Dog Crashes a Performance of the Vienna Chamber Orchestra, in the Ancient City of Ephesus: The “Cutest Moment in Classical Music”

A quick one for all dog lovers out there. Last week, while per­form­ing Mendelssohn’s ‘Ital­ian’ Sym­pho­ny No.4 in the ancient city of Eph­esus, mem­bers of the Vien­na Cham­ber Orches­tra noticed some­thing strange out of the cor­ner of their eyes: a dog wan­der­ing on stage, mid per­for­mance, and tak­ing a seat, right at the feet of the first vio­lin­ist. The short clip above comes from Turk­ish pianist Fazil Say, who called it the “Cutest moment in clas­si­cal music.” Hard not to agree.

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Relat­ed Con­tent:

The Bohr-Ein­stein Debates, Reen­act­ed With Dog Pup­pets 

Kurt Von­negut Reveals “Why My Dog Is Not a Human­ist” in His Human­ist of the Year Award Speech (1992)

Nick Cave Nar­rates an Ani­mat­ed Film about the Cat Piano, the Twist­ed 18th Cen­tu­ry Musi­cal Instru­ment Designed to Treat Men­tal Ill­ness

The Music from Jack Kerouac’s Classic Beat Novel On the Road: Stream Tracks by Miles Davis, Dexter Gordon & Other Jazz Legends

When read­ers talk about the “music” of On the Road, they usu­al­ly mean the dis­tinc­tive qual­i­ties of its prose, all typed out by Jack Ker­ouac, so lit­er­ary leg­end has it, on a three-week writ­ing ben­der in April of 1951. “Time being of the essence in the puri­ty of speech, sketch­ing lan­guage is undis­turbed flow from the mind of per­son­al secret idea-words, blow­ing (as per jazz musi­cian) on sub­ject of image,” he wrote, spon­ta­neous­ly, in his “Essen­tials of Spon­ta­neous Prose.” He also insist­ed on “no peri­ods sep­a­rat­ing sen­tence-struc­tures already arbi­trar­i­ly rid­dled by false colons and timid usu­al­ly need­less com­mas-but the vig­or­ous space dash sep­a­rat­ing rhetor­i­cal breath­ing (as jazz musi­cian draw­ing breath between out­blown phras­es).”

But actu­al music, and espe­cial­ly jazz music, also forms an inte­gral part of the back­ground — or rather, an inte­gral part of the ever-shift­ing back­grounds — of the sto­ry of Sal Par­adise and Dean Mori­ar­ty’s auto­mo­tive criscross­ing of Amer­i­ca. “Ker­ouac often made it clear that the sound of jazz in the 1940s had a lot to do with the kind of tone, inten­si­ty and unpremed­i­tat­ed dri­ve he was try­ing to cap­ture in the rhythms of his book,” writes the Guardian’s John Ford­ham. “In Los Ange­les, Ker­ouac describes ‘the wild hum­ming night of Cen­tral Avenue — the night of Ham­p’s (that’s swing-band leader Lionel Hamp­ton’s) ‘Cen­tral Avenue Break­down’ — howled and boomed … they were singing in the halls, singing from their win­dows, just hell and be damned and look out.’ ”

An evoca­tive pas­sage, to be sure, and one drawn from just one of many jazz-infused sec­tions of the nov­el. After enough of them, though, read­ers will want to hear some of this music, with its pow­er to bring the cops “swarm­ing from the near­est precinct,” for them­selves. The 25-track Youtube playlist at the top of the post comes packed with selec­tions drawn straight from the text, such as Miles Davis and the Char­lie Park­er Septet’s “Ornithol­o­gy,” which Ker­ouac uses to estab­lish the peri­od of bop in which the nov­el opens, and Dex­ter Gor­don and Wardell Gray’s The Hunt, so invig­o­rat­ing a live record­ing that Neal and Sal put it on the turntable in two sep­a­rate chap­ters. The playlist even includes Red Nor­vo’s Con­go Blues, the record that a girl at one point breaks over Dean’s head — and at Sal’s sug­ges­tion, no less — a mem­o­rable moment that shows that, how­ev­er much Ker­ouac loved and drew inspi­ra­tion from jazz, he cer­tain­ly did­n’t feel the need to keep rev­er­ent about it.

Relat­ed Con­tent:

Jack Ker­ouac Reads from On the Road (1959)

Jack Kerouac’s Hand-Drawn Map of the Hitch­hik­ing Trip Nar­rat­ed in On the Road

Jack Ker­ouac Lists 9 Essen­tials for Writ­ing Spon­ta­neous Prose

Hear All Three of Jack Kerouac’s Spo­ken-World Albums: A Sub­lime Union of Beat Lit­er­a­ture and 1950s Jazz

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

An Animated Introduction to the Life & Work of Marie Curie, the First Female Nobel Laureate

Look­ing for an intro­duc­tion or rein­tro­duc­tion to the life and work of sci­en­tist Marie Curie?

