“The armed conflict in Ukraine first started in the beginning of 2014, when Russia invaded and annexed the Ukrainian region of Crimea. Over the past eight years, there has been ongoing conflict between Ukraine and Russia, with regular shelling and skirmishes occurring along Russian and Ukrainian borders in the eastern part of the country. On February 24, 2022, Russia launched a full-scale military invasion of Ukraine, plunging the entire country into war and sending shockwaves across the world. With casualties mounting and over one million Ukrainians fleeing the country, the need for dialogue and de-escalation have never been higher. In this Teach-Out, you will learn from a diverse group of guest experts about the history and origins of war in Ukraine, its immediate and long-term impacts, and what you can do to support people in this growing humanitarian crisis. Specifically this Teach-Out will address the following questions:
- How did we get here? Why did Russia invade Ukraine?
— What historical and cultural contexts do we need to know about in order to understand this conflict?
— How is cyber and information warfare impacting the conflict in Ukraine?
— What can be done to stop this war?
— How can we support Ukrainian refugees and displaced peoples?”
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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!
Reuters journalist Andrew Marshall posted this on Twitter: “Outside Lviv station, which is thronging with exhausted refugees fleeing war in eastern Ukraine, an accomplished pianist is playing “What a Wonderful World.” It’s hauntingly beautiful.” Indeed.
Very little is known about the Dutch painter Hieronymus Bosch. And I am going to suggest that is a good thing. Would it help to know that this man who created truly inspired, endlessly fascinating views of heaven and hell, of creature-filled gardens of debauchery, had a particular point of view on humanity? Or that he thought there was a “correct” way to understand his paintings? Perhaps it’s the mystery of the man that brings us closer to these works, to study them in detail, and to delight in their playful horror. And for those who really want detail, the Bosch Project is the place to find it.
The Bosch Project (aka the Bosch Research and Conservation Project) began in 2010 as a way to bring together the artist’s 45 paintings “spread across 2 continents, 10 countries, 18 cities, and 20 collections” for in-depth research, available to everyone.
Here is where the Bosch Project website shines. The “synchronized image viewers” allow us to zoom in to the smallest brushstroke to examine Bosch’s detailed worlds and characters. And in a nod to his use of triptychs, the other two sides of the painting zoom in as well. It makes for some interesting, but not essential, juxtapositions. It’s also easy to move around in the work with just the scrollwheel of the mouse. Other paintings allow the viewer to examine the infrared reflectogram of the painting’s layers, exposing Bosch’s corrections and deletions. Closer examination of his grand panels reveals Bosch’s cartoonish brushwork, his caricature, and his immense humor. For sure, the artist wanted us to meditate on greater matters like our own salvation, but there’s so much fun in the way he paints animals, or in the bacchanalia of The Garden of Earthly Delights, you can be forgiven for thinking he’d want to party as well. Grab that scroll wheel and check out the Garden—there’s plenty of room. Enter the Bosch Project website here.
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.
If so, don’t feel bad. There were probably a lot of other news items vying for your attention back in March of 2020, when the first volume was released “for diversion, entertainment and relaxation in times of self-isolation.”
By the time the second volume made its debut less than two months later, the first had been downloaded some 30,000 times.
Tell your scarcity mentality to stand down. You may be late to the party, but all 40 images can still be downloaded for free, “to ease and aid pleasurable focus in these oddest of times.”
It’s our belief that odd times call for odd images so we’re reproducing some of our favorites below, though be advised there are also plenty of calming botanical prints and graceful maidens for those craving a less challenging coloring experience.
And below, the 13-year-old Michelangelo’s reproduction in tempera on a wood panel. Biographers Giorgio Vasari and Ascanio Condivi both told how the young artist visited the fish market, seeking inspiration for the demons’ scales. Perhaps you will be inspired by the barely teenaged High Renaissance master’s palette, though it’s YOUR coloring page, so you do you.
Comprised of pictures of various flowers, the author gives his (presumably) adult readers detailed instructions for paint mixing and color choice (including the delightful sounding “gall-stone brown”).
Perhaps you will bring some of Sayer’s suggested colors to bear on the above image from Parisian bookseller Richard Breton’s Les songes drolatiques de Pantagruel (1565), a collection of 120 grotesque woodcut figures intended as a tribute to the bawdy writer (and priest!) François Rabelais, or a possibly just a canny marketing ploy.
Next, let’s color this perky fellow from Giovanni Battista Nazari’s famous alchemical treatise on metallic transmutation, Della tramutatione metallica sogni tre from 1599.
