Quentin Tarantino & Roger Avary Rewatch Cult-Classic Movies on Their New Video Archives Podcast
Quentin TaranÂtiÂno has countÂless fans all around the world, increasÂingÂly many of whom are too young to ever have rentÂed a tape from a video store. But when those twenÂty-someÂthing cinephiles learn his oriÂgin stoÂry as a filmÂmakÂer, they must susÂpect they missed out on a valuÂable expeÂriÂence in the VHS era, whatÂevÂer its inconÂveÂniences. When TaranÂtiÂno broke out in the nineÂteen-nineties with ReserÂvoir Dogs and Pulp FicÂtion, he was pubÂlicly celÂeÂbratÂed not just for those films, but for his havÂing made them as a video-store-clerk-turned-auteur.
Indeed, it realÂly does seem true that TaranÂtiÂno’s cinÂeÂmatÂic senÂsiÂbilÂiÂty owes someÂthing to the years he’d spent exerÂcisÂing his movie experÂtise behind the counter at Video Archives in ManÂhatÂtan Beach. When the store closed in 1995, the freshÂly ascenÂdant TaranÂtiÂno seized the opporÂtuÂniÂty to buy up its thouÂsands of VHS tapes. Roger Avary, his felÂlow Archives alumÂnus and colÂlabÂoÂraÂtor on the screenÂplay for Pulp FicÂtion, bought the Laserdiscs. Though much of Avary’s colÂlecÂtion has sucÂcumbed to the “disc rot” that notoÂriÂousÂly afflicts that forÂmat, TaranÂtiÂno’s colÂlecÂtion has held up for more than a quarÂter-cenÂtuÂry.
Now TaranÂtiÂno’s priÂvate tape stash proÂvides the mateÂrÂiÂal for his and Avary’s latÂest colÂlabÂoÂraÂtion: The Video Archives PodÂcast, to which you can lisÂten on platÂforms like Apple PodÂcasts and StitchÂer. On it, the two of them aim to re-creÂate the veheÂmentÂly cinephile enviÂronÂment of Video Archives by disÂcussing the movies from its stock — after watchÂing them on the actuÂal VHS tapes the store once rentÂed out. As TaranÂtiÂno explains it, each episode of The Video Archives PodÂcast will feaÂture three titles. But the conÂverÂsaÂtions will go well beyond the films themÂselves, involvÂing details of the parÂticÂuÂlar home-video releasÂes popped into the VCR as well as the hisÂtoÂry of the disÂtribÂuÂtors that put them out.
NatÂuÂralÂly, the hosts also get into their perÂsonÂal hisÂtoÂries with these movies — which in some casÂes go back nearÂly 50 years — as film-lovers and filmÂmakÂers. Owing to the need to introÂduce the show itself, in the first episode they disÂcuss only two picÂtures, both from the nineÂteen-sevÂenÂties: John CarÂpenÂter and Dan O’BanÂnon’s anti-estabÂlishÂment sci-fi comÂeÂdy Dark Star, folÂlowed by Ulli LomÂmel’s rock-Mafia draÂma Cocaine CowÂboys, which feaÂtures a cameo from Andy Warhol. RepÂreÂsentÂing a younger genÂerÂaÂtion is Avary’s daughÂter Gala, proÂducÂer of the podÂcast, who in a mid-show segÂment (and her own after-show) offers anothÂer perÂspecÂtive on the movies of the week. She clearÂly knows how to appreÂciÂate a cult clasÂsic, even if she’s nevÂer paid a late fee in her life.
RelatÂed conÂtent:
Quentin TaranÂtiÂno Explains How to Write & Direct Movies
An AnalyÂsis of Quentin Tarantino’s Films NarÂratÂed (MostÂly) by Quentin TaranÂtiÂno
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, 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.
Read More...Scenes from The Wizard of Oz Remastered in Brilliant 4K Detail: Behold the Work of a Creative YouTuber
The WizÂard of Oz came out more than 80 years ago, but there must still be a few among us who rememÂber seeÂing it in the theÂater. Only they would have felt comÂpleteÂly the powÂer of its famous scene when Dorothy leaves black-and-white Kansas and enters the colÂorÂful land of Oz. Much of the powÂer of art comes from conÂtrast, and this parÂticÂuÂlar conÂtrast could hardÂly have been a more perÂsuaÂsive adverÂtiseÂment for the powÂer of TechÂniÂcolÂor. After a develÂopÂment hisÂtoÂry of more than twenÂty years, that colÂor motion-picÂture process had by 1939 reached the stage of its techÂnoÂlogÂiÂcal evoÂluÂtion called “Process 4,” which enabled stuÂdios to make use of not just some but all of the specÂtrum.
