新规解读：北京商品住房单次租期不得超过10年

百度目前，已有22家全球企业承诺加入，并明确了具体举措，如：设定科学碳目标、转用低碳清洁能源、以及与供应商合作以提高其工厂和物业的资源使用效率等。

in Music | July 31st, 2017

We could argue all day about whether punk start-ed in the US or UK (it’s the US), but why both-er? Why not spend our time doing more inter-est-ing things—like dig-ging up rare his-tor-i-cal arti-facts from the ear-li-est days of punk rock in Lon-don, New York and, yes, Detroit. Punk may have devolved into a prêt-à-porter sig-ni-fi-er, but its gold-en age was dom-i-nat-ed by bespoke per-son-al-i-ties the size of Texas. And no ori-gin sto-ry (except maybe this one) bet-ter exem-pli-fies punk’s found-ing ethos than that of Siouxsie and the Ban-shees’ first gig in Lon-don in 1976, which you can hear in all of its def-i-n-i-tion-of-lo-fi glo-ry in two parts above and below.

Siouxsie Sioux (Susan Janet Dal-lion) already stood out as one of the Sex Pis-tols’ ded-i-cat-ed fol-low-ers, her Egypt-inspired eye make-up and black lip-stick stak-ing out the Goth ter-ri-to-ry she would con-quer in just a few short years. She was a born per-former, but up until this first appear-ance at 19, had nev-er been on stage before or front-ed a band.

The “band” itself didn’t exist until the last minute, when Siouxsie and bassist Steve Sev-erin (then “Steve Spunker”) decid-ed they should take the place of a group that pulled out of the 100 Club Punk Fes-ti-val, a show-case for the Sex Pis-tols, The Clash, The Damned, and a hand-ful of oth-er unsigned (at the time) bands.

“Suzie and the Ban-shees,” as they were billed, con-sist-ed of the mag-nif-i-cent-ly shrill Siouxsie, Sev-erin, future Adam Ant gui-tarist Mar-co Pir-roni, and the most infa-mous non-musi-cian in punk, Sid Vicious, on drums, before he pre-tend-ed to play bass in the Sex Pis-tols. They hadn’t writ-ten any songs, and so they smashed through a 20-minute med-ley of “Deutsch-land, Deutsch-land über alles,” “Knock-ing on Heaven’s Door,” “Twist and Shout,” and the Lord’s Prayer. Show pro-mot-er Ron Watts called it “per-for-mance art,” and not in a good way.

Sum-ming up the eter-nal inter-play between punk bands and club own-ers, Watts remem-bered their debut as “weak, it was weedy. You couldn’t say it was a gig…. It was just peo-ple, get-ting up and try-ing to do some-thing. I let them do it, you know.” The supreme-ly con-fi-dent Siouxsie didn’t care. In an inter-view a cou-ple of months lat-er (above) she admits, “it got a bit bor-ing in some parts, but it picked up.” So did the band, pick-ing up actu-al-ly very good drum-mer Ken-ny Mor-ris and cycling through a few gui-tarists, includ-ing The Cure’s Robert Smith for a spell. A cou-ple of the oth-er bands at that noto-ri-ous show made good as well. (One even got their own cred-it card.) Hear The Clash’s set from the night here, here, and here, and see a pho-to set of Siouxsie and friends from 1976 here.

via Post Punk

Relat-ed Con-tent:

The Sex Pis-tols Play in Dal-las’ Long-horn Ball-room; Next Show Is Mer-le Hag-gard (1978)

Watch The Cure’s First TV Appear-ance in 1979 … Before The Band Acquired Its Sig-na-ture Goth Look

The His-to-ry of Punk Rock in 200 Tracks: An 11-Hour Playlist Takes You From 1965 to 2016

Josh Jones is a writer and musi-cian based in Durham, NC. Fol-low him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

