Watch Heavy Metal Parking Lot, the Cult Classic Film That Ranks as One of the “Great Rock Documentaries” of All Time

Growing up in the Washington, DC suburbs in the 80s and 90s among a certain subculture of disaffected youth meant that the short cult documentary Heavy Metal Parking Lot had an especially legendary status. Everybody seemed to know a friend of a friend’s older brother or sister who had been caught on camera by filmmakers John Heyn and Jeff Krulik outside that 1986 Judas Priest concert at Largo, Maryland’s Capital Centre (RIP). But geographical proximity alone to the titular parking lot does not explain the 17-minute video’s popularity.


Since its first screening at a club called DC Space, Heavy Metal Parking Lot has become one of the most beloved of rock films worldwide, a “sociological study of headbangers,” writes Rolling Stone, who rank the short at number 33 in their list of the 40 Greatest Rock Documentaries. “Decades before the internet made sharing video clips as simple as posting to Twitter or Facebook,” writes The Verge, “Heavy Metal Parking Lot caught on, not through official distribution channels, but through an underground network of fans that would dub VHS copies and pass them along.” (The movie got a big boost when the filmmakers gave a copy to DC-area native Dave Grohl, who kept it on regular rotation on the Nirvana tour bus.)

What makes this exposé of metal fans so special? Although there’s undoubtedly a segment of its viewers who laugh at the film’s collection of mostly anonymous mid-eighties metal fans, for the most part, Heavy Metal Parking Lot‘s appeal has not been that of so much viral internet content—mean-spirited comedy at the expense of naïve amateurs. Thought it’s tempting, as Rolling Stone remarks, “to mock these mullet-afflicted metalheads… there’s an undeniable sweetness that permeates” the mini-doc and its subjects’ “innocent quest for rock & roll kicks.”

The sheer goofiness and joyous abandon that is 80s heavy metal contributes to the film’s character. And much of the love of Heavy Metal Parking Lot comes from the same nostalgic place as that for Dazed and Confused except that its characters are the real deal. The documentary presents an authentic record of mid-80s suburban youth in America. It’s likely costume designers of Richard Linklater’s follow-up period piece Everybody Wants Some!! studied Heavy Metal Parking Lot in detail.

Like Linklater’s testosterone-heavy films, Heavy Metal Parking Lot is largely dominated by dudes—metal bros who “may occasionally be inarticulate, sexist and obnoxious.” And yet, even fans of the film who grew up in more enlightened times and places—and who may not have had friends who looked just like these guys—have found much to love in the movie. The slice-of-life character studies and interviews create “a time capsule,” Krulik told the Verge on the documentary’s 30th anniversary screening, one surprisingly still “a little bit shocking.”

On the other hand, Heavy Metal Parking Lot remains a vital, timeless record of fandom—of the unvarnished, uncritical devotion young lovers of any pop culture phenomenon bestow upon their object. And like certain other documentaries about fandom—such as 1997’s TrekkiesHeavy Metal Parking Lot allows its subjects to fully be themselves, without judgment or condescension. Even as ordinary, mostly nameless, mostly stoned and shirtless kids in the suburbs, those selves prove to be as at least as entertaining as the flamboyant band they came to see.

Heavy Metal Parking Lot will be added to our list of Free Documentaries, a subset of our collection 725 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc..

via The Verge/Dead Spin

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

Hear Marcel Duchamp’s Radical Musical Compositions (1912-1915)

Erratum Musical

Abstract art, spurred into being by the emergence of photography, had by 1912 begun to face an even more technically adroit competitor for the public’s eye: film. Marcel Duchamp responded by superimposing all of the discrete moments that make up a film reel into one astonishing image that is both static and always in motion. Over one hundred years after its composition, Marcel Duchamp’s Nude Descending a Staircase, No. 2 (below) still amazes viewers with its absolute novelty. He was asked to withdraw the painting from a cubist exhibition when the committee pronounced it “ridiculous.”

Duchamp_-_Nude_Descending_a_Staircase

Five years later, feeling with his fellow Dadaists that the avant-garde had grown too cozy with the establishment, and too precious in its approach and reception, Duchamp submitted a signed urinal for an exhibition, the first of many replicas to occupy galleries for the past one-hundred years—and a provocation once voted the most influential modern art work ever. Like some sort of trickster god, Marcel Duchamp possessed transformative powers, which also had the effect of driving everyone around him crazy. There seem to be no two ways about it: people either think Duchamp is a genius, or they consider him a fraud.

