Watch Gandhi Talk in His First Filmed Interview (1947)

The Gand­hi of his­to­ry doesn’t line up with the Gand­hi of leg­end, just as the beat­i­fied Moth­er Tere­sa presents a very dif­fer­ent pic­ture in cer­tain astute crit­ics’ esti­ma­tion. But as with most saints, ancient and mod­ern, peo­ple tend to ignore Gandhi’s many con­tra­dic­tions and trou­bling­ly racist and casteist views. He comes to us more as myth and mar­tyr than deeply flawed human indi­vid­ual. An indis­pens­able part of the myth­mak­ing, Richard Attenborough’s 1982 biopic, Gand­hi, may be “over-san­i­tized,” as The Guardian writes, but Ben Kingsley’s per­for­mance as the anti-colo­nial leader is gen­uine­ly “sub­lime” in his evo­ca­tion of Gandhi’s “inten­si­ty… wit and even the dis­tinc­tive, deter­mined walk.” It’s these per­son­al qualities—and of course Gandhi’s defeat of the largest empire on the plan­et with non­vi­o­lent action and a spir­i­tu­al phi­los­o­phy—that con­tin­ue to inspire move­ments for jus­tice and civ­il rights.

We see a lit­tle of that deter­mined walk in the short news­reel inter­view above, the very first “talk­ing pic­ture” made of Gand­hi, and we also hear his inten­si­ty and wit, though much sub­dued by his phys­i­cal frailty after years of fast­ing. Tak­en in 1947 by Fox Movi­etone News, the film marks a piv­otal peri­od in the Indi­an leader’s life. Very short­ly after this Par­lia­ment passed the Indi­an Inde­pen­dence Act. That year also marked the start of a bloody new strug­gle, insti­gat­ed by anoth­er colo­nial inter­ven­tion, as the British par­ti­tioned India into two war­ring coun­tries, an act so poignant­ly dra­ma­tized in Salmon Rushdie’s Midnight’s Chil­dren.

This year of tur­moil was also Gandhi’s last; he was assas­si­nat­ed in 1948 by a Hin­du nation­al­ist who accused him of sid­ing with Pak­istan. In the inter­view, we hear what we might think of as some of Gandhi’s final pub­lic pro­nounce­ments on such sub­jects as child mar­riage, pro­hi­bi­tion, his deeply held con­vic­tions about an authen­tic Indi­an cul­tur­al iden­ti­ty, and the lengths that he would go for his country’s inde­pen­dence. At the end of the short inter­view, the Amer­i­can reporter asks Gand­hi, pre­scient­ly, “would you be pre­pared to die in the cause of India’s Inde­pen­dence?” to which Gand­hi replies, “this is a bad ques­tion.”

Relat­ed Con­tent:

Tol­stoy and Gand­hi Exchange Let­ters: Two Thinkers’ Quest for Gen­tle­ness, Humil­i­ty & Love (1909)

Albert Ein­stein Express­es His Admi­ra­tion for Mahat­ma Gand­hi, in Let­ter and Audio

Hear Gandhi’s Famous Speech on the Exis­tence of God (1931)

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

20 New Lines from The Epic of Gilgamesh Discovered in Iraq, Adding New Details to the Story

The Epic of Gil­gamesh, one of the old­est nar­ra­tives in the world, got a sur­prise update last month when the Sulay­maniyah Muse­um in the Kur­dis­tan region of Iraq announced that it had dis­cov­ered 20 new lines of the Baby­lon­ian-Era poem of gods, mor­tals, and mon­sters. Since the poem has exist­ed in frag­ments since the 18th cen­tu­ry BC, there has always been the pos­si­bil­i­ty that more would turn up. And yet the ver­sion we’re famil­iar with — the one dis­cov­ered in 1853 in Nin­eveh — has­n’t changed very much over recent decades. The text remained fair­ly fixed — that is, until the fall of Bagh­dad in 2003 and the intense loot­ing that fol­lowed yield­ed some­thing new.

Since that time, the His­to­ry Blog notes:

the [Sulay­maniyah] muse­um has a mat­ter of pol­i­cy paid smug­glers to keep arti­facts from leav­ing the coun­try, no ques­tions asked. The tablet was acquired by the muse­um in late 2011 as part of a col­lec­tion of 80–90 tablets sold by an unnamed shady char­ac­ter. Pro­fes­sor Farouk Al-Rawi exam­ined the col­lec­tion while the sell­er hag­gled with muse­um offi­cial Abdul­lah Hashim. When Al-Rawi saw this tablet, he told Hashim to pay what­ev­er the sell­er want­ed: $800.