You could have a peek at her orig­i­nal man­u­scripts, after first sign­ing a waiv­er and garb­ing your­self in pro­tec­tive gear, so as to avoid the radioac­tiv­i­ty per­me­at­ing her pos­ses­sions

Or you could turn to song. Army of Lovers, the Crypts!, and the Dee­dle Dee­dle Dees have all writ­ten songs in cel­e­bra­tion of this bril­liant woman, the first female Nobel Lau­re­ate and only per­son in his­to­ry to have been award­ed Nobel prizes in two dif­fer­ent sci­ences.

(Her lead-lined cof­fin, for­bid­den stud­ies, and romance with fel­low physi­cist and hus­band Pierre are the stuff from which gold­en lyrics are spun…)

Or you could watch the TED-Ed ani­ma­tion above, writ­ten and nar­rat­ed by Dr. Shohi­ni Ghose, Physics Pro­fes­sor and Direc­tor of Wil­frid Lau­ri­er University’s Cen­tre for Women in Sci­ence.

Ghose coun­ter­bal­ances the tan­ta­liz­ing bio­graph­i­cal tid­bits of the world’s most famous female sci­en­tist with her actu­al con­tri­bu­tions to the fields of oncol­o­gy, tech­nol­o­gy, med­i­cine, and nuclear physics.

Ghose’s full TED-Ed les­son includes a review quiz and fur­ther resources.

To get an even more in-depth intro­duc­tion to the Curies, lis­ten to the episode of In Our Time, below.

And do remem­ber to put down the sparklers and pota­to sal­ad for a moment in silent recog­ni­tion that this July 4th marks the 83rd anniver­sary of Mme. Curie’s death from aplas­tic ane­mia, the result of pro­longed expo­sure to radi­a­tion.

Relat­ed Con­tent:

Marie Curie’s Research Papers Are Still Radioac­tive 100+ Years Lat­er

Marie Curie Attend­ed a Secret, Under­ground “Fly­ing Uni­ver­si­ty” When Women Were Banned from Pol­ish Uni­ver­si­ties

Free Online Physics Cours­es

Real Women Talk About Their Careers in Sci­ence

The Con­tri­bu­tions of Women Philoso­phers Recov­ered by the New Project Vox Web­site

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

209 Beatles Songs in 209 Days: Memphis Musician Covers The Beatles’ Songbook

There’s a dan­ger for musi­cians in cov­er­ing well-known songs from famous artists. The obvi­ous prob­lem: one can fail to meet the chal­lenge and deliv­er a sub­stan­dard per­for­mance of a beloved clas­sic, almost a crim­i­nal act in the esti­ma­tion of die-hard fans. But it’s too tempt­ing not to try. Musi­cians, like writ­ers and oth­er artists, learn best by mim­ic­k­ing the greats, then take what they’ve learned and devel­op their own style. Some of the best cov­ers of pop­u­lar songs are those that trans­pose them into a dif­fer­ent key, style, tem­po, or anoth­er genre entire­ly. “Make it your own!” as they say. Still a risky move… espe­cial­ly when it comes to the Bea­t­les.

There are indeed many phe­nom­e­nal Bea­t­les cov­ers—such as Bad Brains’ live take on “Day Trip­per” (for me anyway)—that rival the orig­i­nals. Some oth­ers… not so much. But when a Bea­t­les cov­er is real­ly good, and I mean real­ly, real­ly good… it’s usu­al­ly a pro who pulls it off. So hats off to David Brook­ings, an able non-famous musi­cian and Bea­t­les super­fan who set him­self the gar­gan­tu­an task of cov­er­ing 209 Bea­t­les songs in 209 days. Are all his cov­er ver­sions gems?

No, but the bar is set so high that it’s an impos­si­ble expec­ta­tion, espe­cial­ly giv­en the con­straints. Brook­ings isn’t re-invent­ing the pop genius wheel. He’s hav­ing fun with Bea­t­les’ songs, accom­pa­nied by an acoustic gui­tar, a key­board, a friend—singing Yoko’s parts in the sil­ly “The Con­tin­u­ing Sto­ry of Bun­ga­low Bill,” above—or his wife Shel­by, as in “Please Please Me,” below.…

With their home video pro­duc­tion val­ues, Brook­ings’ cov­ers don’t rise far above the wealth of oth­er such efforts that flood YouTube, many of which are high­ly admirable in their own way. But what sets his project apart—beyond its ambi­tious scope—is his occa­sion­al­ly tren­chant com­men­tary and an inter­est­ing per­son­al back­sto­ry. Brook­ings under­took his Bea­t­les cov­ers project in 2010 as a trib­ute not only to the Bea­t­les, but also, per­haps, to Steve Jobs, founder of that com­pa­ny named after the band’s own label (and like­ly tax shel­ter). Brook­ings says the whole thing may have been just a stunt just to show that “some idiot record­ed all 209 songs in 209 days.” But it’s sure­ly more than a coin­ci­dence that the year ear­li­er, while work­ing as a tour guide at Mem­phis’ leg­endary Sun Stu­dios, he made such an impres­sion on Jobs that the Apple founder invit­ed him to Cuper­ti­no to help build Apple’s iTunes library of blues and ear­ly rock and roll.

