Iron Mike Tyson Sings “The Girl From Ipanema”

Once beau­ty, now farce. h/t @opedr

Relat­ed Con­tent:

Getz and Gilber­to Per­form ‘The Girl from Ipane­ma’

The World’s Highest Artificial Tornado

The Mer­cedes-Benz Muse­um in Stuttgart, Ger­many, is a remark­able struc­ture. Designed by Ben van Berkel and Car­o­line Bos of the Dutch firm UN Stu­dio, the build­ing received rave reviews when it opened in May of 2006. Influ­enced by Frank Lloyd Wright’s Guggen­heim Muse­um in New York, the build­ing was described as “jet-age baroque” by The Guardian archi­tec­ture crit­ic Jonathan Glancey. “It twists and turns with breath­tak­ing com­plex­i­ty,” Glancey wrote in 2006, “clever as a con­jur­ing trick.”

The archi­tects need­ed a bit of mag­ic to bring the muse­um’s open plan into com­pli­ance with fire codes. Like in the Guggen­heim, the inte­ri­or is one con­tin­u­ous­ly unfold­ing space that spi­rals around a cen­tral atri­um. As a con­se­quence there could be no fire doors to con­tain smoke if a blaze broke out in one sec­tion of the build­ing. To solve the prob­lem, UN Stu­dio hired the engi­neer­ing firm Imtech to design a sys­tem that would draw smoke away from all areas of the muse­um, allow­ing peo­ple to escape.

The result is the world’s largest man-made air vor­tex, a 112-foot-high tor­na­do that auto­mat­i­cal­ly acti­vates in the event of a fire, draw­ing smoke into the cen­ter of the atri­um and mov­ing it upward through an axi­al fan in the ceil­ing. An array of 144 out­lets in the sur­round­ing walls emit pow­er­ful jets of air to gen­er­ate a cen­tral region of low pres­sure, just like in a real tor­na­do. Imtech engi­neers per­fect­ed the design using com­pu­ta­tion­al flu­id dynam­ic (CDF) sim­u­la­tions and lab­o­ra­to­ry mod­els.  The firm has cre­at­ed sim­i­lar sys­tems for air­ports in sev­er­al Ger­man cities, includ­ing Düssel­dorf and Ham­burg. You can watch the tor­na­do at the Mer­cedes-Benz Muse­um in action above.

Relat­ed Con­tent:

The DIY Tor­na­do Machine

 

To Infinity and Beyond: A Mind-Bending Documentary from the BBC

Infin­i­ty. It’s a puz­zling con­cept. Is it real, or a math­e­mat­i­cal fic­tion?

Aris­to­tle believed infin­i­ty could only be poten­tial, nev­er actu­al. To speak of an actu­al infin­i­ty, he argued, is to fall into log­i­cal con­tra­dic­tion: “The infi­nite turns out to be the con­trary of what it is said to be,” Aris­to­tle wrote in the Physics. “It is not what has noth­ing out­side it that is infi­nite, but what always has some­thing out­side it.”

Aris­totle’s log­ic rest­ed on com­mon sense: the belief that the whole is always greater than the part. But in the late 19th Cen­tu­ry, Georg Can­tor and Richard Dedekind turned com­mon sense upside down by demon­strat­ing that the part can be equal to the whole. Can­tor went on to show that there are many orders of infinity–indeed, an infin­i­ty of infini­ties.

But what rela­tion does the Pla­ton­ic realm of pure math­e­mat­ics have to the phys­i­cal world? Physics is an empir­i­cal sci­ence, but that has­n’t stopped the­o­rists from imag­in­ing the mind-bog­gling con­se­quences of an infi­nite uni­verse. To Infin­i­ty and Beyond, a one-hour BBC Hori­zon spe­cial fea­tur­ing inter­views with lead­ing math­e­mati­cians and physi­cists, is an enter­tain­ing explo­ration of a sub­ject which, by def­i­n­i­tion, you won’t be able to wrap your mind around.

Relat­ed Con­tent:

Dan­ger­ous Knowl­edge: 4 Bril­liant Math­e­mati­cians & Their Drift to Insan­i­ty

Futur­ist Arthur C. Clarke on Mandelbrot’s Frac­tals

Math­e­mat­ics in Movies: Har­vard Prof Curates 150+ Scenes

A Day in Venezia

3,000,000 tourists move through Venice each year. The flood starts dur­ing the spring and peaks in sum­mer, then recedes dur­ing the cool­er months, giv­ing the local res­i­dents a lit­tle peace. True, the city, made up of 124 islands, 183 canals and 438 bridges, is radi­ant dur­ing the sum­mer. (Just watch below.) But the “Queen of the Adri­at­ic” takes on a dif­fer­ent beau­ty in the win­ter, some­thing that a tourist, who sim­ply goes by FKY, cap­tures in an art­ful video above. Enjoy, and if you want to know more about the archi­tec­tur­al won­ders of this 1500-year-old city, don’t miss How Venice Works.