That’s a pret­ty good deal for these extra lines that not only add to the poem’s length, but have now cleared up some of the mys­ter­ies in the oth­er chap­ters. These lines come from Chap­ter Five of the epic and cast the main char­ac­ters in a new light. Gil­gamesh and his com­pan­ion Enkidu are shown to feel guilt over killing Hum­ba­ba, the guardian of the cedar for­est, who is now seen as less a mon­ster and more a king. Just like a good director’s cut, these extra scenes clear up some mud­dy char­ac­ter moti­va­tion, and add an envi­ron­men­tal moral to the tale.

new lines of gilgamesh

The His­to­ry Blog arti­cle has an in depth descrip­tion of the trans­la­tion, with links to a schol­ar­ly paper on this very impor­tant find, and prompts the ques­tion, how much more is there to be dis­cov­ered?

In the video above, Hazha Jalal, man­ag­er of the tablet’s sec­tion of the Sulay­maniyah Muse­um talks (in Kur­dish) about the new dis­cov­ery, say­ing (in trans­la­tion): “The tablet dates back to the Neo-Bably­on­ian peri­od, 2000–1500 BCE. It is a part of tablet V of the epic. It was acquired by the Muse­um in the year 2011 and [then] Dr. Farouk Al-Raw translit­er­at­ed it. It was writ­ten as a poem and many new things this ver­sion has added, for exam­ple Gil­gamesh and his friend met a mon­key. We are hon­ored to house this tablet and any­one can vis­it the Muse­um dur­ing its open­ing hours from 8:30 morn­ing to noon. The entry is free for you and your guests. Thank you.”

In the mean­time, if you’ve got a few min­utes to spare, you can click here to Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia.

You can also find the epic in our twin col­lec­tions, 1,000 Free Audio Books: Down­load Great Books for Free and 800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

via The His­to­ry Blog

Relat­ed con­tent:

Hear the World’s Old­est Instru­ment, the “Nean­derthal Flute,” Dat­ing Back Over 43,000 Years

Hear the “Seik­i­los Epi­taph,” the Old­est Com­plete Song in the World: An Inspir­ing Tune from 100 BC

Hear Homer’s Ili­ad Read in the Orig­i­nal Ancient Greek

Down­load 55 Free Online Lit­er­a­ture Cours­es: From Dante and Mil­ton to Ker­ouac and Tolkien

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

8,400 Stunning High-Res Photos From the Apollo Moon Missions Are Now Online

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The Apol­lo pro­gram, launched in 1961 by John F. Kennedy, flew its first manned mis­sion in 1968, and the fol­low­ing sum­mer, Neil Arm­strong, Michael Collins, and Buzz Aldrin met the pro­gram’s man­date, mak­ing their his­toric Apol­lo 11 Moon Land­ing. In the ensu­ing few years, sev­er­al more space­craft and crews either orbit­ed or land­ed on the Moon, and for a brief moment, pop­u­lar mag­a­zines and news­pa­pers reg­u­lar­ly fea­tured pho­tographs of those expe­di­tions on their cov­ers and front pages. Look­ing every bit the authen­tic vin­tage Has­sel­blad pho­tos they are, the images you see here were tak­en by Apol­lo astro­nauts on their var­i­ous mis­sions and sent home in rolls of hun­dreds of sim­i­lar pic­tures.

Earthrise

These astro­nauts snapped pho­tos inside and out­side the space­craft, in orbit and on the moon’s sur­face, and in 2004 NASA began dig­i­tiz­ing the result­ing cache of film. Luck­i­ly for the pub­lic, devot­ed space enthu­si­ast and archivist, Kipp Teague—an IT direc­tor at Lynch­burg Col­lege in Virginia—has post­ed a huge num­ber of these pho­tos (8,400 to be exact) on his Project Apol­lo Archive Flickr account.

Apollo Archive 3

Teague ini­tial­ly began acquir­ing the pho­tos in col­lab­o­ra­tion with Eric Jones’ Apol­lo Lunar Sur­face Jour­nal, “a record of the lunar sur­face oper­a­tions con­duct­ed by the six pairs of astro­nauts who land­ed on the Moon from 1969 to 1972.” Under­stand­ably, so many peo­ple expressed inter­est in the pho­tographs that Teague refor­mat­ted them in high­er res­o­lu­tion and gave them their own home on the web. The Plan­e­tary Soci­ety informs us, “every pho­to tak­en on the lunar sur­face by astro­nauts with their chest-mount­ed Has­sel­blad cam­eras is includ­ed in the col­lec­tion.”