A dream gig for any musi­cian and stu­dent of musi­cal his­to­ry, and enough of an inspi­ra­tion to take on the entire cat­a­log of the most famous band in the world. What’s more, Brook­ings hap­pened to be recov­er­ing from liv­er-trans­plant surgery when he met Jobs at Sun and scored the job. See Brook­ings and his adorable daugh­ter McKin­ley sing “Nor­we­gian Wood,” above and “She Said She Said” below, and check out all of his cov­ers, as well as orig­i­nal songs and per­for­mances with his band, on his YouTube chan­nel. Find Bea­t­les cov­ers 1–110 here. And songs 111–209 here.

h/t Mark at Par­tial­lyEx­am­inedLife

Relat­ed Con­tent:

Hear 100 Amaz­ing Cov­er Ver­sions of Bea­t­les Songs

The 15 Worst Cov­ers of Bea­t­les Songs: William Shat­ner, Bill Cos­by, Tiny Tim, Sean Con­nery & Your Excel­lent Picks

Jimi Hen­drix Plays “Sgt. Pepper’s Lone­ly Hearts Club Band” for The Bea­t­les, Just Three Days After the Album’s Release (1967)

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

How Ada Lovelace, Daughter of Lord Byron, Wrote the First Computer Program in 1842–a Century Before the First Computer

I’ve nev­er quite under­stood why the phrase “revi­sion­ist his­to­ry” became pure­ly pejo­ra­tive. Of course, it has its Orwellian dark side, but all knowl­edge has to be revised peri­od­i­cal­ly, as we acquire new infor­ma­tion and, ide­al­ly, dis­card old prej­u­dices and nar­row frames of ref­er­ence. A fail­ure to do so seems fun­da­men­tal­ly regres­sive, not only in polit­i­cal terms, but also in terms of how we val­ue accu­rate, inter­est­ing, and engaged schol­ar­ship. Such research has recent­ly brought us fas­ci­nat­ing sto­ries about pre­vi­ous­ly mar­gin­al­ized peo­ple who made sig­nif­i­cant con­tri­bu­tions to sci­en­tif­ic dis­cov­ery, such as NASA’s “human com­put­ers,” por­trayed in the book Hid­den Fig­ures, then dra­ma­tized in the film of the same name.

Like­wise, the many women who worked at Bletch­ley Park dur­ing World War II—helping to deci­pher encryp­tions like the Nazi Enig­ma Code (out of near­ly 10,000 code­break­ers, about 75% were women)—have recent­ly been get­ting their his­tor­i­cal due, thanks to “revi­sion­ist” researchers. And, as we not­ed in a recent post, we might not know much, if any­thing, about film star Hedy Lamarr’s sig­nif­i­cant con­tri­bu­tions to wire­less, GPS, and Blue­tooth tech­nol­o­gy were it not for the work of his­to­ri­ans like Richard Rhodes. These few exam­ples, among many, show us a fuller, more accu­rate, and more inter­est­ing view of the his­to­ry of sci­ence and tech­nol­o­gy, and they inspire women and girls who want to enter the field, yet have grown up with few role mod­els to encour­age them.

We can add to the pan­theon of great women in sci­ence the name Ada Byron, Count­ess of Lovelace, the daugh­ter of Roman­tic poet Lord Byron. Lovelace has been renowned, as Hank Green tells us in the video at the top of the post, for writ­ing the first com­put­er pro­gram, “despite liv­ing a cen­tu­ry before the inven­tion of the mod­ern com­put­er.” This pic­ture of Lovelace has been a con­tro­ver­sial one. “His­to­ri­ans dis­agree,” writes prodi­gious math­e­mati­cian Stephen Wol­fram. “To some she is a great hero in the his­to­ry of com­put­ing; to oth­ers an over­es­ti­mat­ed minor fig­ure.”

Wol­fram spent some time with “many orig­i­nal doc­u­ments” to untan­gle the mys­tery. “I feel like I’ve final­ly got­ten to know Ada Lovelace,” he writes, “and got­ten a grasp on her sto­ry. In some ways it’s an ennobling and inspir­ing sto­ry; in some ways it’s frus­trat­ing and trag­ic.” Edu­cat­ed in math and music by her moth­er, Anne Isabelle Mil­banke, Lovelace became acquaint­ed with math­e­mat­ics pro­fes­sor Charles Bab­bage, the inven­tor of a cal­cu­lat­ing machine called the Dif­fer­ence Engine, “a 2‑foot-high hand-cranked con­trap­tion with 2000 brass parts.” Bab­bage encour­aged her to pur­sue her inter­ests in math­e­mat­ics, and she did so through­out her life.

