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RTraretelevision.bsky.social

In what is our strongest series yet, Ice Airport Alaska returns to the Smithsonian Channel from October 27th. And thanks to all our enthusiastic viewers for helping make past seasons such a success.

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JMjonnymetts.bsky.social

Screenshot because the museum doesn't have a BlueSky account

New Shepard capsule and booster to be exhibited at Smithsonian Air & Space
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KPkalxplaylist.bsky.social

8:01 AM "What's You Gonna Do When the World's on Fire" by ๐‰๐š๐ค๐ž ๐๐ฅ๐จ๐ฎ๐ง๐ญ from ๐‘ ๐‘ฆ๐‘š๐‘๐‘–๐‘œ๐‘›๐‘ก (Smithsonian Folkways Recordings) #nowplaying

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IPicpetrie.bsky.social

๐Ÿšจ Sounding the Cool Talk Klaxon! ๐Ÿšจ Next Monday (10/21) at 5:15pm in Penn's Kislak Center (Van Pelt Library, 6th floor) & on Zoom, @dorothyjberry.bsky.social presents โ€œReading a Digital Collection: The Johnson Publishing Company Archive in Process.โ€ DM me if you'd like the Zoom link!

Debates around the role of digitized special collections and archives often end in metaphysical concern about losing the physical experience of holding an object. Digital access is convenient and potentially reaches a broader audience, but the affective response of touching the book someone owned, or rifling through the letters someone wrote is felt as quite different from scrolling on a computer. This talk considers these concerns in relation to one of the largest records of Black popular culture in the twentieth century: the Johnson Publishing Company Archive. The Johnson Publishing Company Archive is a digital collection co-stewarded by the Getty Research Institute and the National Museum of African American History and Culture and will be shared with the public on a digital first access model. The project, still in process, provides an object lesson in the complications of digitization, material texts, and different kinds of access. Dorothy Berry currently serves as the Digital Curator for the Smithsonian National Museum of African American History and Culture. Her scholarly work focuses on the broad definitions of and access to Black archives and collections. Working as an archivist and digital special collections expert, she has led projects to more ethically describe and make discoverable archival collections. She received Library Journalโ€™s โ€œMovers and Shakersโ€ award, as well as the Mark A. Greene Emerging Leader and Council Exemplary Service Awards from the Society of American Archivists. Her writing can be found in the Los Angeles Review of Books, The Public Domain Review, Laphamโ€™s Quarterly, as well as with academic publishers.
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CPcapetrov.bsky.social

For adults, Smithsonian magazine is still pretty good. But to answer the question, to get current science info I'd probably spend more time on sciencenews.org.

Science News Magazine
Science News Magazine

Science News features daily news articles, feature stories, reviews and more in all disciplines of science, as well as Science News magazine archives back to 1924.

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KEkateelliottsff.bsky.social

Some years ago at the Smithsonian Asian art gallery I saw an exhibit of Hokusai's late work (in his 80s) that was fascinating. He explored differently? more freely? strangely? Debut novels, albums, whatever: that is just the start. What we do 10, 30, 50 years down the line matters just as much.

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MW6-rue-d-alsace.bsky.social

These are the days of "MEAN TALKING BLUES". Song and performance by Woody Guthrie, as found on Hard Travelin': The Asch Recordings, Vol. 3 โ„— 1998 Smithsonian Folkways Recordings

Mean Talking Blues
Mean Talking Blues

YouTube video by Woody Guthrie - Topic

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WHtwogreenparrots.bsky.social

I'm sorry he did what with what how? Who the fuck gave cloning technology to some dipshit in Montana this is how you create some kind of world-destroying hybrid monster bison or some shit

Screenshot from Smithsonian site: Montana rancher who created giant, hybrid sheep sentenced to six months in prison. Arthur โ€œJackโ€ Schubarth cloned illegally imported genetic material from the Marco Polo argali to create hybrid sheep that would draw higher prices from hunting preserves. By Alexa Robles-Gil
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ALrobotleblanc.bsky.social

Hereโ€™s the descriptive text the museum provided. I put it at the end of the thread because the language used feels very disrespectful to me.

The museumโ€™s caption for the pot: Attributed to Arroh-a-och Active about 1870-80 Ella (water Jar) about 1870-80 New Mexico (Zuni or Laguna Pueblo) This bold storage jar was made at the same moment in time as the other works around you, and like this works, it represents an artist embracing and refining generations-old traditions. The potter Arroh-a-och coil-built and decorated the work using clay and slip paint local to the central region of present-day New Mexico. Its designโ€”a rhythmic repetition of abstracted shapes, punctuated by fine lines and hatchingโ€”embodies many of the characteristics that distinguish the finest pottery from the Zuni Pueblo. Little is known about Arroh-a-och, a Laguna who likely trained in Zuni ceramic traditions. A man-woman potterโ€”the current term of useโ€”Arroh-a-och belonged to a tradition of accepted gender role-reversal, wherein men elected to live and dress as women and perform roles identified as female. These individuals were renowned for their skills as potters and weavers; a series of magnificent works attributed to Arroh-a-och are now in museum collections. This jar was collected around 1880 by a Wellesley undergrad student, Mary H Chamberlin, as she recalled โ€œat an unimportant stop of the train on the Santa Fe Railway in New Mexico or Arizona.โ€
Portrait of Weโ€™Wha Holding Clay Ceremonial Prayer-Meal Basket, 1900. Black and white photo print on cardboard mount. National Anthropological Archives, Smithsonian Institute The image is not the maker of this jar, but a well known Zuni man-woman potter, Weโ€™Wha, who worked in the same period as Arroh-a-och and aided Smithsonian ethnologists in the documentation of Zuni customs and beliefs. Weโ€™Wha wears the traditional dress of a Zuni woman, about 1886.
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