Like most of his Dada contemporaries, Duchamp left no medium untouched, from painting, to sculpture, to film. And when it came to music, Ubuweb informs us, he enthusiastically applied himself, between the years 1912 and 1915, to “two works of music and a conceptual piece—a note suggesting a musical happening.” Like all of his creative work—love it or hate it—his compositions “represent a radical departure from anything done up until that time.” Also like his other works, his music gleefully trespassed formal boundaries, anticipating “something that then became apparent in the visual arts,” amateur experimentation. Duchamp respected no school and no canon of taste, and his “lack of musical training could have only enhanced his exploration.”

The methods employed were, of course, conceptual, and seriously playful. In “Erratum Musical,” written for three voices, “Duchamp made three sets of 25 cards, one for each voice, with a single note per card. Each set of cards was mixed in a hat; he then drew out the cards from the hat one at a time and wrote down the series of notes indicated by the order in which they were drawn.” The second piece, directly above, “La Mariée mise à nu par ses célibataires même. Erratum Musical (The Bride Stripped Bare by Her Bachelors Even. Erratum Musical),” contains instructions for a “mechanical instrument.” It is also “unfinished and is written using numbers instead of notes.”

Finally, “Sculpture Musicale (Musical Sculpture)”—vocalized by John Cage above, and recreated with music boxes below—consists of “a note on a small piece of paper” and anticipates the “Fluxus pieces of the early 1960s.” While Dada artists nearly all experimented with music, mostly in the form of a kind of confrontational musical theater, Duchamp’s cerebral compositions push into the territory of purely conceptual exercises created through chance operation. In “Erratum Musical,” for example, “the three voices are written out separately, and there is no indication by the author, whether they should be performed separately or together as a trio.” The arrangement depends entirely on the time and place of performance and the intuitions of the interpreters.

The Rube Goldberg machine described by Duchamp’s second piece, along with the notation system of his own devising, makes it seem impossible to perform; likewise the entirely non-musical “Sculpture Musicale.” The recordings we have here represent only possible versions. Hear others at Ubuweb, along with several interviews with Duchamp in French and English.

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

What Are the Keys to Happiness? Lessons from a 75-Year-Long Harvard Study

Last year, we highlighted the Harvard Grant Study and The Glueck Study, two 75-year studies that have traced the lives and development of hundreds of men, trying to get answers to one big question: How can you live a long and happy life? For answers, watch Robert Waldinger above. He’s the director of what’s now called the Harvard Study of Adult Development and also an associate professor of psychiatry at Harvard Medical School.

According to the decades-long study, you won’t get health and happiness from wealth and fame (nor hard work), the mirages that many Americans chase after. Instead they come from something a little more obtainable, if you work at it—good, strong relationships with family, friends, colleagues, and folks in your community. These relationships, the study finds, protect us mentally and physically. They increase our happiness and extend our lives, whereas, conversely, loneliness and corrosive relationships put us into decline sooner than we’d like. The key takeaway here: good relationships are the foundation on which we build the good life. Start putting that into practice today.

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Watch the First 10 Seasons of Bob Ross’ The Joy of Painting Free Online

Last year, we let you know that the first season of The Joy of Painting, the public-television paint-along show hosted by the neatly permed and persistently reassuring Bob Ross, had appeared free to watch online. Produced by WNVC in Falls Church, Virginia, that season aired in 1983, and had some rough edges — the audible movements and murmurs of the crew in the background, the naturally improvisational Ross’ occasional stumble over one of his scripted lines — that would get thoroughly smoothed away as the program rapidly became an international TV institution, a process you can witness again for yourself now that the official Bob Ross Youtube channel has made available nine more seasons, for a total of 146 episodes, free online.

Season Two

“Bob Ross died in 1995 at 52 after a battle with lymphoma,” writes the New York Times‘ Foster Kamer, “but his cultural legacy has grown in his absence. He was around to witness the beginnings of his own cult status. In the early ’90s, he was big in Japan. And MTV, catering to the Gen X penchant for irony, ran a series of promotional advertisements that featured him.” Gen Xers across America would surely all have caught glimpses of Ross — and more importantly, heard a few of his mesmerizingly delivered words — during late-night or midday channel-surfing sessions, but now, thanks to the increasing availability of The Joy of Painting‘s archives on-demand and online, it’s made new fans even of those born after Ross had already departed.