Wide­ly acknowl­edged as one of the fore­fa­thers of com­put­ing, Bab­bage even­tu­al­ly cor­re­spond­ed with Lovelace on the cre­ation of anoth­er machine, the Ana­lyt­i­cal Engine, which “sup­port­ed a whole list of pos­si­ble kinds of oper­a­tions, that could in effect be done in arbi­trar­i­ly pro­grammed sequence.” When, in 1842, Ital­ian math­e­mati­cian Louis Mene­brea pub­lished a paper in French on the Ana­lyt­i­cal Engine, “Bab­bage enlist­ed Ada as trans­la­tor,” notes the San Diego Super­com­put­er Cen­ter’s Women in Sci­ence project. “Dur­ing a nine-month peri­od in 1842–43, she worked fever­ish­ly on the arti­cle and a set of Notes she append­ed to it. These are the source of her endur­ing fame.” (You can read her trans­la­tion and notes here.)

In the course of his research, Wol­fram pored over Bab­bage and Lovelace’s cor­re­spon­dence about the trans­la­tion, which reads “a lot like emails about a project might today, apart from being in Vic­to­ri­an Eng­lish.” Although she built on Bab­bage and Menebrea’s work, “She was clear­ly in charge” of suc­cess­ful­ly extrap­o­lat­ing the pos­si­bil­i­ties of the Ana­lyt­i­cal Engine, but she felt “she was first and fore­most explain­ing Babbage’s work, so want­ed to check things with him.” Her addi­tions to the work were very well-received—Michael Fara­day called her “the ris­ing star of Science”—and when her notes were pub­lished, Bab­bage wrote, “you should have writ­ten an orig­i­nal paper.”

Unfor­tu­nate­ly, as a woman, “she couldn’t get access to the Roy­al Society’s library in Lon­don,” and her ambi­tions were derailed by a severe health cri­sis. Lovelace died of can­cer at the age of 37, and for some time, her work sank into semi-obscu­ri­ty. Though some his­to­ri­ans have  seen her as sim­ply an expos­i­tor of Babbage’s work, Wol­fram con­cludes that it was Ada who had the idea of “what the Ana­lyt­i­cal Engine should be capa­ble of.” Her notes sug­gest­ed pos­si­bil­i­ties Bab­bage had nev­er dreamed. As the Women in Sci­ence project puts it, “She right­ly saw [the Ana­lyt­i­cal Engine] as what we would call a gen­er­al-pur­pose com­put­er. It was suit­ed for ‘devel­op­ping [sic] and tab­u­lat­ing any func­tion what­ev­er… the engine [is] the mate­r­i­al expres­sion of any indef­i­nite func­tion of any degree of gen­er­al­i­ty and com­plex­i­ty.’ Her Notes antic­i­pate future devel­op­ments, includ­ing com­put­er-gen­er­at­ed music.”

In a recent episode of the BBC’s In Our Time, above, you can hear host Melvyn Bragg dis­cuss Lovelace’s impor­tance with his­to­ri­ans and schol­ars Patri­cia Fara, Doron Swade, and John Fue­gi. And be sure to read Wolfram’s bio­graph­i­cal and his­tor­i­cal account of Lovelace here.

Relat­ed Con­tent:

How 1940s Film Star Hedy Lamarr Helped Invent the Tech­nol­o­gy Behind Wi-Fi & Blue­tooth Dur­ing WWII

The Con­tri­bu­tions of Women Philoso­phers Recov­ered by the New Project Vox Web­site

Real Women Talk About Their Careers in Sci­ence

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

Browse a Collection of Over 83,500 Vintage Sewing Patterns

My cos­tume design pro­fes­sor at North­west­ern Uni­ver­si­ty, Vir­gil John­son, delight­ed stu­dents with his for­mu­la for peri­od cloth­ing. I have for­got­ten some of the math­e­mat­ic and seman­tic particulars—does dress­ing some­one five years behind the times a “frumpy” char­ac­ter make? Or is it mere­ly one?

I do recall some anx­ious hours, prepar­ing for the school’s main stage pro­duc­tion of the inces­tu­ous Jacobean revenge tragedy, ’Tis Pity She’s a Whore. The soci­etal cor­rup­tion of the play was under­scored by hav­ing the sup­port­ing char­ac­ters slouch around, snort­ing mimed cocaine in cut­ting edge, mid-80s Vogue Pat­terns … those big unstruc­tured jack­ets were very a la mode, but they gob­bled up a lot of high-bud­get fab­ric, and I didn’t want to be the one to make a cost­ly sewing mis­take.

What sticks in my mind most clear­ly is that 20 years was the sweet spot, the appro­pri­ate amount of elapsed time to ensure that one would not appear dumpy, dowdy, or obliv­i­ous, but rather pru­dent and dis­cern­ing. Don­ning a gar­ment that was 15 years out of fash­ion might be dar­ing­ly “retro,” but anoth­er five and that same gar­ment could be her­ald­ed as “vin­tage.”