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Stanford Launching 14 Free Online Courses in January/February: Enroll Today

Two weeks ago, we men­tioned that Stan­ford will be rolling out sev­en new cours­es in its exper­i­ment with online learn­ing. Fast for­ward to today, and yet anoth­er sev­en cours­es have been added to the win­ter line­up, bring­ing the total to 14.

Imme­di­ate­ly below, you’ll find the lat­est addi­tions. All of these cours­es fea­ture inter­ac­tive video clips; short quizzes that pro­vide instant feed­back; the abil­i­ty to pose high val­ue ques­tions to Stan­ford instruc­tors; and feed­back on your over­all per­for­mance in the class.

Cours­es start in Jan­u­ary and Feb­ru­ary. Enroll today for free. And, if some­thing does­n’t pique your inter­est below, don’t miss our big list of 400 Free Online Cours­es.

New­ly added:

Tech­nol­o­gy Entre­pre­neur­ship
Mak­ing Green Build­ings
Anato­my
Infor­ma­tion The­o­ry
Design and Analy­sis of Algo­rithms I
The Lean Launch­pad
Cryp­tog­ra­phy

Orig­i­nal­ly men­tioned:

Com­put­er Sci­ence 101
Soft­ware Engi­neer­ing for SaaS
Human Com­put­er Intere­ac­tion
Nat­ur­al Lan­guage Pro­cess­ing
Game The­o­ry
Prob­a­bilis­tic Graph­i­cal Mod­els
Machine Learn­ing

More Free Cours­es from Top Uni­ver­si­ties

Yale Rolls Out 10 New Cours­es – All Free

MIT Intro­duces Com­plete Cours­es to Open­Course­Ware Project

Har­vard Presents Free Cours­es with the Open Learn­ing Ini­tia­tive

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Address is Approximate: A Lovely Animated Film Made with Google Maps

Next up: a love­ly film about a lone­ly desk toy that longs for adven­ture. Observ­ing the space around him, a robot finds a toy car and heads off on a road trip across the Unit­ed States, guid­ed only by Google Maps Street View. We start on the Brook­lyn Bridge and fin­ish on the Pacif­ic Coast High­way in Cal­i­for­nia. Parts of the video look like sequences from a Pixar film, they are so well made. In real­i­ty, the film was pro­duced, ani­mat­ed, filmed, lit, edit­ed and grad­ed by one per­son: Tom Jenk­ins.

A great treat to start the week.

via Flow­ing Data

Eugene Buchko is a blog­ger and pho­tog­ra­ph­er liv­ing in Atlanta, GA. He main­tains a pho­to­blog, Eru­dite Expres­sions, and writes about what he reads on his read­ing blog.

Free Films by Andrei Tarkovsky, Sergei Eisenstein & Other Russian Greats

Dur­ing the past two years, the films of Andrei Tarkovsky have qui­et­ly come online, giv­ing view­ers the chance to encounter the Sovi­et direc­tor’s great body of work. If you’re not famil­iar with Tarkovsky, it’s worth men­tion­ing that Ing­mar Bergman con­sid­ered him his favorite direc­tor, and Aki­ra Kuro­sawa once said, “Every cut from his films is a mar­velous image in itself.” The list of avail­able films now includes:

(Note: If you access the films via YouTube, be sure to click “CC” at the bot­tom of the videos to access the sub­ti­tles.)

You can thank Mos­film, the old­est film stu­dio in Rus­sia, if not Europe, for bring­ing these films to the web. If you head to Mos­film’s YouTube Chan­nel, you can watch more than 50 Russ­ian clas­sics, includ­ing Sergei Bon­darchuk’s 1969 adap­ta­tion of Tol­stoy’s War & Peace, a film that Roger Ebert called “the defin­i­tive epic of all time.” In a con­ces­sion to West­ern cap­i­tal­ism, each film is pre­ced­ed by a short com­mer­cial, prov­ing yet again that there’s no such thing as a tru­ly free lunch.

Final­ly, don’t miss our col­lec­tion of 1100 Free Movies Online, which fea­tures six films by Sergei Eisen­stein, Rus­si­a’s pio­neer­ing film­mak­er and film the­o­rist: Strike, Bat­tle­ship PotemkinRomance Sen­ti­men­tale, Octo­ber: Ten Days That Shook the World, Old and New and Alexan­der Nevsky. They’re all there.

Relat­ed Con­tent:

Ing­mar Bergman Vis­its Dick Cavett, 1971

The Kuro­sawa Dig­i­tal Archive

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Dave Grohl Rocks the White House, Plays Band on the Run


Ran­dom thoughts: Has the White House (save last sum­mer’s earth­quake) ever been rocked this hard? And has a rock ‘n roll crowd ever been this restrained? Let’s face it, the rebel­lious­ness of rock and the for­mal­i­ty of high gov­ern­ment make for a fun­ny fit. But that does­n’t take any­thing away from Grohl’s lit­tle gig, and don’t miss my favorite per­for­mance from that night: Elvis Costel­lo singing Pen­ny Lane with a mem­ber of the Unit­ed States Marine band on the pic­co­lo trum­pet.