Accidental Wes Anderson: Every Place in the World with a Wes Anderson Aesthetic Gets Documented by Reddit

in Design, Film, Photography | July 31st, 2017

Wes Ander-son-’s immac-u-late-ly art-direct-ed, imme-di-ate-ly rec-og-niz-able films may take place in a real-i-ty of their own, but that does-n’t mean a real-i-ty with no con-nec-tion to ours. To go by their results, the direc-tor of The Life Aquat-ic, Moon-rise King-dom, and The Grand Budapest Hotel (to name only three of his most visu-al-ly dis-tinc-tive pic-tures) and his col-lab-o-ra-tors have clear-ly immersed them-selves in the very real his-to-ry of the West in the twen-ti-eth cen-tu-ry, drink-ing deeply of its fash-ion, its archi-tec-ture, and its indus-tri-al and graph-ic design.

So no mat-ter how fan-ci-ful his con-struct-ed set-tings — The Roy-al Tenen-baums’ dream of New York City, The Dar-jeel-ing Lim-it-ed’s train cross-ing India in quirky old-school splen-dor, The Grand Budapest Hotel’s unspe-cif-ic Alpine mit-teleu-ropa — Ander-son always assem-bles them from prece-dent-ed ele-ments.

And so the habitués of a sub-red-dit called Acci-den-tal Ander-son have set out to post pic-tures of his sources, or places that might well pass for his sources, all over not just Europe, of course — where they found the Vien-nese cafe at the top of the post and the Berlin-er deliv-ery van with wag-on just above — but Amer-i-ca, Asia, the Mid-dle East, and else-where.

Much of a loca-tion’s acci-den-tal Ander-son-ian poten-tial comes down to its geom-e-try and its col-ors: deep reds, bright yel-lows, and espe-cial-ly pale pinks and greens. Many of Ander-son-’s pre-ferred hues appear in the Gold Crest Resort Motel just above, which may strike a fan as hav-ing come right out of an Ander-son pic-ture even more so than the motel he actu-al-ly used in his debut fea-ture Bot-tle Rock-et. The direc-tor has since moved on to much fin-er hostel-ries, which thus form a strong thread among Acci-den-tal Ander-son-’s pop-u-lar post-ings: Flori-da’s Don CeSar Hotel (known as the “Pink Lady”), Cuba’s Hotel Sarato-ga, Switzer-land’s Hotel Belvédère, Italy’s Grand Hotel Mis-ur-nia.

Berlin’s hum-bler Ostel, a themed trib-ute to the design sen-si-bil-i-ties of the for-mer East Ger-many, might also res-onate with the ever-deep-en-ing his-tor-i-cal con-scious-ness of Ander-son-’s movies. (Remem-ber The Grand Budapest Hotel’s tit-u-lar build-ing, sad-ly redone in a util-i-tar-i-an, faint-ly Sovi-et avo-ca-do-and-ochre dur-ing the film’s 1960s pas-sages.)

To think that Ander-son came from a place no less impos-si-bly dis-tant from the realm of mid-cen-tu-ry Europe than Texas, home of the Dal-las music store pic-tured below. Giv-en his increas-ing pop-u-lar-i-ty, it’s hard-ly a sur-prise to see his sig-na-ture aes-thet-ic being not just reflect-ed but adopt-ed around the world. If life con-tin-ues to imi-tate art, Acci-den-tal Ander-son-’s con-trib-u-tors will long have their work cut out for them. Pay a vis-it to Acci-den-tal Ander-son here.

