­guage. The emo­tion­al brain also does not seem to make a tremen­dous dis­tinc­tion between read­ing the writ­ten word and hear­ing it recit­ed or read. When study par­tic­i­pants in a joint Ger­man and Nor­we­gian exper­i­ment, for exam­ple, heard poet­ry read aloud, they expe­ri­enced phys­i­cal sen­sa­tions and “about 40 per­cent showed vis­i­ble goose bumps.”

But dif­fer­ent kinds of texts elic­it dif­fer­ent kinds of respons­es. We can read or lis­ten to a nov­el, for exam­ple, and, instead of only expe­ri­enc­ing sen­sa­tions, can “live sev­er­al lives while read­ing,” as William Sty­ron once wrote. The authors of a 2013 Emory Uni­ver­si­ty study pub­lished in Brain Con­nec­tiv­i­ty con­clude that read­ing nov­els can rewire areas of the brain, caus­ing “tran­sient changes in func­tion­al con­nec­tiv­i­ty.” These bio­log­i­cal changes were found to last up to five days after study par­tic­i­pants read Robert Har­ris’ 2003 nov­el Pom­peii. The height­ened con­nec­tiv­i­ty in cer­tain regions “cor­re­spond­ed to regions pre­vi­ous­ly asso­ci­at­ed with per­spec­tive tak­ing and sto­ry com­pre­hen­sion.”

So what? asks a skep­ti­cal Ian Stead­man at New States­man. Read­ing may cre­ate changes in the brain, but so does every­thing else, a phe­nom­e­non well-known by now as “neu­ro­plas­tic­i­ty.” Much of the report­ing on the neu­ro­science of read­ing, Stead­man argues, over­in­ter­prets the research to sup­port an “[x] ‘rewires’ the brain” myth both com­mon and “mis­tak­en.” Steadman’s cri­tiques of the Brain Con­nec­tiv­i­ty study are per­haps well-placed. The small sam­ple size, lack of a con­trol group, and neglect of ques­tions about dif­fer­ent kinds of writ­ing make its already ten­ta­tive con­clu­sions even less impres­sive. How­ev­er, more sub­stan­tive research, tak­en togeth­er, does show that the “rewiring” that hap­pens when we read—though per­haps tem­po­rary and in need of fre­quent refreshing—really does make us more cog­ni­tive­ly and social­ly adept. And that the kind of reading—or even lis­ten­ing—that we do real­ly does mat­ter.

via Big­Think/The Guardian/Har­vard

Relat­ed Con­tent:  

This Is Your Brain on Jane Austen: The Neu­ro­science of Read­ing Great Lit­er­a­ture

900 Free Audio Books: Down­load Great Books for Free 

7 Tips for Read­ing More Books in a Year

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


  • Great Lectures

  • Sign up for Newsletter

  • About Us

    Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.


    Advertise With Us

  • Archives

  • Search

  • Quantcast