This final form of TechÂniÂcolÂor enrapÂtures viewÂers even today, reproÂducÂing colÂors as it did at intense, someÂtimes borÂderÂline-psyÂcheÂdelÂic depths of satÂuÂraÂtion. The process found its ideÂal mateÂrÂiÂal in the fanÂtaÂsy of The WizÂard of Oz, with its yelÂlow brick road (choosÂing whose exact shade inspired about a week of delibÂerÂaÂtion at MGM), its ruby slipÂpers (calÂcuÂlatÂedÂly changed from the silÂver shoes in L. Frank Baum’s origÂiÂnal novÂel), and its host of setÂtings and charÂacÂters with great chroÂmatÂic potenÂtial.
You can appreÂciÂate this un-repeatÂably forÂtuÂitous interÂsecÂtion of conÂtent and techÂnolÂoÂgy again in these scenes from an unofÂfiÂcial 4K restoraÂtion of the film postÂed by YoutuÂber Oriel Malik.
This is sureÂly the sharpest and most-detail rich verÂsion of The WizÂard of Oz most of us have seen, and, in those respects, it actuÂalÂly outÂdoes the origÂiÂnal prints of the film. For some the image may actuÂalÂly be too clear, makÂing obviÂous as it does cerÂtain artiÂfiÂcial-lookÂing aspects of the backÂgrounds and cosÂtumes. But in a sense this may not run counter to the intenÂtions of the filmÂmakÂers, who knew full well what genre they were workÂing in: even on film, a musiÂcal must retain at least some of the look and feel of the stage. Yet it’s also true that the softÂer visuÂal edges of the conÂtemÂpoÂrary anaÂlog printÂing and proÂjecÂtion techÂnoloÂgies would have enhanced the dreamÂlike atmosÂphere creÂatÂed in part by all those surÂreÂalÂly vivid hues — which, accordÂing to die-hard TechÂniÂcolÂor enthuÂsiÂasts, only realÂly come through on film anyÂway.
RelatÂed conÂtent:
The ComÂplete WizÂard of Oz Series, AvailÂable as Free eBooks and Free Audio Books
The WizÂard of Oz BroÂken Apart and Put Back TogethÂer in AlphaÂbetÂiÂcal Order
Dark Side of the RainÂbow: Pink Floyd Meets The WizÂard of Oz in One of the EarÂliÂest Mash-Ups
Watch the EarÂliÂest SurÂvivÂing Filmed VerÂsion of The WizÂard of Oz (1910)
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, 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.
Read More...Free Documentaries from Spain Let You Watch the Traditional Making of Wine, Cheese, Churros, Honey & More
The SpanÂish filmÂmakÂer EugeÂnio MonÂesÂma has dedÂiÂcatÂed his life to capÂturÂing the traÂdiÂtions of his homeÂland and its surÂroundÂing areas. He began his career by first takÂing up a Super‑8 camÂera at age 25 back in the nineÂteen-sevÂenÂties, and in the decades since, his misÂsion has takÂen him to the furÂthest corÂners of Spain and beyond in search of ever-oldÂer ways to preÂserve in detail. This places his work in the traÂdiÂtion of the anthroÂpoÂlogÂiÂcal or ethnoÂgraphÂic docÂuÂmenÂtary. But in a still-unconÂvenÂtionÂal move in his field, he’s unitÂed the old with the new by creÂatÂing his own Youtube chanÂnel on which to make his docÂuÂmenÂtaries free to watch around the world.
Launched in 2020, MonÂesÂma’s chanÂnel has become a surÂprisÂing hit. At the top of the post you can watch its most popÂuÂlar video, his short 1997 docÂuÂmenÂtary on the makÂing of combs from aniÂmal horns — which, as of this writÂing, has racked up nearÂly 8.5 milÂlion views. This hapÂpens to be one of the proÂducÂtions that took him beyond Spain’s borÂders, if only just: to the French vilÂlage of LesparÂrou, specifÂiÂcalÂly, which mainÂtained its small horn comb facÂtoÂries until the end of the twenÂtiÂeth cenÂtuÂry.
Their process is narÂratÂed in the immacÂuÂlate SpanÂish dicÂtion of MonÂesÂma himÂself, but you can also take your pick of subÂtiÂtles in more than a dozen othÂer lanÂguages. OthÂer of his docÂuÂmenÂtaries that have become popÂuÂlar on Youtube include docÂuÂmenÂtaries on the traÂdiÂtionÂal makÂing of cheese, silk, wine, potÂtery, honÂey and wax, knives, and leather.
Many of these videos run under twenÂty minÂutes; some reach nearÂly feaÂture length. All of them satÂisÂfy a desire, which now seems wideÂly felt among viewÂers of Youtube, to witÂness thorÂoughÂly anaÂlog processÂes that have been in use, changÂing and evolvÂing only gradÂuÂalÂly, for long stretchÂes of hisÂtoÂry.