Relat-ed Con-tent:

Wes Ander-son Movie Sets Recre-at-ed in Cute, Minia-ture Dio-ra-mas

The Per-fect Sym-me-try of Wes Anderson’s Movies

The Geo-met-ric Beau-ty of Aki-ra Kuro-sawa and Wes Anderson’s Films

Wes Ander-son Likes the Col-or Red (and Yel-low)

Based in Seoul, Col-in Mar-shall writes and broad-casts on cities and cul-ture. He’s at work on the book The State-less City: a Walk through 21st-Cen-tu-ry Los Ange-les, the video series The City in Cin-e-ma, the crowd-fund-ed jour-nal-ism project Where Is the City of the Future?, and the Los Ange-les Review of Books’ Korea Blog. Fol-low him on Twit-ter at @colinmarshall or on Face-boo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Introducing the New PEN America Digital Archive: 1,500 Hours of Audio & Video Featuring 2,200 Eminent Writers

in Books, Literature, Politics, Writing | July 31st, 2017

Image via Pen.Org

The recent-ly launched PEN Amer-i-ca Dig-i-tal Archive is an Aladdin’s cave of lit-er-ary trea-sures. An incred-i-ble amount of cul-tur-al pro-gram-ming has grown up around the orga-ni-za-tion’s com-mit-ment to cham-pi-oning writ-ers’ civ-il liberties–over 1,500 hours worth of audio and visu-al files.

Delve into this free, search-able archive for pre-vi-ous-ly inac-ces-si-ble lec-tures, read-ings, and dis-cus-sions fea-tur-ing the lead-ing writ-ers, intel-lec-tu-als, and artists of the last 50 years. Many of these New York City-based events were planned in response to the oppres-sion and hard-ship suf-fered by fel-low writ-ers around the world.

Feel-ing over-whelmed by this all-you-can-eat buf-fet for the mind? The archivists have your back with fea-tured col-lec-tions–an assort-ment of rau-cous, polit-i-cal con-ver-sa-tions from the 1986 PEN World Con-gress and a thir-ty year ret-ro-spec-tive of Toni Mor-ri-son.

We are lucky that Nobel Prize-win-ner Mor-ri-son, a vig-or-ous cul-tur-al observ-er and crit-ic, still walks among us. Also, that the archive affords us a chance to spend qual-i-ty time with so many great lit-er-ary emi-nences who no longer do:

John Stein-beck reads excerpts of The Grapes of Wrath and his short sto-ries, “The Snake,” “John-ny Bear,” and “We’re Hold-ing Our Own.”

Jerzy Kosin-s-ki dis-cuss-es teach-ing, and the auto-bi-o-graph-i-cal ele-ments of his con-tro-ver-sial 1965 nov-el, The Paint-ed Bird.

Madeleine L’En-gle con-sid-ers myth, sci-ence, faith, and the con-nec-tion between art and fear.

Saul Bel-low tack-les how intel-lec-tu-als influ-ence and use tech-nol-o-gy, a par-tic-u-lar-ly inter-est-ing top-ic in light of the dystopi-an fiction’s cur-rent pop-u-lar-i-ty.

Nadine Gordimer relives the pub-li-ca-tion, ban-ning and swift unban-ning of her polit-i-cal his-tor-i-cal nov-el, Burg-er’s Daugh-ter.

Susan Son-tag uses a PEN Inter-na-tion-al Con-gress press con-fer-ence to draw atten-tion to ways in which the host coun-try, Korea, was falling short in regard to free-dom of expres-sion.

Gwen-dolyn Brooks reveals the back-sto-ry on her poems, includ-ing “The Lovers of the Poor,” and “We Real Cool.”

Begin your adven-tures in the PEN Amer-i-ca Dig-i-tal Archive here.

via Elec-tric Lit-er-a-ture

Relat-ed Con-tent:

Free Speech Bites: Nigel War-bur-ton, Host of Phi-los-o-phy Bites, Cre-ates a Spin Off Pod-cast Ded-i-cat-ed to Free-dom of Expres-sion

Great Writ-ers on Free Speech and the Envi-ron-ment

Penn Sound: Fan-tas-tic Audio Archive of Mod-ern & Con-tem-po-rary Poets

Ayun Hal-l-i-day is an author, illus-tra-tor, the-ater mak-er and Chief Pri-ma-tol-o-gist of the East Vil-lage Inky zine. Fol-low her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( None ) |