Apollo Archive 1

While Teague and Jones’ oth­er sites use pho­tos that have been processed to increase their clar­i­ty, light­ing, and col­or, the pho­tos on Project Apol­lo Archive remain in their orig­i­nal state. “Brows­ing the entire set,” writes the Plan­e­tary Soci­ety, “takes on the feel­ing of look­ing through an old fam­i­ly pho­to album.” Indeed, espe­cial­ly if you grew up in the late-six­ties/ear­ly-sev­en­ties at the height of the space pro­gram’s pop­u­lar­i­ty.

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A good many of the pho­tos are rather pro­ce­dur­al shots of craters and clouds, espe­cial­ly those from ear­li­er mis­sions. But quite a few frame the breath­tak­ing vis­tas, tech­ni­cal details, and awestruck, if exhaust­ed, faces you see here. So many pho­tos were tak­en and uploaded in suc­ces­sion that click­ing rapid­ly through a pho­to­stream can pro­duce an almost flip­book effect. You can browse the archive by album, each one rep­re­sent­ing a reel from dif­fer­ent Apol­lo missions—including that famous 11th (top, and below)—though Teague has yet to post high res­o­lu­tion images from Apol­lo 8 and 13.

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It seemed after Apollo’s demise in the mid-sev­en­ties that pho­tographs like these doc­u­ment­ed a lost age of NASA explo­ration, and that the once-great gov­ern­ment agency would cede its inno­v­a­tive role to pri­vate com­pa­nies like Elon Musk’s Space X, who have been much less forth­com­ing about releas­ing media to the pub­lic, mak­ing pro­pri­etary claims over their space pho­tog­ra­phy in par­tic­u­lar. But thanks in part to Space X and the coop­er­a­tion of Cana­di­an, Euro­pean, Russ­ian, and Japan­ese space pro­grams, NASA’s Inter­na­tion­al Space Sta­tion has raised the agency’s pub­lic pro­file con­sid­er­ably in the past sev­er­al years. Though still painful­ly under­fund­ed, NASA’s cool again.

Apollo Archive 4

Even more pro­file-rais­ing is the Mars Rover pro­gram, whose recent find­ing of water has refu­eled spec­u­la­tions about life on the Red Plan­et. As films like the recent, astro­naut-approved The Mar­t­ian and a raft of oth­ers show, our col­lec­tive imag­i­na­tion has long bent toward human explo­ration of Mars. Estab­lish­ing a base on Mars, after all, is Space X’s stat­ed mis­sion. Look­ing at these stun­ning vin­tage pho­tos of the Apol­lo Lunar mis­sions makes me long to see what the first astro­nauts to walk on Mars send back. We prob­a­bly won’t have to wait long once they’re up there. We’ll like­ly get Insta­gram uploads, maybe even some with fake vin­tage Has­sel­blad fil­ters. It won’t be quite the same; few cur­rent events can com­pete with nos­tal­gia. But I like to think we can look for­ward in the near future to a renais­sance of manned—and woman-ed—space explo­ration.

Apollo Archive 5

See many hun­dreds more Apol­lo Lunar Mis­sion pho­tos at Project Apol­lo Archive and fol­low the archive on Face­book for updates.

via The Plan­e­tary Soci­ety

Relat­ed Con­tent:

Land­ing on the Moon: July 20, 1969

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

Neil Arm­strong, Buzz Aldrin & Michael Collins Go Through Cus­toms and Sign Immi­gra­tion Form After the First Moon Land­ing (1969)

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

Bernie Sanders: I Will Be an Arts President

Art is speech. Art is what life is about. 

A rous­ing sen­ti­ment, and one rarely expressed by those run­ning for the nation’s high­est office.

Once a can­di­date has been safe­ly elect­ed, he may feel com­fort­able betray­ing a deep­er affin­i­ty, or ced­ing to the tastes of an arts-inclined First Lady. Sanders isn’t wait­ing, pledg­ing in the video above, that he will be an Arts Pres­i­dent.

The Amer­i­cans for the Arts Action Fund tracks the can­di­dates’ records with regard to arts advo­ca­cy, and it appears that Sanders has been walk­ing the walk for quite some time.

He filmed a half-hour long doc­u­men­tary about labor leader Eugene Debs.

