How can clay from the Appalachian Mountains, Kilkenny stone from Ireland, and porcelain made in the Song Dynasty come together cohesively? In “the eight directions of the wind” at The Huntington, lauded author and artist Edmund de Waal explores how art made from these materials, among many pieces of porcelain and poetry, connects histories across borders and through time.
The Rose is a South Korean band that unexpectedly had their big break in Europe after their 2017 single “Sorry” went viral on YouTube. Their documentary, “Come Back To Me,” chronicles the group’s rise and struggles.
Once again this will most likely be somewhat outdated, as Day of the Devs takes place immediately after the live Summer Games Fest presentation. However, I enjoy it a lot more than the live presentation as it gives a deeper look into the games, and it specifically focuses on games made by indie studios.
There is an inner crack that runs through women’s journeys in science—the hesitation, the feeling of being out of place. But as Leonard Cohen wrote, that’s how the light gets in.
The Mount Wilson Solar Observatory was founded in 1904 by George Hale, who was also a trustee of Throop Polytechnic Institute (which later became Caltech). The first telescope built on-site was the Snow Solar Telescope in 1904, followed closely by the 60-foot Solar Tower and the 60-inch telescope, both of which were completed in 1908. Hale hosted many famous individuals during this time, including Andrew Carnegie in 1910 and Harlow Shapley in 1914. Carnegie was the main financial supporter of the observatory from its inception in 1904, and Shapley was an astronomer who discovered our position in the Milky Way galaxy using the 60-inch telescope.
On May 3rd, Frautschi Hall, 7 p.m., as part of MACH 33: The Caltech Festival of New Science-Driven Plays, was the latest version of Tom Lavagnino’s Dementia Doula. Like the festival’s other show, entitled The Null Test (which explores the legal hijinks of a self-driving car company), this was a staged reading: the cast, directed by Susan Dalian, performing from scripts on music stands. Originally presented under the name Crisis Goalie at the 2024 Utah Shakespeare Festival, then directed by Britannia Howe, this pared-down staging celebrates the script on its own terms, privileging nuanced acting over elaborate production.
Looking down from a plane, Wang Mansheng felt uneasy about how much of the Earth is now covered by roads and buildings. Reflecting on this environmental change, he stated, “Pure nature is now unattainable except through my imagination or brush.” His new works at the Huntington put that imagined nature on display.
Watching William Shakespeare’s Twelfth Night is always a delve into the delightful confusion between desire, identity, and illusion, in a dramatic comedy that plays with what we feel and how we show ourselves. In the production directed by Miranda Stewart, presented at the Ramo Auditorium between April 25th and 27th by EXPLiCIT (EXtracurricular PLayers at the California Institute of Technology—the ‘i’ is imaginary), the 1601 classic from the Elizabethan era gains new life with freshness, rhythm and a staging that honors the carnival spirit of the work without losing its emotional depth.