And the fact that the things made so often look deliÂcious cerÂtainÂly doesÂn’t make MonÂesÂma’s work less comÂpelling: take, for examÂple, the artiÂsanal churÂros of PamÂplonÂa’s ChurÂrerĂa de la MañueÂta, whose appeal is sureÂly uniÂverÂsal. In Korea, where I live, the past decade has a fad for churÂros elabÂoÂrateÂly coatÂed and topped with colÂors and flaÂvors unknown to traÂdiÂtion, and I’d be lying if I said I wasÂn’t curiÂous what MonÂesÂma would have to say about it.
RelatÂed conÂtent:
20 MesÂmerÂizÂing Videos of JapanÂese ArtiÂsans CreÂatÂing TraÂdiÂtionÂal HandÂiÂcrafts
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, 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.
Read More...Never-Seen Vincent Van Gogh Self-Portrait Discovered Behind an Earlier Painting
The name of VinÂcent Van Gogh is one of the very best known in the hisÂtoÂry of paintÂing, and indeed the hisÂtoÂry of art. But that doesÂn’t mean the man himÂself enjoyed any sucÂcess in his short lifeÂtime. Though he was conÂvinced that he was creÂatÂing “the art of the future,” and seemÂingÂly right to believe it, the buyÂers of nineÂteenth-cenÂtuÂry EuroÂpean art didÂn’t see it quite that way. ConÂseÂquentÂly impovÂerÂished, Van Gogh had to resort to unconÂvenÂtionÂal strateÂgies to mainÂtain his artisÂtic proÂducÂtivÂiÂty. Instead of proÂfesÂsionÂal modÂels, for examÂple, he hired peasÂants and peoÂple from the streets. And when he couldÂn’t paint them, he paintÂed himÂself.
Van Gogh would also econÂoÂmize by re-using his canÂvasÂes, a pracÂtice not unknown in his day. “HowÂevÂer, instead of paintÂing over earÂliÂer works,” writes JorÂdan Ogg at NationÂal GalÂleries ScotÂland, “he would turn the canÂvas around and work on the reverse.”
It seems he did this with the NationÂal GalÂleries ScotÂland’s own Head of a PeasÂant Woman, whose back side turns out to bear a hithÂerÂto unknown self-porÂtrait hidÂden by “layÂers of glue and cardÂboard” for well over a cenÂtuÂry. X‑ray analyÂsis has revealed “a beardÂed sitÂter in a brimmed hat with a neckÂerÂchief looseÂly tied at the throat. He fixÂes the viewÂer with an intense stare, the right side of his face in shadÂow and his left ear clearÂly visÂiÂble.”
Even in its ghostÂly lack of detail, this face seems to be unmisÂtakÂable. If it belongs to who we think it does, it will become the 36th known Van Gogh self-porÂtrait. It would have been paintÂed before 1884’s Head of a PeasÂant Woman, “durÂing a key moment in Van Gogh’s career, when he was exposed to the work of the French impresÂsionÂists after movÂing to Paris.” You can learn about the ongoÂing process of this lost self-porÂtrait’s redisÂcovÂery in the video at the top of the post. Van Gogh expressed conÂvicÂtion that he was paintÂing for latÂer genÂerÂaÂtions, but sureÂly even he would be astoundÂed at the exciteÂment of twenÂty-first cenÂtuÂry curaÂtors about findÂing anothÂer of his self porÂtraits — and one he saw fit to give the cardÂboard treatÂment at that.
RelatÂed conÂtent:
Watch as Van Gogh’s Famous Self-PorÂtrait Morphs Into a PhoÂtoÂgraph
AI & X‑Rays RecovÂer Lost ArtÂworks UnderÂneath PaintÂings by PicasÂso & Modigliani
A Restored VerÂmeer PaintÂing Reveals a PorÂtrait of a Cupid HidÂden for Over 350 Years
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, 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.
Read More...The Metropolitan Museum of Art Restores the Original Colors to Ancient Statues
The idea that the human species can be neatÂly brackÂetÂed into racial groups based on superÂfiÂcial charÂacÂterÂisÂtics like skin, hair, and eye colÂor only develÂoped in the 18th cenÂtuÂry, and mainÂly took root as a pseuÂdo-sciÂenÂtifÂic jusÂtiÂfiÂcaÂtion for slavÂery and coloÂnialÂism. CenÂtral to that idea was the ClasÂsiÂcal IdeÂal of BeauÂty, a stanÂdard supÂposÂedÂly set by Greek and Roman statÂuÂary from antiqÂuiÂty. As beliefs in regionÂal supremaÂcy in WestÂern Europe transÂformed in the modÂern era into “White” supremaÂcy, the stark whiteÂness of antique statÂuÂary became a speÂcifÂic point of pride. But ancient peoÂple did not think in terms of race, and ancient sculpÂtors nevÂer intendÂed their creÂations to stand around in pubÂlic withÂout colÂor. “For the ancient Greeks and Romans,” Elaine Velie writes at HyperÂalÂlerÂgic, “white marÂble was not conÂsidÂered the final prodÂuct, but rather a blank canÂvas.”