He record­ed a 1987 folk album with the help of 30 Ver­mont musi­cians, stout­ly pro­nounc­ing the lyrics to “This Land is Your Land” and “Where Have All the Flow­ers Gone” a la Rex Har­ri­son.

Vice’s Paul Best made a com­pelling case for how Bernie Sanders shaped the north­east punk scene.

If Allen Gins­berg could vote from beyond the grave, I’m pret­ty sure I know which lever he’d be pulling…

With regard to liv­ing celebri­ties, it’s no big sur­prise to see that Will Fer­rell, Susan Saran­don, and John C Reil­ly are among the artists sup­port­ing Bernie Sanders. Hol­ly­wood has long embraced lib­er­al can­di­dates. They are joined on the ever grow­ing list of Artists and Cul­tur­al Lead­ers for Bernie Sanders by musi­cians Jel­lo Biafra and The Red Hot Chili Pep­pers, come­di­ans Mar­garet Cho and Sarah Sil­ver­man, and graf­fi­ti artists Ron Eng­lish and Shep­ard Fairey, cre­ator of the Oba­ma Hope poster.

As Sanders fans wait to see whether Fairey will per­form a sim­i­lar ser­vice for his 2016 pick, Sten­cils for Bernie is tak­ing up the slack with down­load­able images for the DIY-inclined.

I pre­sume that it’s only a mat­ter of time before some young ani­ma­tor puts him or her­self at Sanders’ dis­pos­al, though I kind of hope not. The candidate’s short video is reas­sur­ing­ly devoid of the snap­py visu­als that have become a sta­ple of the form, thanks to such pop­u­lar series as Crash Course, CGP Grey, The School of Life, and TED Ed.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Bernie Sanders Sings “This Land is Your Land” on the Endear­ing­ly Bad Spo­ken Word Album, We Shall Over­come

Allen Ginsberg’s Hand­writ­ten Poem For Bernie Sanders, “Burling­ton Snow” (1986)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, opens in New York City lat­er this month. Fol­low her @AyunHalliday

What “Orwellian” Really Means: An Animated Lesson About the Use & Abuse of the Term

In all of our minds, the word “Orwellian” con­jures up a cer­tain kind of set­ting: a vast, fixed bureau­cra­cy; a dead-eyed pub­lic forced into gray, uni­form liv­ing con­di­tions; the very words we use man­gled in order to bet­ter serve the inter­ests of pow­er. We think, on the whole, of the kind of bleak­ness with which George Orwell sat­u­rat­ed the future Eng­land that pro­vides the set­ting for his famous nov­el Nine­teen Eighty-Four. Almost sev­en­ty years after that book’s pub­li­ca­tion, we now use “Orwellian” to describe the views of the polit­i­cal par­ty oppo­site us, the Depart­ment of Motor Vehi­cles — any­thing, in short, that strikes us as brutish, mono­lith­ic, implaca­ble, delib­er­ate­ly stripped of mean­ing, or in any way author­i­tar­i­an.

We use the word so much, in fact, that it can’t help but have come detached from its orig­i­nal mean­ing. “I can tell you that we live in Orwellian times,” writes the Guardian’s Sam Jordi­son. Or that “Amer­i­ca is wag­ing Orwellian wars, that TV is Orwellian, that the police are Orwellian, that Ama­zon is Orwellian, that pub­lish­ers are Orwellian too, that Ama­zon with­drew copies of Nine­teen Eighty-Four, which was Orwellian (although Orwell wouldn’t like it), that Vladimir Putin, George W. Bush, David Cameron, Ed Mil­liband, Kim Jong-un and all his rel­a­tives are Orwellian, that the TV pro­gramme Big Broth­er is both Orwellian and not as Orwellian as it claims to be, that Oba­ma engages in Oba­ma­think, that cli­mate-change deniers and cli­mate change sci­en­tists are Orwellian, that neo­clas­si­cal eco­nom­ics employs Orwellian lan­guage. That, in fact, every­thing is Orwellian,” Jordi­son con­tin­ues.