The col­lab­o­ra­tive Vin­tage Pat­tern Wiki puts the mag­ic num­ber at 25, request­ing that con­trib­u­tors make sure the pat­terns they post are from 1992 or ear­li­er, and also out-of-print.

The brows­able col­lec­tion of over 83,500 pat­terns runs the gamut from Dynasty-inspired pussy bow pow­er suits to Bet­ty Drap­er-esque frocks fea­tur­ing mod­els in white gloves to an 1895 boys’ Reefer Suit with fly-free short trousers.

Vis­i­tors can nar­row their search to focus on a par­tic­u­lar gar­ment, design­er or decade. If you click these links, you can see pat­terns from the fol­low­ing decades: 1920s, 1930s, 1940s, 1950s, 1960s1970s, and 1980s.

The movie star col­lec­tion is par­tic­u­lar­ly fun. (Flat­ter­ing or no, I’ve always want­ed a pair of Katharine Hep­burn pants…)

And it goes with­out say­ing that the dog days of sum­mer are the per­fect time to get a jump on your Hal­loween cos­tume.

Those who are itch­ing to get sewing should check the links below each pat­tern enve­lope cov­er for ven­dors who have the pat­tern in stock and pho­tos and posts by com­mu­ni­ty mem­bers who have made that same gar­ment.

The prices and hand­writ­ten jot­tings of the orig­i­nal own­ers will also put you in a vin­tage mood.

The hunt starts here.

via Metafil­ter

Relat­ed Con­tent:

The Online Knit­ting Ref­er­ence Library: Down­load 300 Knit­ting Books Pub­lished From 1849 to 2012

Fri­da Kahlo’s Col­or­ful Clothes Revealed for the First Time & Pho­tographed by Ishi­uchi Miyako

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

The BBC Cre­ates Step-by-Step Instruc­tions for Knit­ting the Icon­ic Dr. Who Scarf: A Doc­u­ment from the Ear­ly 1980s

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

Arnold Schoenberg Creates a Hand-Drawn, Paper-Cut “Wheel Chart” to Visualize His 12-Tone Technique

“These go up to eleven,” Spinal Tap famous­ly said of the ampli­fiers that, so they claimed, took them to a high­er lev­el in rock music. But the work of Aus­tri­an com­pos­er Arnold Schoen­berg, one of the best-known fig­ures in the his­to­ry of avant-garde music, went up to twelve — twelve tones, that is. His “twelve-tone tech­nique,” invent­ed in the ear­ly 1920s and for the next few decades used most­ly by he and his col­leagues in the Sec­ond Vien­nese School such as Alban Berg, Anton Webern, and Hanns Eisler, allowed com­posers to break free of the tra­di­tion­al West­ern sys­tem of keys that lim­it­ed the notes avail­able for use in a piece, instead grant­i­ng each note the same weight and mak­ing none of them cen­tral.

This does­n’t mean that com­posers using Schoen­berg’s twelve-tone tech­nique could just use notes at ran­dom in com­plete atonal­i­ty, but that a new set of con­sid­er­a­tions would orga­nize them. “He believed that a sin­gle tonal­i­ty could include all twelve notes of the chro­mat­ic scale,” writes Brad­ford Bai­ley at The Hum, “as long as they were prop­er­ly orga­nized to be sub­or­di­nate to ton­ic (the ton­ic is the pitch upon which all oth­ers are ref­er­enced, in oth­er words the root or axis around which a piece is built).” The math­e­mat­i­cal rig­or under­ly­ing it all required some expla­na­tion, and often math­e­mat­i­cal and musi­cal con­cepts — math­e­mat­ics and music being in any case inti­mate­ly con­nect­ed — become much clear­er when ren­dered visu­al­ly.

Hence Schoen­berg’s twelve-tone wheel chart pic­tured at the top of the post, one of what Arnold Schoen­berg’s Jour­ney author Allen Shawn describes as “no few­er than twen­ty-two dif­fer­ent kinds of con­trap­tions” — includ­ing “charts, cylin­ders, book­lets, slide rules” — “for trans­pos­ing and deriv­ing twelve-tone rows” need­ed to com­pose twelve-tone music. (See the slide ruler above too.) “The dis­tinc­tion between ‘play’ and ‘work’ is already hard to draw in the case of artists,” writes Shawn, “but in Schoen­berg’s case it is espe­cial­ly hard to make since he brought dis­ci­pline, orig­i­nal­i­ty, and play­ful­ness to many of his activ­i­ties.” These also includ­ed mak­ing spe­cial play­ing cards (two of whose sets you can see here and here) and even his own ver­sion of chess.