As MetÂroÂpolÂiÂtan MuseÂum of Art curaÂtor Seán HemÂingÂway says, “White supremaÂcists have latched onto this idea of white sculpÂture — it’s not true but it serves their purÂposÂes.” Art hisÂtoÂriÂans and conÂserÂvaÂtors have known for decades that statÂues from antiqÂuiÂty were once covÂered in paint, silÂver and gildÂing, a process known as polyÂchromy. Over time, the colÂors dulled, fadÂed, then disÂapÂpeared, leavÂing behind only the faintest traces.
HusÂband-and-wife research team Vinzenz Brinkmann and Ulrich Koch-Brinkmann have spent over 40 years studyÂing polyÂchromy and reconÂstructÂing ancient sculpÂtures as they would have appeared to their first viewÂers. “Their Gods in ColÂor exhiÂbiÂtion has been tourÂing since 2003,” Velie writes, “and their repliÂcas have been includÂed in museÂums around the world.”
Now fourÂteen of those reconÂstrucÂtions, as well as a couÂple dozen more creÂatÂed by Met conÂserÂvaÂtors, sciÂenÂtists, and curaÂtors, are scatÂtered throughÂout the Met’s sculpÂture halls, with a small upstairs gallery dedÂiÂcatÂed to an exhibÂit. The exhiÂbiÂtion explains how researchers deterÂmined the statÂues’ colÂors, “the result of a wide array of anaÂlytÂiÂcal techÂniques, includÂing 3D imagÂing and rigÂorÂous art hisÂtorÂiÂcal research,” writes the Met. As ArtÂnet notes, the “richÂly colÂored verÂsion of the Met’s ArchaÂic-periÂod Sphinx finial,” which you can see at the top of the post, “serves as the cenÂterÂpiece of the show” – one of the only pieces placed adjaÂcent to its origÂiÂnal so that visÂiÂtors can comÂpare the two (using an AugÂmentÂed RealÂiÂty app to do so; see video above).
ChroÂma: Ancient SculpÂture in ColÂor, which opened on July 5th, disÂabusÂes us of old ideas about the blank whiteÂness of antiqÂuiÂty, but that’s hardÂly its only intent. As it does today, colÂor “helped conÂvey meanÂing in antiqÂuiÂty.” The colÂors of ancient statÂues were not simÂply decÂoÂraÂtive surÂfaces – they were inteÂgral to the preÂsenÂtaÂtion of these works. Now, colÂor can again be part of how we underÂstand and appreÂciÂate clasÂsiÂcal statÂuÂary. And the full accepÂtance of polyÂchromy in major colÂlecÂtions like the Met can begin to put to rest false notions about a clasÂsiÂcal devoÂtion to whiteÂness as some ideÂal of perÂfecÂtion. Learn more about the 40 reconÂstrucÂtions in the exhiÂbiÂtion at the Met here, and learn more about polyÂchromy and ancient uses of colÂor at the links below.
RelatÂed ConÂtent:
Roman StatÂues Weren’t White; They Were Once PaintÂed in Vivid, Bright ColÂors
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
Read More...Sir Ben Kingsley Reads a Letter Written by Gandhi to Hitler (in the Voice of Mahatma Gandhi)
SevÂerÂal years before IndiÂan indeÂpenÂdence as World War loomed, MahatÂma GandÂhi found he had litÂtle sway in interÂnaÂtionÂal polÂiÂtics even as he built his moveÂment at home. The phiÂlosÂoÂphy of satyaÂgraÂha did not sound noble to the British in 1939, for examÂple, when the IndiÂan leader wrote a letÂter exhortÂing them to let the GerÂmans take their counÂtry, their homes, and even their lives rather than fight back. That same year, he wrote to Hitler, addressÂing him as “Dear Friend” and writÂing, “It is quite clear that you are today the one perÂson in the world who can preÂvent a war which may reduce humanÂiÂty to a savÂage state.”