Here to restore sense to our usage of the most com­mon word derived from the name of a writer, we have the Ted-Ed video at the top of the post. In it, and in the asso­ci­at­ed les­son on Ted-Ed’s site, Noah Tavlin breaks down the ter­m’s mean­ing, its ori­gin, the fail­ings of our mod­ern inter­pre­ta­tion of it, and how tru­ly Orwellian phe­nom­e­na con­tin­ue to invade our dai­ly life with­out our even real­iz­ing it. “The next time you hear some­one say ‘Orwellian,’ ” says Tavlin, “pay close atten­tion. If they’re talk­ing about the decep­tive and manip­u­la­tive use of lan­guage, they’re on the right track. If they’re talk­ing about mass sur­veil­lance and intru­sive gov­ern­ment, they’re describ­ing some­thing author­i­tar­i­an, but not nec­es­sar­i­ly Orwellian. And if they use it as an all-pur­pose word for any ideas they dis­like, it’s pos­si­ble that their state­ments are more Orwellian than what­ev­er it is they’re crit­i­ciz­ing” — an out­come Orwell him­self might well have fore­seen.

Relat­ed Con­tent:

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

George Orwell and Dou­glas Adams Explain How to Make a Prop­er Cup of Tea

For 95 Min­utes, the BBC Brings George Orwell to Life

George Orwell’s Five Great­est Essays (as Select­ed by Pulitzer-Prize Win­ning Colum­nist Michael Hiltzik)

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How a Virus Invades Your Body: An Eye-Popping, Animated Look

It’s get­ting close to that time of the year again, when the flu starts to wreak hav­oc. And so, with the help of NPR’s Robert Krul­wich and med­ical ani­ma­tor David Bolin­sky, we’re tak­ing an ani­mat­ed look at what actu­al­ly hap­pens when a virus invades your body and tricks a sin­gle cell into mak­ing a mil­lion more virus­es, and how your immune sys­tem even­tu­al­ly deals with the whole mess. It’s a nice demys­ti­fi­ca­tion of phe­nom­e­na that affects our every­day lives. If you feel inclined to get a flu shot after watch­ing this clip, I can’t say that I blame you.

Fol­low us on Face­book and Twit­ter and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

Relat­ed Con­tent:

Free Online Biol­o­gy Cours­es

What Makes Us Tick? Free Stan­ford Biol­o­gy Course by Robert Sapol­sky Offers Answers

Carl Sagan Explains Evo­lu­tion in an Eight-Minute Ani­ma­tion

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Akira Kurosawa Painted the Storyboards For Scenes in His Epic Films: Compare Canvas to Celluloid

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Appre­ci­a­tors of the finest works in cin­e­ma his­to­ry often liken their images to paint­ings. In the case of Aki­ra Kuro­sawa, mak­er of quite a few entries on that grand list of the finest works in cin­e­ma his­to­ry, that makes pro­fes­sion­al sense: he began as a painter, only lat­er turn­ing film­mak­er. “When I changed careers,” he writes, “I burnt all the pic­tures that I had paint­ed up until then. I intend­ed to for­get paint­ing once and for all. As a well-known Japan­ese proverb says, ‘If you chase two rab­bits, you may not catch even one.’ I did no art work at all once I began to work in cin­e­ma. But since becom­ing a film direc­tor, I have found that draw­ing rough sketch­es was often a use­ful means of explain­ing ideas to my staff.”

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Kurasawa 3

That comes quot­ed on “Aki­ra Kuro­sawa: From Art to Film,” a roundup of such paint­ings by the Emper­or (a nick­name Kuro­sawa earned through his on-set man­ner), set beside the result­ing frames from his movies. “As a painter and film­mak­er, Kuro­sawa stuck to his own style,” writes Pop­mat­ters’ Ian Chant in an exam­i­na­tion of this facet of his career, “informed heav­i­ly by tra­di­tion­al Japan­ese paint­ing as well as Euro­pean impres­sion­ists and expres­sion­ists, anoth­er are­na of art where he answered to both east­ern and west­ern influ­ences. These painstak­ing­ly craft­ed paint­ings formed the visu­al back­bone of some of Kurosawa’s most last­ing achieve­ments.”

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Kurasawa 5

The most vivid exam­ples of can­vas-turned-cel­lu­loid come from Kuro­sawa’s lat­er works, such as 1980’s Kage­musha, 1985’s Ran, 1990’s Dreams, and 1993’s Mada­dayo, selec­tions from each of which you see in this post. “I can­not help but be fas­ci­nat­ed by the fact that when I tried to paint well, I could only pro­duce mediocre pic­tures,” con­tin­ues the Emper­or him­self. “But when I con­cen­trat­ed on delin­eat­ing the ideas for my films, I uncon­scious­ly pro­duced works that peo­ple find inter­est­ing.” Hold­ing the paint­ed work up against his film work, only the strictest cin­e­ma purist could deny that, ulti­mate­ly, Kuro­sawa caught both rab­bits.