When J.M. Coetzee Secretly Programmed Computers to Write Poetry in the 1960s

in Literature, Poetry, Technology | July 29th, 2017

Before J.M. Coet-zee became per-haps the most acclaimed nov-el-ist alive, he worked as a pro-gramer. That may not sound par-tic-u-lar-ly notable these days, but bear in mind that the Nobel lau-re-ate and two-time Book-er-win-ning author of Wait-ing for the Bar-bar-ians, Dis-grace, and Eliz-a-beth Costel-lo held that day job first at IBM in the ear-ly 1960s — back, in oth-er words, when nobody had a com-put-er on their desk. And back when IBM was IBM: that mighty Amer-i-can cor-po-ra-tion had brought the kind of com-put-ing pow-er it alone could com-mand to branch offices in cities around the world, includ-ing Lon-don, where Coet-zee land-ed after leav-ing his native South Africa after grad-u-at-ing from the Uni-ver-si-ty of Cape Town.

The years Coet-zee spent “writ-ing machine code for com-put-ers,” he once wrote in a let-ter to Paul Auster, saw him “get-ting so deeply sucked into the process that I some-times felt I was descend-ing into a mad-ness in which the brain is tak-en over by mechan-i-cal log-ic.” This must have caused some dis-tress to a lit-er-ar-i-ly mind-ed young man who heard his true call-ing only from poet-ry.

“I was very heav-i-ly under the influ-ence, in my teens and ear-ly twen-ties, of, first, T.S. Eliot, but then, more sub-stan-tial-ly, Ezra Pound, and lat-er of Ger-man poet-ry, of Rilke in par-tic-u-lar,” he says to Peter Sacks in the inter-view above, remem-ber-ing the years before he put poet-ry aside as a craft in favor of the nov-el.

“Under the shad-ow-less glare of the neon light-ing, he feels his very soul to be under attack,“Coetzee writes, in the auto-bi-o-graph-i-cal nov-el Youth, of the pro-tag-o-nist’s time as a pro-gram-mer. “The build-ing, a fea-ture-less block of con-crete and glass, seems to give off a gas, odour-less, colour-less, that finds its way into his blood and numbs him. IBM, he can swear, is killing him, turn-ing him into a zom-bie.” Only in the evening can he “leave his desk, wan-der around, relax. The machine room down-stairs, dom-i-nat-ed by the huge mem-o-ry cab-i-nets of the 7090, is more often than not emp-ty; he can run pro-grams on the lit-tle 1401 com-put-er, even, sur-rep-ti-tious-ly, play games on it.”

He could also use these clunky, punch-card-oper-at-ed com-put-ers to write poet-ry. “In the mid 1960s Coet-zee was work-ing on one of the most advanced pro-gram-ming projects in Britain,” writes King’s Col-lege Lon-don researcher Rebec-ca Roach. “Dur-ing the day he helped to design the Atlas 2 super-com-put-er des-tined for the Unit-ed Kingdom’s Atom-ic Ener-gy Research Estab-lish-ment at Alder-mas-ton. At night he used this huge-ly pow-er-ful machine of the Cold War to write sim-ple ‘com-put-er poet-ry,’ that is, he wrote pro-grams for a com-put-er that used an algo-rithm to select words from a set vocab-u-lary and cre-ate repet-i-tive lines.”

These lines, as seen here in one page of the print-outs held at the Coet-zee archive at the Uni-ver-si-ty of Texas at Austin’s Har-ry Ran-som Cen-ter, include “INCHOATE SHARD IMAGINE THE OUBLIETTE,” “FRENETIC AMBIENCE DISHEARTEN THE ROSE,” “PASSIONATE PABULUM CARPET THE MIRROR,” and “FRENETIC TETANUS DEADEN THE DOCUMENT.” Though he nev-er pub-lished these results, writes Roach, he “edit-ed and includ-ed phras-es from them in poet-ry that he did pub-lish.” Is this a curi-ous chap-ter in the ear-ly life of a promi-nent man of let-ters, or was this realm of “flat metal-lic sur-faces” an ide-al forge for the sen-si-bil-i-ties of a writer now known, as John Lan-ches-ter so apt-ly put it, for his “unusu-al qual-i-ty of pas-sion-ate cold-ness” — a kind of bril-liant aus-ter-i-ty that hard-ly dead-ens any of his doc-u-ments.