Season Three

The show always made it easy for its viewers to paint as they watched, with Ross always taking the time to run down the short list of required tools, making tirelessly sure to emphasize that under no circumstances should they buy nylon brushes or clean those brushes with turpentine. As the production values increased, so did the number of colors on the palette, though they never expanded too far beyond the core set, which The Joy of Painting die-hards can rattle off like a mantra, of Bright Red, Phthalo Blue, Midnight Black, Alizarin Crimson, Cadmium Yellow, Van Dyke Brown, Titanium White, Sap Green — and, as Ross himself might say, the “almighty” canvas-covering Magic White, the foundation of the “wet-on-wet” technique he learned from mentor, and later bitter rival, Bill Alexander.

Season Four

The New York Times article quotes Annette Kowalski, a onetime student of Ross who now helps run the Bob Ross, Inc. empire, on the host’s enduring appeal as a teacher: “If you listen closely to Bob’s programs, he never says ‘I’m going to teach you this. He never assumes that he knows more than you do. He says: ‘We’ll learn this together.’ And I think — even though people don’t realize it — I think that’s what his big turn-on is.” But it almost goes without saying that not everyone fascinated by the show, and maybe not even most people fascinated by the show, actually have any desire to paint themselves.

Season Five

So why do they still tune in, on whatever platform they might tune in on, and in such large numbers? The key must have something to do with Ross’ oft-repeated reminders to his viewers that, when it comes to the landscapes on their own canvases, “this is your world, your creation,” and in your world, “there are no set, firm rules — you find what works for you, and that’s what you do.” On The Joy of Painting, Ross created a world, or perhaps a reality, of his own, one where “anybody can paint; all you need is a dream in your heart and a little practice,” where “there are no mistakes, just happy accidents” (plentifully inhabited, of course, by “happy little trees”), and one which many found they enjoyed living in, brush in hand or not, even if only for 26 minutes at a time.

Season Six

We will continuing adding seasons to this list as they become available.

Season Seven

Season Eight

Season Nine

Season Ten

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and style. He’s at work on a book about Los Angeles, A Los Angeles Primer, 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.

David Bowie Dreamed of Turning George Orwell’s 1984 Into a Musical: Hear the Songs That Survived the Abandoned Project

David Bowie’s 1974 album Diamond Dogs introduced a new hodgepodge of musical styles: “The music,” writes Nicholas Pegg, “was a four-way tussle between the receding sounds of glam, the rising influence of black soul, the synthesized nightmares of The Man Who Sold the World, and the ubiquitous rock’n’roll swagger of Jagger.” With its echoes of A Clockwork Orange and William S. Burroughs’ The Wild Boys, Bowie called the songs on the album part of a “glitter apocalypse” and described its conceptual scenario as “the breakdown of a city… a disaffected youth that no longer had home-unit situations, but lived as gangs on roofs and really had the city to themselves.” His “fragmented lyrics and the portrait of urban America’s sordid meltdown,” writes Pegg, “were clearly indebted to Burroughs.”


This was a mode in step with the late sixties/early 70s decadent ethos (and a concept anticipating later cult films like The Warriors and Escape from New York.) And yet, far from societal decay, one of Bowie’s original visions for the project was an adaptation of George Orwell’s novel of totalitarian social control, 1984. Diamond Dogs may work as a concept album in an oblique sort of way, but it came together, writes Bowie blog Pushing Ahead of the Dame, as “a salvage job, a compilation of scraps from stillborn Bowie projects.” In addition to the “urban meltdown” story, an aborted Ziggy Stardust musical produced two of Diamond Dogs’ songs, “Rebel Rebel” and “Rock’n’Roll With Me.” And Bowie’s foray into Orwell gave us “We Are the Dead,” “Big Brother,” and, of course, the Isaac Hayes-cribbing “1984.” (Hear the album version below and an earlier version at the top of the post, with a few more Orwellian lyrics and joined with an earlier song, “Dodo.”)

Perhaps his first public mention of the project came as “almost an aside,” notes Pegg, when he casually mentioned in a Rolling Stone interview with Burroughs, “I’m doing Orwell’s Nineteen Eighty-Four on television.” At first, the project had a much more ambitious scope. Chrisopher Sandford describes Bowie’s planned adaptation as “a West End musical, with an accompanying album and film, little of which ever happened.” Orwell’s widow and executor of his estate, Sonia Brownell considered the project in poor taste and refused him the rights to the novel. (Her death in 1980 allowed director Michael Radford to make his film version, and the Eurythmics to record their contested soundtrack album.)