As Shawn describes it, Koali­tion­ss­cach, or “Coali­tion Chess,” involves “the armies of four coun­tries arrayed on the four sides of the board, for which he designed and con­struct­ed the pieces him­self.” Instead of an eight-by-eight board, Coali­tion Chess uses a ten-by-ten, and the pieces on it “rep­re­sent machine guns, artillery, air­planes, sub­marines, tanks, and oth­er instru­ments of war.” The rules, which “require that the four play­ers form alliances at the out­set,” add at least a dimen­sion to the age-old stan­dard game of chess — a form that, like tra­di­tion­al West­ern music, human­i­ty will still be strug­gling to mas­ter decades and even cen­turies hence. But appar­ent­ly, for a mind like Schoen­berg’s, chess and music as he knew them weren’t near­ly chal­leng­ing enough.

Relat­ed Con­tent:

Vi Hart Uses Her Video Mag­ic to Demys­ti­fy Stravin­sky and Schoenberg’s 12-Tone Com­po­si­tions

The Avant-Garde Project: An Archive of Music by 200 Cut­ting-Edge Com­posers, Includ­ing Stravin­sky, Schoen­berg, Cage & More

Inter­views with Schoen­berg and Bartók

John Coltrane Draws a Pic­ture Illus­trat­ing the Math­e­mat­ics of Music

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Garry Kasparov Now Teaching an Online Course on Chess

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Quick FYI: Gar­ry Kas­parov is now teach­ing an online course on chess, appar­ent­ly his first online course ever. A grand­mas­ter and six-time World Chess Cham­pi­on, Kas­parov held the high­est chess rat­ing (until being sur­passed by Mag­nus Carlsen in 2013) and also the record for con­sec­u­tive tour­na­ment vic­to­ries (15 in a row). In his course, fea­tur­ing 29 video lessons, Kas­parov gives stu­dents “detailed lessons,” cov­er­ing “his favorite open­ings and advanced tac­tics,” all of which will help stu­dents “devel­op the instincts and phi­los­o­phy to become a stronger play­er.”

The course is being offered by Mas­ter­Class, the same ven­ture devel­op­ing class­es with these oth­er lumi­nar­ies–Her­bie Han­cock on JazzJane Goodall on the Envi­ron­mentDavid Mamet on Dra­mat­ic Writ­ingSteve Mar­tin on Com­e­dyAaron Sorkin on Screen­writ­ingGor­don Ram­say on Cook­ing, Judy Blume on Writ­ing, and Wern­er Her­zog on Film­mak­ing.

You can take this class by sign­ing up for a Mas­ter­Class’ All Access Pass. The All Access Pass will give you instant access to this course and 85 oth­ers for a 12-month peri­od.

Relat­ed Con­tent:

A Free 700-Page Chess Man­u­al Explains 1,000 Chess Tac­tics in Plain Eng­lish

Clay­ma­tion Film Recre­ates His­toric Chess Match Immor­tal­ized in Kubrick’s 2001: A Space Odyssey

A Human Chess Match Gets Played in Leningrad, 1924

Man Ray Designs a Supreme­ly Ele­gant, Geo­met­ric Chess Set in 1920 (and It’s Now Re-Issued for the Rest of Us)

Play Chess Against the Ghost of Mar­cel Duchamp: A Free Online Chess Game

Watch Bill Gates Lose a Chess Match in 79 Sec­onds to the New World Chess Cham­pi­on Mag­nus Carlsen

All the Rivers & Streams in the U.S. Shown in Rainbow Colors: A Data Visualization to Behold

This is a sight for sore eyes. Cre­at­ed by Hun­gar­i­an geo­g­ra­ph­er and map-design­er Robert Szucs, using open-source QGIS soft­ware, the high res­o­lu­tion map above shows:

all the per­ma­nent and tem­po­rary streams and rivers of the con­tigu­ous 48 states in beau­ti­ful rain­bow colours, divid­ed into catch­ment areas. It shows Strahler Stream Order Clas­si­fi­ca­tion. The high­er the stream order, the thick­er the line.

When you look at the map, you’ll see, as The Wash­ing­ton Post observes, “Every riv­er in a col­or drains to the same riv­er, which then drains into the ocean. The giant basin in the mid­dle of the coun­try is the Mis­sis­sip­pi Riv­er basin. Major rivers like the Ohio and the Mis­souri drain into the behe­moth.” Pret­ty impres­sive.

The map was appar­ent­ly made using data from the Euro­pean Envi­ron­ment Agency and the Rivers Net­work Sys­tem.

You can find the map on Imgur, or pur­chase “ultra high” res­o­lu­tion copies through Etsy for $8.

Szucs has als0 pro­duced data visu­al­iza­tions of the riv­er sys­tems in Chi­na, India, Europe and oth­er parts of the world.