GandÂhi’s first 1939 letÂter to Hitler implies that the FĂĽhrer was the only world leader who wantÂed such a war. The IndiÂan leader fulÂly underÂstood the stakes. “My symÂpaÂthies are all with the Jews,” he’d writÂten in a 1938 artiÂcle. “If there ever could be a jusÂtiÂfiÂable war, in the name of and for humanÂiÂty, war against GerÂmany to preÂvent the wanÂton perÂseÂcuÂtion of a whole race would be comÂpleteÂly jusÂtiÂfied.” Still, he conÂcludÂed, “I do not believe in any war.” He stuck to his prinÂciÂples even after GerÂmany’s invaÂsion of Poland in 1939.
“Not deterred by the outÂbreak of war,” AlexanÂder LaCasse writes at the ChrisÂtÂian SciÂence MonÂiÂtor, “GandÂhi wrote to Hitler a secÂond time.” Just above, you can see Sir Ben KingsÂley read that letÂter, in charÂacÂter as GandÂhi and perÂhaps soundÂing much like GandÂhi did when readÂing his letÂters aloud. GandÂhi “took corÂreÂsponÂdence very seriÂousÂly,” Nick Owen writes, and he “wrote — and was writÂten to by — almost anyÂone.” In this much longer letÂter from 1940, GandÂhi extols the pracÂtiÂcal virtues of non-vioÂlence and attempts some moral reaÂsonÂing:
If not the British, some othÂer powÂer will cerÂtainÂly improve upon your method and beat you with your own weapon. You are leavÂing no legaÂcy to your peoÂple of which they would feel proud. They canÂnot take pride in a recital of a cruÂel deed, howÂevÂer skillÂfulÂly planned. I, thereÂfore, appeal to you in the name of humanÂiÂty to stop the war.
“There is no eviÂdence to sugÂgest Hitler ever respondÂed to,” or even read, “either of GandÂhi’s letÂters,” writes LaCasse. And maybe litÂtle eviÂdence that GandÂhi expectÂed a response. “I am aware that your view of life regards such spoÂliÂaÂtions as virÂtuÂous acts,” he writes. “But we have been taught from childÂhood to regard them as acts degradÂing humanÂiÂty.” He conÂtinÂues to proÂfess Hitler a friend, writÂing “I own no foes. My busiÂness in life has been for the past 33 years to enlist the friendÂship of the whole of humanÂiÂty.”
Before his death in 1948, GandÂhi called the HoloÂcaust “the greatÂest crime of our time.” AccordÂing to a biogÂraÂphÂer, he also added, “the Jews should have offered themÂselves to the butcher’s knife. They should have thrown themÂselves into the sea from cliffs. It would have aroused the world and the peoÂple of GerÂmany.” Had he sugÂgestÂed this in a letÂter to Europe’s Jews, it is unlikeÂly they would have been perÂsuadÂed.
RelatÂed ConÂtent:
When MahatÂma GandÂhi Met CharÂlie ChapÂlin (1931)
MahatÂma Gandhi’s List of the 7 Social Sins; or Tips on How to Avoid LivÂing the Bad Life
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
Read More...Take Graphic Design Courses to Launch Your Career as a Graphic Designer, Video Game Designer, UI Designer & More
What can you do with graphÂic design skills? More and more, it seems, as emergÂing techÂnoloÂgies driÂve new apps, softÂware, and games. New design chalÂlenges are everyÂwhere, from human-machine interÂfaces, to 3D modÂelÂing in video games and aniÂmatÂed films, to re-imagÂinÂing clasÂsic designs in print and on screen. In addiÂtion to traÂdiÂtionÂal jobs like art direcÂtor, graphÂic designÂer, proÂducÂtion artist, and aniÂmaÂtor, the past few years have seen a sharp rise in demand for User ExpeÂriÂence (UX) and User InterÂface (UI) designÂers, roles that require a variÂety of difÂferÂent creÂative and techÂniÂcal skill sets.
You could get a four-year degree in design to work in one of these fields, or you could take a CoursÂera SpeÂcialÂizaÂtion and be one step closÂer. CoursÂera has met the demand for new job skills and tech eduÂcaÂtion by partÂnerÂing with top arts instiÂtuÂtions and uniÂverÂsiÂties to offer online coursÂes at low cost. All of these coursÂes grant cerÂtifiÂcates that show potenÂtial employÂers you’re ready to put your learnÂing to use. If careers in art and conÂtemÂpoÂrary design, graphÂic design, web user expeÂriÂence and interÂface design, or video game design appeal to you, you can learn those skills in the five cerÂtifiÂcate-grantÂiÂng SpeÂcialÂizaÂtion proÂgrams below.