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Kurasawa 7

Jux­ta­pose more paint­ed sto­ry­boards and frames from films here.

Relat­ed Con­tent:

The Paint­ings of Aki­ra Kuro­sawa

Aki­ra Kurosawa’s 80-Minute Mas­ter Class on Mak­ing “Beau­ti­ful Movies” (2000)

Aki­ra Kurosawa’s List of His 100 Favorite Movies

Aki­ra Kuro­sawa & Gabriel Gar­cía Márquez Talk About Film­mak­ing (and Nuclear Bombs) in Six Hour Inter­view

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Guggenheim Puts Online 1700 Great Works of Modern Art from 625 Artists

Kandinsky Composition II

If you were to ask me in my cal­low years as a young art stu­dent to name my favorite painter, I would have answered with­out a moment’s hes­i­ta­tion: Wass­i­ly Kandin­sky. His the­o­ret­i­cal bent, his mys­ti­cism, his seem­ing­ly near total cre­ative inde­pen­dence…. There were times when Kandin­sky the thinker, writer, and teacher appealed to me even more than Kandin­sky the painter. This may go a ways toward explain­ing why I left art school after my first year to pur­sue writ­ing and teach­ing. But nowa­days, hav­ing seen a tiny bit more of the world and its boun­ti­ful artis­tic trea­sures, I might pause for just a moment if asked about my favorite painter… then I’d answer: Wass­i­ly Kandin­sky.

Kandinsky Light Picture

If you want to see the pio­neer­ing abstract expressionist’s art in the Unit­ed States, your best bet is to get your­self to New York’s famed Guggen­heim, which has a ver­i­ta­ble trea­sure chest of Kandinsky’s work that doc­u­ments his tran­si­tion from paint­ings and wood­cuts inspired by Russ­ian folk art and French fau­vism to com­plete­ly non-rep­re­sen­ta­tion­al can­vas­es made entire­ly of inter­sect­ing lines, shapes, and colors—his own pri­vate sym­bol­o­gy.

But if you can’t make it to New York, then just head on over to the Guggenheim’s online col­lec­tion, where the muse­um has dig­i­tized “near­ly 1600 art­works by more than 575 artists.” This is the most sweep­ing move toward greater acces­si­bil­i­ty since the pri­vate col­lec­tion went pub­lic in 1937. You’ll find ear­ly rep­re­sen­ta­tion­al Kandin­skys; tran­si­tion­al Kandin­skys like Sketch for Com­po­si­tion II from 1909-10 (top)—with still rec­og­niz­able favorite motifs of his, like the horse and rid­er embed­ded in them; and you’ll find much more abstract Kandin­skys like 1913’s Light Pic­ture, above, show­ing his move even far­ther away from Matisse and Russ­ian folks and clos­er to an inim­itable indi­vid­ual aes­thet­ic like that of Joan Miró or Paul Klee.

Klee Hilterfingen

Speak­ing of Klee, anoth­er of my favorites, you’ll also find the sketch above, from 1895, before he began his for­mal train­ing in Munich. It’s a far cry from his mature style—a prim­i­tive min­i­mal­ism that drew inspi­ra­tion from children’s art. If you know any­one who looks at abstract art and says, “I could do that,” show them the draw­ing above and ask if they could do this. Painters like Kandin­sky and Klee, who worked and exhib­it­ed togeth­er, first learned to ren­der in more rig­or­ous­ly for­mal styles before they broke every rule and made their own. It’s a nec­es­sary part of the dis­ci­pline of art.

Miro Personage

Of the three artists I’ve men­tioned thus far, it is per­haps Miró who moved far­thest away from any sem­blance of clas­si­cal train­ing. In works like Per­son­age (above), the Span­ish sur­re­al­ist achieved his “assas­si­na­tion of paint­ing” and the real­ist bour­geois val­ues he detest­ed in Euro­pean art. Piet Mon­dri­an, anoth­er artist who com­plete­ly rad­i­cal­ized paint­ing, did so by mov­ing in the oppo­site direc­tion, towards a for­mal­ism so exact­ing as to be almost chill­ing. But like all mod­ern artists, Mon­dri­an learned the clas­si­cal rules before he tore them up for good, as evi­denced by his draw­ing below, Chrysan­the­mum, from 1908-09.