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 

Ancient Rome’s Sys­tem of Roads Visu­al­ized in the Style of Mod­ern Sub­way Maps 

Down­load 67,000 His­toric Maps (in High Res­o­lu­tion) from the Won­der­ful David Rum­sey Map Col­lec­tion

Japan­ese Design­ers May Have Cre­at­ed the Most Accu­rate Map of Our World: See the Autha­Graph

Buck­min­ster Fuller’s Map of the World: The Inno­va­tion that Rev­o­lu­tion­ized Map Design (1943)

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Watch Johnny Cash’s Poignant Final Interview & His Last Performance: “Death, Where Is Thy Sting?” (2003)

“Ask some­one to name a song that always has the pow­er to reduce them to tears,” writes Inde­pen­dent cul­ture edi­tor Christo­pher Hooton, “and the chances are they’ll swift­ly reply ‘John­ny Cash. Hurt,’” the coun­try leg­end’s heart­break­ing cov­er of Trent Reznor’s masochis­tic anthem. Asked to name a music video with the same emo­tion­al res­o­nance, and you’re just as like­ly to get the same answer. I find myself tear­ing up just read­ing Hooton’s descrip­tion of it. Shot at The House of Cash, the singer’s decrepit home (and shut­tered muse­um), direc­tor Mark Romanek’s wrench­ing video speaks to us of “the tran­sience of life, the grace­less­ness of death, the Ozy­man­di­an crum­bling of an oeu­vre and the decline of a genre, an era and an atti­tude.”

It does all that, but does much more besides: the video, and Cash’s last record­ings in gen­er­al, show us a man in the depths of lovelorn grief, yet unafraid to face mor­tal­i­ty and decline and unwill­ing to deny their rav­ages. We mourn with Cash and for him, but his final per­for­mances are so riv­et­ing because, while most of us may fear death, he did not.

“Corinthi­ans 15:55,” his last orig­i­nal song—on his final, posthu­mous col­lec­tion, Ain’t No Grave—is named after the verse that asks “Death, where is thy sting?” Through­out the album, Cash sounds, writes Adam Richter, “unim­pressed by the threat of death…. Singers are almost nev­er as pre­pared as Cash was to bid adieu to all that.”

The “Hurt” video net­ted Cash, Romanek, and his team six MTV Video Music Award nom­i­na­tions. Before it won for Best Cin­e­matog­ra­phy, Cash sat down with Kurt Loder on August 20th, 2003, for what would turn out to be his final inter­view. Although he con­fess­es to a dis­taste for the work of mak­ing videos, of “Hurt,” he says, “I felt we were doing some­thing worth­while.” He talks about meet­ing Rick Rubin and mak­ing the Amer­i­can Record­ings series of albums, some of the most wide­ly praised records of his career, and the music he had always want­ed to make. And he express­es the fierce inde­pen­dence, com­pas­sion, and authen­tic­i­ty that made him such a phe­nom­e­nal writer and admirable human being.

“You can’t let peo­ple del­e­gate to you what you should do,” Cash says, point­ing at his heart, “when it’s com­ing from way in here, you know?… I wouldn’t let any­body influ­ence me into think­ing I was doing the wrong thing by singing about death, hell, and drugs.” We’re all lucky that he didn’t. Cash’s expres­sions of grief after the death of June Carter cut deep, but it was his abil­i­ty not only to play the out­law but also to empathize with peo­ple who are abused, per­se­cut­ed, and exclud­ed by the law that set him apart from oth­er coun­try and gospel singers, and made him a hero to mil­lions of peo­ple who don’t share his roots or his faith.

The month before Cash gave his final inter­view, he gave his last per­for­mance at the Carter Ranch. (Watch it above.) Less than a month after the inter­view, he was dead. In 2007, the House of Cash, the house Cash had lived in since 1968, burned to the ground. Cash sure­ly would have mourned the loss, but it would­n’t have kept him down for long, I sus­pect. Not only did he stare down death with grace, humor, and dig­ni­ty, but he faced the pains of life with those same qual­i­ties.

Relat­ed Con­tent:

John­ny Cash Sings “Man in Black” for the First Time, 1971

John­ny Cash & Joe Strum­mer Sing Bob Marley’s “Redemp­tion Song” (2002)

John­ny Cash’s Christ­mas Spe­cials, Fea­tur­ing June Carter, Steve Mar­tin, Andy Kauf­man & More (1976–79)

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

The Female Pioneers of the Bauhaus Art Movement: Discover Gertrud Arndt, Marianne Brandt, Anni Albers & Other Forgotten Innovators

You’d be for­giv­en for assum­ing that the Bauhaus, the mod­ern art and design move­ment that emerged from the epony­mous Ger­man art school in the 1920s and 30s, did­n’t involve many women. Per­haps the famous near-indus­tri­al aus­ter­i­ty of its aes­thet­ic, espe­cial­ly at large scales, has stereo­typ­i­cal asso­ci­a­tions with male­ness, but also, Bauhaus’ most oft-ref­er­enced lead­ing lights — Paul Klee, Wal­ter Gropius, Wass­i­ly Kandin­sky, Lás­zló Moholy-Nagy, Oskar Schlem­mer — all hap­pened to be men. But if we seek out the women of the Bauhaus, what can we learn?