- GraphÂic Design SpeÂcialÂizaÂtion (5 coursÂes offered by CalÂiÂforÂnia InstiÂtute of the Arts)
- UI / UX Design SpeÂcialÂizaÂtion (4 coursÂes offered by CalÂiÂforÂnia InstiÂtute of the Arts)
- ModÂern and ConÂtemÂpoÂrary Art and Design SpeÂcialÂizaÂtion (4 coursÂes MuseÂum of ModÂern Art)
- Game Design: Art and ConÂcepts SpeÂcialÂizaÂtion (4 coursÂes offered by CalÂiÂforÂnia InstiÂtute of the Arts)
- GraphÂic Design EleÂments for Non-DesignÂers SpeÂcialÂizaÂtion (4 coursÂes offered by UniÂverÂsiÂty of ColÂorado BoulÂder)
GraphÂic designÂers can choose to be as speÂcialÂized or genÂerÂalÂized as they like, but as in all creÂative fields, they need a thorÂough underÂstandÂing of the basics. A CoursÂera SpeÂcialÂizaÂtion is a series of coursÂes intendÂed to lead stuÂdents to masÂtery, buildÂing on the hisÂtoÂry and founÂdaÂtions of the field. You can enroll for free and try out any of the SpeÂcialÂizaÂtions for 7 days. After that, you’ll be charged between $39-$49 per month until you comÂplete the coursÂes in a SpeÂcialÂizaÂtion. (FinanÂcial aid is availÂable).
The excitÂing SpeÂcialÂizaÂtions from CALARTS and the MuseÂum of ModÂern Art will bring you many steps closÂer to a new career, or maybe even a new perÂsonÂal pasÂsion project.
Note: Open CulÂture has a partÂnerÂship with CoursÂera. If readÂers enroll in cerÂtain CoursÂera coursÂes and proÂgrams, it helps supÂport Open CulÂture.
RelatÂed ConÂtent:
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
Read More...Why 99% Of Smithsonian’s Specimens Are Hidden In High-Security
MuseÂums are the memÂoÂry of our culÂture and they’re the memÂoÂry of our planÂet. — Dr. Kirk JohnÂson, DirecÂtor, SmithÂsonÂian NationÂal MuseÂum of NatÂurÂal HisÂtoÂry
For many of us natÂurÂal hisÂtoÂry museÂums are emblemÂatÂic of school field trips, or rainy day outÂings with (or as) chilÂdren.
There’s always someÂthing to be gleaned from the reconÂstructÂed dinosaur skeleÂtons, dazÂzling minÂerÂals, and 100-year-old specÂiÂmens on disÂplay.
The eduÂcaÂtionÂal prospects are even greater for research sciÂenÂtists.
The above entry in BusiÂness InsidÂer’s Big BusiÂness series takes us behind the scenes of the SmithÂsonÂian NatÂurÂal HisÂtoÂry MuseÂum, a fedÂerÂalÂly-fundÂed instiÂtuÂtion where more than 99% of its vast colÂlecÂtion is housed in the baseÂment, on upper floors and employÂees-only wings of exhiÂbiÂtion floors, or at an offÂsite facilÂiÂty in neighÂborÂing MaryÂland.
The latÂter is poised to proÂvide safe space for more of these treaÂsures as cliÂmate change-relatÂed floodÂing posÂes an increasÂingÂly dire threat. The museum’s NationÂal Mall locaÂtion, which draws more than 6 milÂlion visÂiÂtors annuÂalÂly, is now virÂtuÂalÂly at sea levÂel, and ConÂgress is movÂing at a pace forÂmerÂly known as glacial to approve the expenÂsive but necÂesÂsary strucÂturÂal improveÂments that would safeÂguard these preÂcious colÂlecÂtions.
The museÂum curÂrentÂly boasts some 147 milÂlion specÂiÂmens, and is conÂtinÂuÂalÂly adding more, by means of field colÂlecÂtions, donaÂtions, and purÂchasÂes made with endowÂments, though as a non-profÂit instiÂtuÂtion, it’s rarely able to outÂbid deep-pockÂetÂed priÂvate colÂlecÂtors at aucÂtions of hot-tickÂet items like large dinosaur bones.
The DiviÂsion of Birds’ daiÂly mail brings samÂples of “snarge” — whatever’s left over when a bird makes impact with an airÂcraft.
Upon arrival at the SmithÂsonÂian, whatÂevÂer its size or marÂket valÂue, every item is subÂjectÂed to a process of inspecÂtion known as “accesÂsionÂing”.
After that, it is meticÂuÂlousÂly cleaned.
BeeÂtles in an offÂsite Osteo Prep Lab get to work on residÂual organÂic mateÂriÂals like skin and tisÂsue.
Human experts use a handÂheld air scrape tool to increÂmenÂtalÂly sepÂaÂrate fosÂsils from the rocky matrix in which they were disÂcovÂered
The goal is perÂmaÂnent storÂage state.