Relat-ed Con-tent:

J.M. Coet-zee on the Plea-sures of Writ-ing: Total Engage-ment, Hard Thought & Pro-duc-tive-ness

Read and Hear Famous Writ-ers (and Arm-chair Sports-men) J.M. Coet-zee and Paul Auster’s Cor-re-spon-dence

New Jorge Luis Borges-Inspired Project Will Test Whether Robots Can Appre-ci-ate Poet-ry

Japan-ese Com-put-er Artist Makes “Dig-i-tal Mon-dri-ans” in 1964: When Giant Main-frame Com-put-ers Were First Used to Cre-ate Art

Based in Seoul, Col-in Mar-shall writes and broad-casts on cities and cul-ture. He’s at work on the book The State-less City: a Walk through 21st-Cen-tu-ry Los Ange-les, the video series The City in Cin-e-ma, the crowd-fund-ed jour-nal-ism project Where Is the City of the Future?, and the Los Ange-les Review of Books’ Korea Blog. Fol-low him on Twit-ter at @colinmarshall or on Face-boo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

The Oldest Unopened Bottle of Wine in the World (Circa 350 AD)

in Food & Drink, History | July 28th, 2017

Image by Immanuel Giel, via Wiki-me-dia Com-mons

It’s an old TV and movie trope: the man of wealth and taste, often but not always a supervil-lain, offers his dis-tin-guished guest a bot-tle of wine, his finest, an ancient vin-tage from one of the most ven-er-a-ble vine-yards. We might fol-low the motif back at least to Edgar Allan Poe, whose “Cask of Amon-til-la-do” puts an espe-cial-ly devi-ous spin on the trea-sured bottle’s sin-is-ter con-no-ta-tions.

If our suave and pos-si-bly dead-ly host were to offer us the bot-tle you see here, we might hard-ly believe it, and would hard-ly be keen to drink it, though not for fear of being mur-dered after-ward. The R?mer-wein, or Spey-er wine bottle—so called after the Ger-man region where it was dis-cov-ered in the exca-va-tion of a 4th cen-tu-ry AD Roman nobleman’s tomb—dates “back to between 325 and 359 AD,” writes Aban-doned Spaces, and has the dis-tinc-tion of being “the old-est known wine bot-tle which remains unopened.”

A 1.5 liter “glass ves-sel with ampho-ra-like stur-dy shoul-ders” in the shape of dol-phins, the bot-tle is of no use to its own-er, but no one is cer-tain what would hap-pen to the liq-uid if it were exposed to air, so it stays sealed, its thick stop-per of wax and olive oil main-tain-ing an impres-sive-ly her-met-ic envi-ron-ment. Sci-en-tists can only spec-u-late that the liq-uid inside has prob-a-bly lost most of its ethanol con-tent. But the bot-tle still con-tains a good amount of wine, “dilut-ed with a mix of var-i-ous herbs.”

The R?mer-wein resides at the His-tor-i-cal Muse-um of the Palati-nate in Spey-er, which seems like an incred-i-bly fas-ci-nat-ing place if you hap-pen to be pass-ing through. You won’t get to taste ancient Roman wine there, but you may, per-haps, if you trav-el to the Uni-ver-si-ty of Cata-nia in Sici-ly where in 2013, sci-en-tists recre-at-ed ancient wine-mak-ing tech-niques, set up a vine-yard, and fol-lowed the old ways to the let-ter, using wood-en tools and strips of cane to tie their vines.