“When it opened, the Bauhaus school declared itself pro­gres­sive and mod­ern and advo­cat­ed equal­i­ty for the sex­es, which was rare at the time,” says Eve­lyn Adams in her short video on the Women of the Bauhaus above. “Val­ue was placed on skill rather than gen­der. Class­es weren’t seg­re­gat­ed, and women were free to select whichev­er sub­jects they want­ed.”

This had an under­stand­able appeal, and in the school’s first year more women applied than men. But alas, “in real­i­ty, despite hav­ing rad­i­cal aspi­ra­tions, the men in charge of the school rep­re­sent­ed the soci­etal atti­tudes of the time. If every­one was wel­comed as equals, then why did none of the women reach the same lev­el of recog­ni­tion as Paul Klee or Wass­i­ly Kandin­sky?”

The sto­ry of Gertrud Arndt, one of whose self-por­traits appears above and one of whose tex­tiles appears below that, sheds some light on the answer. “She must have felt so opti­mistic,” writes the New York Times’ Alice Raw­sthorn, when she arrived at the Bauhaus school of art and design in 1923 as “a gift­ed, spir­it­ed 20-year-old who had won a schol­ar­ship to pay for her stud­ies. Hav­ing spent sev­er­al years work­ing as an appren­tice to a firm of archi­tects, she had set her heart on study­ing archi­tec­ture.” But because of a “long-run­ning bat­tle between its found­ing direc­tor, the archi­tect Wal­ter Gropius, and one of its most charis­mat­ic teach­ers, Johannes Itten, who want­ed to use the school as a vehi­cle for his qua­si-spir­i­tu­al approach to art and design,” the Bauhaus’ house, as it were, had fall­en out of order.

Alas, “Arndt was told that there was no archi­tec­ture course for her to join and was dis­patched to the weav­ing work­shop.” In recent years, the Bauhaus Archive in Berlin has put on shows to hon­or female Bauhausers like Ard­nt, tex­tile design­er Beni­ta Koch-Otte, and the­ater design­er, illus­tra­tor, and col­or the­o­rist Lou Schep­er-Berkenkamp. “The sit­u­a­tion improved after Gropius suc­ceed­ed in oust­ing Itten in 1923,” writes Raw­sthorn, hir­ing Moholy-Nagy in Itten’s place. “Hav­ing ensured that female stu­dents were giv­en greater free­dom, Moholy encour­aged one of them, Mar­i­anne Brandt, to join the met­al work­shop. She was to become one of Germany’s fore­most indus­tri­al design­ers dur­ing the 1930s,” and her 1924 tea infuser and strain­er appears just above.

Art­sy’s Alexxa Got­thardt has the sto­ries of more women of the Bauhaus, includ­ing Anni Albers, whose 1947 Knot 2 appears just above. Her oth­er work includes “a cot­ton and cel­lo­phane cur­tain that simul­ta­ne­ous­ly absorbed sound and reflect­ed light” and tapes­tries that “would go on to have a con­sid­er­able impact on the devel­op­ment of geo­met­ric abstrac­tion in the visu­al arts.” Alma Sied­hoff-Busch­er, writes Got­thardt, dared “to switch from the weav­ing work­shop to the male-dom­i­nat­ed wood-sculp­ture depart­ment,” where she invent­ed a “small ship-build­ing game,” pic­tured below and still in pro­duc­tion today, that “man­i­fest­ed Bauhaus’s cen­tral tenets: its 22 blocks, forged in pri­ma­ry col­ors, could be con­struct­ed into the shape of a boat, but could also be rearranged to allow for cre­ative exper­i­men­ta­tion.”

Bauhaus art and design took crit­i­cism in its hey­day, as it still takes crit­i­cism now, for a cer­tain cold­ness and steril­i­ty — or at least the work of the men of the Bauhaus does. But the more we dis­cov­er about the less­er-known women of the Bauhaus, the more we see how they man­aged to bring no small degree of human­i­ty to its artis­tic fruits, even to those of its most rig­or­ous branch­es. “There is no dif­fer­ence between the beau­ti­ful sex and the strong sex,” Gropius once insist­ed in a some­what self-defeat­ing pro­nounce­ment, but the dif­fer­ences between the male and female Bauhausers — in their per­son­al­i­ties as well as in their work — make the move­ment look all the rich­er in ret­ro­spect.

Relat­ed Con­tent:

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: Gropius, Klee, Kandin­sky, Moholy-Nagy & More

3,900 Pages of Paul Klee’s Per­son­al Note­books Are Now Online, Pre­sent­ing His Bauhaus Teach­ings (1921–1931)

Kandin­sky, Klee & Oth­er Bauhaus Artists Designed Inge­nious Cos­tumes Like You’ve Nev­er Seen Before

Watch an Avant-Garde Bauhaus Bal­let in Bril­liant Col­or, the Tri­adic Bal­let First Staged by Oskar Schlem­mer in 1922

32,000+ Bauhaus Art Objects Made Avail­able Online by Har­vard Muse­um Web­site

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.


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