GeoÂlogÂiÂcal specÂiÂmens are clasÂsiÂfied accordÂing to Dana’s SysÂtem of MinÂerÂalÂoÂgy and stored in drawÂers. High-valÂue items are assigned to the Blue Room or the Gem Vault.
Bones that are lookÂing to spend the betÂter part of eterÂniÂty on a shelf are fitÂted for cusÂtom fiberÂglass and plasÂtic craÂdles to proÂtect against pests, moisÂture, and gravÂiÂty-relatÂed stress fracÂtures.
The DepartÂment of EntoÂmolÂoÂgy dries and pins incomÂing insects, arachÂnids, and myrÂiÂapods, and stores them in hydraulic carÂriages.
MamÂmals, repÂtiles, fish and birds are stuffed or pickÂled in alcoÂhol.
Many items in the museum’s colÂlecÂtion date back to the earÂly 20th cenÂtuÂry.
These days, staff strive to preÂserve as much as they can, using every tool and sciÂenÂtifÂic advanceÂment at their disÂposÂal. As ornitholÂoÂgist and feathÂer idenÂtiÂfiÂcaÂtion speÂcialÂist CarÂla Dove, states, “It’s our responÂsiÂbilÂiÂty to do as much as we can with the specÂiÂmen if we’re going to take it from the wild for research.”
These careÂful prepaÂraÂtions ensure that the world’s largest natÂurÂal hisÂtoÂry colÂlecÂtion can conÂtinÂue to serve as a livÂing library for thouÂsands of visÂitÂing scientists…climate change perÂmitÂting.
Access to the MuseÂum of NatÂurÂal History’s colÂlecÂtions and dataÂbasÂes result in the pubÂliÂcaÂtion of hunÂdreds of research papers and the idenÂtiÂfiÂcaÂtion of hunÂdreds of new species every year.
In addiÂtion to proÂvidÂing valuÂable intelÂliÂgence for research iniÂtiaÂtives on such topÂics as disÂease transÂmisÂsion, volÂcanic activÂiÂty, and of course, the effects of bird strikes on airÂplanes, museÂum staff is workÂing toward a goal of preÂservÂing each item with a digÂiÂtal scan — 9 milÂlion and countÂing…
RelatÂed ConÂtent
The SmithÂsonÂian Puts 2.8 MilÂlion High-Res Images Online and Into the PubÂlic Domain
SmithÂsonÂian DigÂiÂtizes & Lets You DownÂload 40,000 Works of Asian and AmerÂiÂcan Art
The SmithÂsonÂian Picks “101 Objects That Made AmerÂiÂca”
- Ayun HalÂlÂiÂday is the Chief PriÂmaÂtolÂoÂgist of the East VilÂlage Inky zine and author, most recentÂly, of CreÂative, Not Famous: The Small PotaÂto ManÂiÂfesto. FolÂlow her @AyunHalliday.
Read More...Computer Scientist Andrew Ng Presents a New Series of Machine Learning Courses–an Updated Version of the Popular Course Taken by 5 Million Students
Back in 2017, CoursÂera co-founder and forÂmer StanÂford comÂputÂer sciÂence proÂfesÂsor Andrew Ng launched a five-part series of coursÂes on “Deep LearnÂing” on the edtech platÂform, a series meant to “help you masÂter Deep LearnÂing, apply it effecÂtiveÂly, and build a career in AI.” These coursÂes extendÂed his iniÂtial Machine LearnÂing course, which has attractÂed almost 5 milÂlion stuÂdents since 2012, in an effort, he said, to build “a new AI-powÂered sociÂety.”
Ng’s goals are ambiÂtious, to “teach milÂlions of peoÂple to use these AI tools so they can go and invent the things that no large comÂpaÂny, or comÂpaÂny I could build, could do.” His new Machine LearnÂing SpeÂcialÂizaÂtion at CoursÂera takes him sevÂerÂal steps furÂther in that direcÂtion with an “updatÂed verÂsion of [his] pioÂneerÂing Machine LearnÂing course,” notes CoursÂerÂa’s descripÂtion, proÂvidÂing “a broad introÂducÂtion to modÂern machine learnÂing.” The speÂcialÂizaÂtion’s three coursÂes include 1) SuperÂvised Machine LearnÂing: RegresÂsion and ClasÂsiÂfiÂcaÂtion, 2) Advanced LearnÂing AlgoÂrithms, and 3) UnsuÂperÂvised LearnÂing, RecÂomÂmenders, ReinÂforceÂment LearnÂing. ColÂlecÂtiveÂly, the coursÂes in the speÂcialÂizaÂtion will teach you to:
- Build machine learnÂing modÂels in Python using popÂuÂlar machine learnÂing libraries NumPy and scikÂit-learn.