Mondrian Chrysanthemum

Of course you won’t only find artists from the ear­ly twen­ti­eth cen­tu­ry in the Guggenheim’s online col­lec­tion. This just hap­pens to be one of my favorite peri­ods, and the Guggen­heim is most famous for its mod­ernist col­lec­tion. But you’ll also find work from more con­tem­po­rary provo­ca­teurs like Mari­na Abramović and Ai Wei­wei, as well as from ear­ly nine­teenth cen­tu­ry pro­to-impres­sion­ists like Camille Pis­sar­ro. (See Pis­sar­ro’s 1867 The Her­mitage at Pon­toise below.)  And if you find your­self want­i­ng more con­text, the Guggen­heim has made it easy to give your­self a thor­ough edu­ca­tion in mod­ern art. As we’ve not­ed before, between 2012 and 2014, the muse­um placed over 100 art cat­a­logues online, includ­ing a col­lec­tion called “The Syl­labus,” fea­tur­ing books by the museum’s first cura­tor. Look­ing for a way of under­stand­ing that weird phe­nom­e­non known as mod­ern art? Look no fur­ther, the Guggenheim’s got you cov­ered.

Pisarro Hermitage

Relat­ed Con­tent:

The Guggen­heim Puts 109 Free Mod­ern Art Books Online

Rijksmu­se­um Dig­i­tizes & Makes Free Online 210,000 Works of Art, Mas­ter­pieces Includ­ed!

Down­load 100,000 Free Art Images in High-Res­o­lu­tion from The Get­ty

The Nation­al Gallery Makes 25,000 Images of Art­work Freely Avail­able Online

Down­load 448 Free Art Books from The Met­ro­pol­i­tan Muse­um of Art

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

A Short, Powerful Animation on Addiction: Watch Andreas Hykade’s Nuggets

From Andreas Hykade, the Direc­tor of the Ani­ma­tion and Visu­al Effects pro­gram at Germany’s Fil­makademie Baden-Würt­tem­berg, comes a short ani­mat­ed film called Nuggets. Things start off innocu­ous­ly, with a kiwi tak­ing a casu­al stroll down a road, even­tu­al­ly encoun­ter­ing and tast­ing some gold­en nuggets. The nuggets are deli­cious, it turns out, too deli­cious to resist. Then [spoil­er alert!] things take a dark turn, as we watch our friend­ly kiwi sink into addic­tion and despair. In an inter­view con­duct­ed by the Ani­ma­tion World Net­work, Hykade says that he cre­at­ed the film for young teenagers who might be tempt­ed one day (pre­sum­ably by drugs). And when that day comes, he hopes they’ll think about Nuggets and its strik­ing, stripped-down mes­sage about addic­tion and the life it brings.

You can watch more ani­ma­tions by Hykade on his web site. And find more thought-pro­vok­ing Ani­ma­tions in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

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

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

via io9

Relat­ed Con­tent:

The Cof­fee Pot That Fueled Hon­oré de Balzac’s Cof­fee Addic­tion

Bela Lugosi Dis­cuss­es His Drug Habit as He Leaves the Hos­pi­tal in 1955

How a Young Sig­mund Freud Researched & Got Addict­ed to Cocaine, the New “Mir­a­cle Drug,” in 1894

Free Online Psy­chol­o­gy Cours­es

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The Falling Water: A Rube Goldberg Machine That Makes a Fine Cocktail

Joseph Her­sch­er, a kinet­ic artist from New Zealand, has a knack for mak­ing some pret­ty imag­i­na­tive Rube Gold­berg machines. Back in 2012, we showed you The Page Turn­er, a device that gives cre­ative assis­tance to any­one still read­ing news­pa­pers in a print for­mat. Next week, we’ll hope­ful­ly get a chance to fea­ture his most recent con­trap­tion. (Stay tuned for more on that.) But for now, as we head into the week­end, let’s admire The Falling Water, Her­scher’s cock­tail-mak­ing machine that plays on the name of a famous Frank Lloyd Wright cre­ation. You can watch it go above. And for those who want to play along at home, here is the recipe for the drink:

- 30mls (1Oz) 42BELOW Fei­joa Vod­ka
— Ch’i or Lemon­ade
— Long slice of seed­less cucum­ber
— Ice

Cut a long thin piece of cucum­ber on a diag­o­nal.
Rest it against the inside of a High­ball glass.
Fill the glass with ice, add 42BELOW Fei­joa.
Top with Ch’i or Lemon­ade.

Enjoy!