They pro-ceed-ed, writes Tom Kingston at The Guardian, “with-out mech-a-niza-tion, pes-ti-cides or fer-til-iz-ers.” Only the organ-ic stuff for Roman vint-ners.

The team has faith-ful-ly fol-lowed tips on wine grow-ing giv-en by Vir-gil in the Geor-gics, his poem about agri-cul-ture, as well as by Col-umel-la, a first cen-tu-ry AD grow-er, whose detailed guide to wine-mak-ing was relied on until the 17th cen-tu-ry.

Those ancient wine-mak-ers added hon-ey and water to their wine, as well as herbs, to sweet-en and spice things up. And unlike most Ital-ians today who “drink mod-er-ate-ly with meals,” ancient Romans “were more giv-en to drunk-en carous-ing.” Maybe that’s what the gen-tle-man in the Spey-er tomb hoped to be doing in his Roman after-life.

Relat-ed Con-tent:

How to Bake Ancient Roman Bread Dat-ing Back to 79 AD: A Video Primer

How Did the Romans Make Con-crete That Lasts Longer Than Mod-ern Con-crete? The Mys-tery Final-ly Solved

Rome Reborn: Take a Vir-tu-al Tour of Ancient Rome, Cir-ca 320 C.E.

Josh Jones is a writer and musi-cian based in Durham, NC. Fol-low him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 4 ) |

Google Launches Free Course on Deep Learning: The Science of Teaching Computers How to Teach Themselves

in Computer Science, Google, Online Courses | July 28th, 2017

Last Fri-day, we men-tioned how Google’s arti-fi-cial intel-li-gence soft-ware Deep-Mind has the abil-i-ty to teach itself many things. It can teach itself how to walk, jump and run. Even take pro-fes-sion-al pic-tures. Or defeat the world’s best play-er of the Chi-nese strat-e-gy game, Go. The sci-ence of teach-ing com-put-ers how to do things is called Deep Learn-ing. And you can now immerse your-self in this world by tak-ing a free, 3?month course on Deep Learn-ing itself. Offered through Udac-i-ty, the course is taught by Vin-cent Van-houcke, the tech-ni-cal lead in Google’s Brain team. You can learn more about the course via Van-houck-e’s blog post. Or just enroll here. (You will need to cre-ate an account with Udac-i-ty to get start-ed.)

The free course takes about 3 months to com-plete. It will be added to our list of Free Com-put-er Sci-ences cours-es, a sub-set of our larg-er col-lec-tion, 1,700 Free Online Cours-es from Top Uni-ver-si-ties.

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

If you would like to sup-port the mis-sion of Open Cul-ture, con-sid-er mak-ing a dona-tion to our site. It’s hard to rely 100% on ads, and your con-tri-bu-tions will help us con-tin-ue pro-vid-ing the best free cul-tur-al and edu-ca-tion-al mate-ri-als to learn-ers every-where. You can con-tribute through Pay-Pal, Patre-on, and Ven-mo (@openculture). Thanks!

Relat-ed Con-tent:

Google’s Deep-Mind AI Teach-es Itself to Walk, and the Results Are Kooky, No Wait, Chill-ing

Learn Python: A Free Online Course from Google

Take a Free Course on Dig-i-tal Pho-tog-ra-phy from Stan-ford Prof Marc Lev-oy

by OC | Permalink | Make a Comment ( 6 ) |

Miyazaki Meets Warhol in Campbell’s Soup Cans Reimagined by Designer Hyo Taek Kim

in Animation, Art, Design, Film, Life | July 28th, 2017

M’m! M’m! Good! M’m! M’m! Good!,

That’s what Warhol Campbell’s Soup Cans recon-ceived as Miyaza-ki films are,

M’m! M’m! Good!

Brazil-ian-Kore-an design-er Hyo Taek Kim has found a con-tin-u-ing font of inspi-ra-tion in his child-hood love of Hayao Miyaza-ki’s ani-mat-ed films.