The “winged pig in the world” by Dutch engraver and mapmaker Cornelis Anthonisz doesn’t look very cheerful, does he? He’s on top of the imperial orb, but he’s also an allegory of the corrupt world. Hopefully, this will get sorted by the time pigs fly.
As to Ambroise Paré’s 1598 rendering of a “camphur” … well, let’s just say THIS is what a proper unicorn should look like.
According to an annotated checklist that accompanied the Metropolitan Museum’s Cloisters’ 75th Anniversary exhibition Search for the Unicorn, Paré, a pioneering French barber surgeon, claimed that it live(d) in the Arabian Desert, and that its horn can cure various maladies, especially poisoning.”
There’s a lot to unpack there. Think about it as you color.
Hokusai, Albrecht Dürer, and Aubrey Beardsley, are among the artists whose work you’ll encounter, “arranged in vague order of difficulty — from a simple 17th-century kimono pattern to an intricate thousand-flowered illustration.”
Download Volume 1 of the Public Domain Review Coloring book in US Letter or A4 format.
George Orwell lives on, to varying degrees of aptness, in the form of the word Orwellian. David Lynch has, within his lifetime, made necessary the term Lynchian. Though few of us will leave such adjectival legacies of our own, we should at least aspire to do so, and that task requires looking back to the original master: François Rabelais. Merriam-Webster defines Rabelaisian as “marked by gross robust humor, extravagance of caricature, or bold naturalism.” Rabelais expressed this sensibility at great length in La vie de Gargantua et de Pantagruel, a pentalogy of elaborate satirical novels published from the 1530s to the 1560s — and more recently endorsed by Harold Bloom, Joseph Brodsky, Henry Miller, and Marilyn Monroe.
Rabelais died in the 1550s, hence the still-unresolved questions about the authorship of the fifth and final Gargantua and Pantagruel book: was it completed from his notes? Was it, in fact, a fabrication by another writer?
There is no main text, just a preface wherein publisher Richard Breton writes that “the great familiarity I had with the late François Rabelais has moved and even compelled me to bring to light the last of his work, the drolatic dreams of the very excellent and wonderful Pantagruel.” Yet, as Green explains, “the book’s wonderful images are very unlikely to be the work of Rabelais himself — the attribution probably a clever marketing ploy.” You can view these amusing and grotesque images at the Public Domain Review, and in the context of the book as preserved at the Internet Archive. “Be warned,” says Intriguing History, the artist “seems to enjoy the use of a lot of phallic imagery, along with frogs, fish and elephants.” But who is the artist?
“The creator of the prints is now widely thought to be François Desprez,” writes Green, “a French engraver and illustrator” who published a couple of similarly imaginative sets of images with Breton in 1567. Whoever made them, these Rabelaisian woodcuts remained surreal enough through the centuries to catch the eye of none other than Salvador Dalí, who in 1973 paid tribute to them with a set of lithographs of his own. (You can see more examples at the Lockport St. Gallery.) As far as the title, an exegesis at Poemas del río Wang offers a clarification: “Drolatic is an adjective of dream,” and so “we must ask what kind of dream is this. It is certainly the dream of reason, as it gives birth to monsters” — monsters, as a satirist like Rabelais well understood, not altogether unlike ourselves.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletterBooks 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.
On February 24th, Russia launched a military invasion of Ukraine. Russian President Vladimir Putin called it a “special military operation,” but the scale of the attack shows this is a full-scale war that has already caused more than 100 casualties and forced more than half a million Ukrainians to flee their homes.
Ukraine and Russia’s conflict goes back to 2014, when Russia invaded and annexed Crimea and Russian-backed separatist forces took over parts of southeastern Ukraine’s Donbas region. But to understand the full context behind the invasion, it’s important to go even farther back, to the time when Europe’s current-day divisions began, and see how that shaped Europe’s power balance today.
To understand the current conflict’s history in less than 10 minutes, watch the video above.
Supergiant’s Hades is now the first video game ever to have won a Hugo award for sci-fi/fantasy fiction, and has set a new standard in the Roguelike genre, which features relatively short “runs” through a randomly-generated dungeon (or some equivalent) with perma-death, i.e. you die, you go back to the beginning. Generally, these games are very hard.