Relat­ed Con­tent:

An Ani­mat­ed Tour of Falling­wa­ter, One of Frank Lloyd Wright’s Finest Cre­ations

The Page Turn­er: A Fab­u­lous Rube Gold­berg Machine for Read­ers

F. Scott Fitzger­ald Con­ju­gates “to Cock­tail,” the Ulti­mate Jazz-Age Verb (1928)

The Complete Star Wars “Filmumentary”: A 6‑Hour, Fan-Made Star Wars Documentary, with Behind-the-Scenes Footage & Commentary

Who owns Star Wars, George Lucas or the fans?

The short answer now, of course, is… Dis­ney… and maybe J.J. Abrams. Giv­en the explo­sion of fran­chis­ing and mer­chan­dis­ing begun by the com­ing tidal wave of new Star Wars films under Disney’s aegis, it will some­day be dif­fi­cult to con­vince young­sters that things were ever oth­er­wise.

But in my day [insert old man wag­ging fin­ger here] the crit­i­cal debate was between Lucas and the fans. I’m pret­ty sure the fans won. The world-build­ing of Star Wars will out­last its cre­ator and its first cou­ple gen­er­a­tions of devot­ed view­ers, and the grand tra­di­tion of Star Wars fan films—begun almost imme­di­ate­ly after the first Star Wars’ release with the fond par­o­dy “Hard­ware Wars”—will live on. Star Wars fan films even have their own annu­al awards pro­gram.

There are many micro-gen­res of Star Wars fan film: Ani­me, Silent, Crowd-sourced, Action Fig­ure, etc. Today we bring you per­haps the best exam­ple in the Doc­u­men­tary cat­e­go­ry, a “Com­plete Fil­mu­men­tary” by film­mak­er Jamie Ben­ning. Although pre­sent­ed here in order of the first three Star Wars movies, this stel­lar exam­ple of fan craft and devo­tion actu­al­ly began in 2006 with the film right above, Build­ing Empire, which offers over two hours of “video clips, audio from cast and crew, alter­nate angles, recon­struct­ed scenes, text facts and insights into the devel­op­ment and cre­ation of The Empire Strikes Back.

Next, in 2007, came Return­ing to Jedi, anoth­er exhaus­tive pre­sen­ta­tion of out­takes, behind-the-scenes moments, audio com­men­tary, tech­ni­cal details, and triv­ia from the first trilogy’s final film. Final­ly, in 2011, Ben­ning com­plet­ed his fan doc­u­men­tary tril­o­gy with Star Wars Begins at the top. “If you’ve nev­er seen the delet­ed scenes of Jab­ba the Hutt or Big­gs Dark­lighter on Tatooine, or heard David Prowse say­ing Vader’s dia­logue,” says the film’s press release, “then you will get a real kick out of this. Many reviews and com­ments have cen­tered on the fact that it’s like watch­ing your favourite movie but from an entire­ly dif­fer­ent per­spec­tive.”

It’s also at times like watch­ing what Star Wars might look like in an alter­nate uni­verse. Some delet­ed scenes and ear­ly demo footage show us plot points and char­ac­ters we nev­er knew exist­ed. In Star Wars Begins, for exam­ple, we see an ear­ly black and white silent edit, known as the “Lost Cut,” and fea­tur­ing a droid named “Tread­well” who resem­bles Short Circuit’s John­ny 5. As fan films demon­strate, again and again into seem­ing eter­ni­ty, the Star Wars uni­verse is infi­nite­ly malleable—despite con­stant bick­er­ing over canon—and offers end­less rich­es for imag­i­na­tive plun­der. And for that we’ll always have the films’ orig­i­nal cre­ators to thank. Benning’s painstak­ing­ly-edit­ed doc­u­men­taries show us the incred­i­ble amount of work that went into build­ing the world of Star Wars, a world that shows no signs of ever com­ing to an end.

Jen­ning’s fil­mu­men­taries will be added to our list of Free Doc­u­men­taries, a sub­set of our col­lec­tion 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

via Men­tal Floss

Relat­ed Con­tent:

The Mak­ing of The Empire Strikes Back Show­cased on Long-Lost Dutch TV Doc­u­men­tary

Joseph Camp­bell and Bill Moy­ers Break Down Star Wars as an Epic, Uni­ver­sal Myth

Hard­ware Wars: The Moth­er of All Star Wars Fan Films (and the Most Prof­itable Short Film Ever Made)

Star Wars Uncut: The Epic Fan Film

Frei­heit, George Lucas’ Short Stu­dent Film About a Fatal Run from Com­mu­nism (1966)

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


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