He has decon-struct-ed them into a series of Pan-tone of col-or palettes and cap-tured sev-er-al favorite moments through the lens of VHS tape glitch-es.

Miyazaki–Special Soup Series, his lat-est explorato-ry jour-ney into the enchant-ed world of the revered mas-ter ani-ma-tor and director–finds him reduc-ing each film to a cou-ple of essen-tial fla-vors.

One can imag-ine Mom call-ing the kids in from an after-noon of sled-ding for a warm, Cream of Toma-to-ish bowl of Totoro.

Spir-it-ed Away and Howl’s Mov-ing Cas-tle are slight-ly more sophis-ti-cat-ed fla-vors, that may involve leafy greens.

Princess Mononoke and Por-co Rosso are Grandpa’s favorites–real stick to your ribs fare.

The sub-tle iconog-ra-phy brings added dimen-sion to the stark prod-uct design Warhol dupli-cat-ed to such acclaim.

As Kim told the Cre-ators Project:

Sim-ple design that works is always so much hard-er to cre-ate than you might expect. It’s just very fun to mar-ry two ideas, artists and/or con-cepts into one big image. Andy Warhol changed the world of phys-i-cal arts. Hayao Miyaza-ki changed the world of ani-mat-ed arts.

This is not Kim’s first go at Campbell’s. His ear-li-er Super-soup Series reduced super-heroes to con-som-mé and cream ofs. Don’t for-get the oys-ter crack-ers.

Posters and t?shirts of Hyo Taek Kim’s Miyaza-ki Spe-cial Soup and Souper-soup Series can be pur-chased here.

View more of Kim’s soup cans online at the Cre-ators Project.

Relat-ed Con-tent:

Roy Licht-en-stein and Andy Warhol Demys-ti-fy Their Pop Art in Vin-tage 1966 Film

Build Your Own Minia-ture Sets from Hayao Miyazaki’s Beloved Films: My Neigh-bor Totoro, Kiki’s Deliv-ery Ser-vice & More

A New Theme Park Based on Hayao Miyazaki’s My Neigh-bor Totoro Set to Open in 2020

Watch Moe-bius and Miyaza-ki, Two of the Most Imag-i-na-tive Artists, in Con-ver-sa-tion (2004)

Ayun Hal-l-i-day is an author, illus-tra-tor, the-ater mak-er and Chief Pri-ma-tol-o-gist of the East Vil-lage Inky zine. Fol-low her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( None ) |

Watch 50 Hours of Nature Soundscapes from the BBC: Scientifically Proven to Ease Stress and Promote Happiness & Awe

in Nature | July 27th, 2017

A recent study from BBC Earth and UC-Berke-ley has shown that watch-ing nature doc-u-men-taries can inspire “sig-nif-i-cant increas-es in feel-ings of awe, con-tent-ed-ness, joy, amuse-ment and curios-i-ty” and con-verse-ly “reduce feel-ings of tired-ness, anger and stress.” In short, they can engen-der what the authors of the study call ‘real hap-pi-ness’ – a kind of hap-pi-ness that leads to actu-al improve-ment in indi-vid-u-als’ health and well-be-ing,

With that in mind, the BBC has just released 50 hours of HD “visu-al sound-scapes” on YouTube, using left-over footage from their Plan-et Earth II TV series. Ten hours of moun-tains; ten hours of jun-gle; ten hours of islands; ten hours of desert; and ten hours of grass-lands–they’re all fea-tured in the long, sooth-ing sound-scape playlist fea-tured above. Use them well.

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

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Relat-ed Con-tent:

New Study: Immers-ing Your-self in Art, Music & Nature Might Reduce Inflam-ma-tion & Increase Life Expectan-cy

How Walk-ing Fos-ters Cre-ativ-i-ty: Stan-ford Researchers Con-firm What Philoso-phers and Writ-ers Have Always Known

Moby Lets You Down-load 4 Hours of Ambi-ent Music to Help You Sleep, Med-i-tate, Do Yoga & Not Pan-ic

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