Relat­ed Con­tent:

The Bea­t­les’ Rooftop Con­cert: The Last Gig

The Bea­t­les: Why Music Mat­ters in Two Ani­mat­ed Min­utes

The Bea­t­les as Teens (1957)

Jim­my Page Tells the Sto­ry of Kash­mir

Terry Gilliam Explains The Difference Between Kubrick (Great Filmmaker) and Spielberg (Less So)

Ter­ry Gilliam has nev­er tried to hide his feel­ings about Hol­ly­wood. “It’s an abom­inable place,” he told The New York Times in 2005. “If there was an Old Tes­ta­men­tal God, he would do his job and wipe the place out. The only bad thing is that some real­ly good restau­rants would go up as well.”

One thing that both­ers Gilliam about Hol­ly­wood is the pres­sure it exerts on film­mak­ers to resolve their sto­ries into hap­py end­ings. In this inter­est­ing clip from an inter­view he did a few years ago with Turn­er Clas­sic Movies, Gilliam makes his point by com­par­ing the work of Steven Spielberg–perhaps the quin­tes­sen­tial Hol­ly­wood director–with that of Stan­ley Kubrick, who, like Gilliam, steered clear of Hol­ly­wood and lived a life of exile in Eng­land. Kubrick refused to pan­der to our desire for emo­tion­al reas­sur­ance. “The great film­mak­ers,” says Gilliam, “make you go home and think about it.”

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!

Relat­ed Con­tent:

Ter­ry Gilliam (Mon­ty Python) Shows You How to Make Your Own Cutout Ani­ma­tion

Stan­ley Kubrick’s List of Top 10 Films (The First and Only List He Ever Cre­at­ed)

The Best Ani­mat­ed Films of All Time, Accord­ing to Ter­ry Gilliam

600 Free Movies Online

Mankind’s First Steps on the Moon: The Ultra High Res Photos

In 1961, John F. Kennedy asked a lot of the U.S. space pro­gram when he declared: “I believe that this nation should com­mit itself to achiev­ing the goal, before this decade is out, of land­ing a man on the Moon and return­ing him safe­ly to the Earth.” NASA hit that ambi­tious tar­get with a few months to spare. On July 20, 1969, the Apol­lo 11 land­ed on the moon and Neil Arm­strong and Buzz Aldrin took their famous first steps on the des­o­late lunar sur­face. The orig­i­nal video is grainy, hard to see. But the pho­tos tak­en dur­ing the mis­sion are any­thing but. To cel­e­brate the 40th anniver­sary of the moon land­ing (back in 2009), the folks at Spac­eRip stitched togeth­er a col­lec­tion of high res­o­lu­tion pho­tos from the Apol­lo 11 mis­sion, then set the slideshow to Chopin’s Trois nou­velles études, 2nd in A flat major. You can find this clip housed in our col­lec­tion of Great Sci­ence Videos.

Relat­ed Con­tent:

The Moon Up Close, in HD

Tour­ing the Earth from Space (in HD)

The Best of NASA Space Shut­tle Videos (1981–2010)

 

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Werner Herzog Gets Shot During Interview, Doesn’t Miss a Beat


Fast for­ward to the 47 sec­ond mark if you want to cut straight to the action.

Wern­er Her­zog moved to the Unit­ed States in the mid 1990s. He tried liv­ing in San Fran­cis­co, but found it “too chic and leisure­ly.” He gave thought to New York, but real­ized it is “only a place to go [to] if you’re into finances.” Look­ing for “a place of cul­tur­al sub­stance,” he end­ed up in Los Ange­les. The city is “raw, uncouth and bizarre,” but it’s a place of sub­stance,” he con­clud­ed.

By 2006, Her­zog dis­cov­ered that L.A. also has a lit­tle dan­ger going for it. Dur­ing an inter­view with BBC crit­ic Mark Ker­mode, the film­mak­er took a shot from an unknown gun­man armed with an air rifle. No mat­ter. Ker­mode and Her­zog quick­ly relo­cat­ed and con­tin­ued the inter­view. The unflap­pable Her­zog shrugged off the shoot­ing, sim­ply say­ing “It was not a sig­nif­i­cant bul­let. I am not afraid.”

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!

Relat­ed Con­tent:

Wern­er Her­zog: Movies Won’t Change the World

Wern­er Her­zog Reads “Go the F**k to Sleep” in NYC (NSFW)

Wern­er Her­zog Los­es a Bet to Errol Mor­ris, and Eats His Shoe (Lit­er­al­ly)


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