- Build and train superÂvised machine learnÂing modÂels for preÂdicÂtion and binaÂry clasÂsiÂfiÂcaÂtion tasks, includÂing linÂear regresÂsion and logisÂtic regresÂsion.
- Build and train a neurÂal netÂwork with TenÂsorÂFlow to perÂform mulÂti-class clasÂsiÂfiÂcaÂtion.
- Apply best pracÂtices for machine learnÂing develÂopÂment so that your modÂels genÂerÂalÂize to data and tasks in the real world.
- Build and use deciÂsion trees and tree ensemÂble methÂods, includÂing ranÂdom forests and boostÂed trees.
- Use unsuÂperÂvised learnÂing techÂniques for unsuÂperÂvised learnÂing: includÂing clusÂterÂing and anomÂaly detecÂtion.
- Build recÂomÂmender sysÂtems with a colÂlabÂoÂraÂtive filÂterÂing approach and a conÂtent-based deep learnÂing method.
- Build a deep reinÂforceÂment learnÂing modÂel.
The skills stuÂdents learn in Ng’s speÂcialÂizaÂtion will bring them closÂer to careers in big data, machine learnÂing, and AI engiÂneerÂing. Enroll in Ng’s SpeÂcialÂizaÂtion here free for 7 days and explore the mateÂriÂals in all three coursÂes. If you’re conÂvinced the speÂcialÂizaÂtion is for you, you’ll pay $49 per month until you comÂplete the three-course speÂcialÂizaÂtion, and you’ll earn a cerÂtifiÂcate upon comÂpleÂtion of a hands-on project using all of your new machine learnÂing skills. You can sign up for the Machine LearnÂing SpeÂcialÂizaÂtion here.
Note: Open CulÂture has a partÂnerÂship with CoursÂera. If readÂers enroll in cerÂtain CoursÂera coursÂes and proÂgrams, it helps supÂport Open CulÂture.
RelatÂed ConÂtent:
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
Read More...The Biology of Bonsai Trees: The Science Behind the Traditional Japanese Art Form
The art of bonÂsai origÂiÂnatÂed in ChiÂna. As subÂseÂquentÂly refined in Japan, its techÂniques proÂduce miniaÂture trees that give aesÂthetÂic pleaÂsure to peoÂple all around Asia and the wider world beyond. This appreÂciÂaÂtion is reflectÂed in the couÂple-on-the-street interÂview footage incorÂpoÂratÂed into “The BiolÂoÂgy Behind BonÂsai Trees,” the video above from YoutuÂber JonÂny Lim, betÂter known as The BackÂpackÂing BiolÂoÂgist. Not only does Lim gathÂer posÂiÂtive views on bonÂsai around Los AngeÂles, he also finds in that same city a bonÂsai nursÂery run by Bob Pressler, who has spent more than half a cenÂtuÂry masÂterÂing the art.
Even Pressler admits that he doesÂn’t fulÂly underÂstand the biolÂoÂgy of bonÂsai. Lim’s search for sciÂenÂtifÂic answers sends him to “someÂthing called the apiÂcal merisÂtem.” That’s the part of the tree made of “stem cells found at the tips of the shoots and roots.” Stem cells, as you may rememÂber from their long moment in the news a few years ago, have the potenÂtial to turn into any kind of cell.
The cells of bonÂsai are the same size as those of regÂuÂlar trees, research has revealed, but thanks to the delibÂerÂate cutÂting of roots and resulÂtant restricÂtion of nutriÂents to the apiÂcal merisÂtem, their leaves are made up of fewÂer cells in total. Lim draws an analÂoÂgy with bakÂing cookÂies of difÂferÂent sizes: “The comÂpoÂnents are exactÂly the same. The only difÂferÂence is that bonÂsais have less startÂing mateÂrÂiÂal.”
HavÂing gained his own appreÂciÂaÂtion for bonÂsai, Lim also waxÂes poetÂic on how these miniaÂture trees “still grow on the face of adverÂsiÂty, and they do so perÂfectÂly.” But as one comÂmenter replies, “Why recreÂate adverÂsiÂty?” ClaimÂing that the process is “cripÂpling trees for just aesÂthetÂics,” this indiÂvidÂual presents one of the known casÂes against bonÂsai. But that case, accordÂing to the experts Lim conÂsults, is based on cerÂtain comÂmon misÂconÂcepÂtions about the processÂes involved: that the wires used to posiÂtion limbs “torÂture” the trees, for examÂple. But as othÂers point out, do those who make these anti-bonÂsai arguÂments feel just as pained about the many lawns that get mown down each and every week?
RelatÂed conÂtent:
The Art & PhiÂlosÂoÂphy of BonÂsai
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, 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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