Your host Mark Linsenmayer is joined by three returning Pretty Much Pop guests: Psychologist of games Jamie Madigan, writer Al Baker, and musician Tyler Hislop. In addition to Hades, we talk about The Binding of Isaac, FTL, Slay the Spire, Dead Cells, Darkest Dungeon, Curse of the Dead Gods, Wayward, Risk of Rain, and more. What distinguishes a Roguelike from a Rogue-lite, and does it matter? How are they different than old-style arcade games? What makes Hades unique in the genre?
“After years of threats, Vladimir Putin’s Russian forces invaded Ukraine—culminating in the largest attack against one European state by another since the Second World War. What happens now?”
Above, you can watch a wide-ranging conversation hosted by The Atlantic, featuring Anne Applebaum (Pulitzer-prize winning historian), Tom Nichols (U.S. Naval War College professor), and Jeffrey Goldberg (editor-in-chief of The Atlantic) as they examine “the global reaction, the effectiveness of sanctions, and how to address the rise of authoritarianism and ongoing threats to democracy.” It’s also worth reading Applebaum’s latest piece, “The Impossible Suddenly Became Possible.”
To the great dismay of West Wing fans, Josiah Bartlet never actually became President of the United States of America. At some point, one suspects they’d even have settled for Martin Sheen. Alas, playing the role of the president on television hasn’t yet become a qualifying experience for playing it in real life — or at least not in the U.S. But things work differently in Ukraine, which in 2019 elected to its presidency the star of Servant of the People (Слуга народу), a comedy series about a high-school teacher who becomes president on the back of an anti-establishment rant gone viral. His name, Volodymyr Zelenskyy, is one we’ve all become familiar with indeed since last week, when Russian president Vladimir Putin ordered an invasion of his country.
For as unlikely a head of state as Zelenskyy, a more formidable test could hardly be imagined. The seriousness of the conflict contrasts starkly with the tone of Servant of the People, in light of which Zelenskyy’s ascendance looks less like Martin Sheen becoming President than Veep’s Julia Louis-Dreyfus becoming Vice President, or Yes Minister’s Paul Eddington becoming Prime Minister.
Still, the past decade’s further blurring of the lines between televisual fiction and political fact made the Zelenskyy candidacy look less like a stunt than a genuinely viable campaign. During that campaign the BBC produced the segment at the top of the post, which calls him “the comedian who could be President”; Vice published the more detailed view above as election day approached.
Most officials of Zelenskyy’s rank are famous by definition. He had the advantage of already being well-known and well-liked in his homeland, but his performance so far under the harrowing conditions of Putin’s invasion has won him respect across the world. There is now, in addition to the fascination about his rise to power, an equally great fascination about that of Vasyl Holoborodko, the thirty-something history teacher he plays on Servant of the People. This Youtube playlist offers 23 episodes of the show, complete with English subtitles. Give it a watch, and you’ll better understand not just Zelenskyy’s appeal to the Ukrainian people, but that people’s distinctive sense of humor — a vital strategic asset indeed in such trying times.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletterBooks 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.
Biological evolution: never has a phenomenon so important so lent itself to such clear, understandable, elegant explanations. But just as evolution itself produces a seemingly infinite variety of life forms, so the human understanding of evolution has produced countless educational and entertaining kinds of illustrations by which to explain it. In the video above, astronomer-astrophysicist-cosmologist Carl Sagan, no stranger to demystifying the once seemingly unfathomable phenomena of our universe, shows how evolution actually works with eight minutes of crisp animation that take us from molecules in the primordial soup, to bacteria, to plants and polyps, to lampreys, to turtles, to dinosaurs and birds, to wombats, to baboons and apes, to us. Then he goes back and does the whole four billion-year evolutionary journey again in forty seconds.
This concise lesson concerns itself not just with how we human beings came about, but how everything else came about as well. That wide-angle view of reality won a great deal of acclaim for Sagan’s Cosmos: A Personal Voyage, the 1980 television series on which the segment originally appeared. Though most of its original broadcasts on life, the universe, and everything still hold up as well as this clip on evolution, a 21st-century successor has lately appeared in the form of Cosmos: A Spacetime Odyssey, hosted by astrophysicist Neil deGrasse Tyson, doubtless the most suited heir to Sagan’s tradition of enthusiasm and rigor in public science communication. For a more extended treatment of evolution, see also our post from earlier this week on deGrasse Tyson’s episode on the subject, in which he spends an entire hour on his equally fascinating explanation of what, up to and including you, he, and I, natural selection has so far come up with.
Note: An earlier version of this post appeared on our site in 2014.
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