What survives are the songs—as well as the visions of Orwell and Burroughs that continued to resonate in Bowie’s work. The mash-up of musical styles and political concepts in Diamond Dogs signals a kind of confusion of Bowie’s own politics—or those of his competing personae—which his later albums doggedly pursue.

On the one hand, Diamond Dogs sees Bowie hanging on to the role of alien dandy Ziggy Stardust. He had also embraced the avant-garde paranoia of Burroughs’ magical belief system and Orwell’s nightmare of institutional control and surveillance. Oddly pulling these tendencies together was the soul music that emerged fully-fledged on Young Americans. When it came to Orwell, “what fascinated Bowie,” writes Pushing Ahead of the Dame, “what was arguably the only thing that truly interested him in the mid-‘70s, was power, and the schizophrenic manner of thinking—double-thought, basically—that allows, even encourages its abuses.”

For a time, as Bowie moved into his Berlin phase, the fascination with power dominated his aesthetic, such that he got a little too carried away with his Thin White Duke character’s flirtations with fascism. (“By 1979,” writes Stereo Williams, “Bowie had dropped the Duke image and referred to it as ‘a nasty character for me.’”) But the theme of “double-thought,” the fascination with Orwellian dystopias, and the influence of Burroughs’ paranoia and cut-up technique survived the death of both the Thin White Duke and of Ziggy, the interstellar flâneur.

Twenty years after Diamond Dogs, strains of Orwell and Burroughs came together in Bowie’s dystopian epic Outside, whose lyrics, writes Sandford, “were subjected to a spin in his computer, industrializing the technique once limited to scissors and paste.” Orwellian themes crop up again in other later Bowie concept albums, and in a way, he continued to adapt the novel long after the literary experiments on Diamond Dogs, only in cut-up fashion rather than as glam musical theater.

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

Albert Camus’ Historic Lecture, “The Human Crisis,” Performed by Actor Viggo Mortensen

Note: The video takes a few seconds to load.
As we mentioned last week, New York is currently holding a month-long festival celebrating Albert Camus’ historic visit to NYC 70 years ago. One event in the festival featured actor Viggo Mortensen giving a reading of Camus’ lecture,“La Crise de l’homme” (“The Human Crisis”) at Columbia University–the very same place where Camus delivered the lecture 70 years earlier–down to the very day (March 28, 1946). The reading was captured on a cell phone, and broadcast live using Facebook live video. It can be jittery, but if you close your eyes and give a listen, it will be worth your time. Note that Mortensen takes the stage around the 11:45 mark.

“The Human Crisis” will be added to our collection, 700 Free Audio Books: Download Great Books for FreeYou can download major works by Camus as free audiobooks if you sign up for a free 30 Trial with Audible. Find more information on that program here.

Follow Open Culture 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.

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330 Years of Female Printmakers (1570–1900) : Download Free Prints, Visit the Exhibit

Female Artists 1

Henrietta Louisa Koenen was born a century before the Guerrilla Girls, but her collecting habits are a strong argument for honorary, posthumous membership in the activist group.

The wife of the Rijksmuseum’s Print Room’s first director, Koenen spent over three decades acquiring prints by female artists, though discouragingly few of the 827 women in her collection achieved much in the way of recognition for their work.

Renaissance aristocratic painter, Sofonisba Anguissola, and portraitist (and founding member of London’s Royal Academy of ArtsAngelica Kauffman, have the distinction of being namechecked in the Guerrilla Girl’s 1989 provocation, below.

Female Artists 2

Neither can be said to enjoy the museum tote bag celebrity of a Kahlo or O’Keeffe.

Female Artists 3

Self portait, Angelica Kauffman

Their work can be expected to attract some new fans, now that 80 some pieces from Koenen’s collection are on display as part of the New York Public Library’s exhibit, Printing Women: Three Centuries of Female Printmakers, 1570–1900.

(And it would be unseemly not to credit American art dealer Samuel Putnam Avery, for donating Koenen’s collection to the library at the turn of the last century, twenty years after her death.)

Female Artists 4

Printmaking is a frequently collaborative art. The droll Young Girl Laughing at the Old Woman, above, was drawn by Anguissola and engraved by Jacob Bos.

And Maria Cosway’s Music Has Charms, at the top of this post, was a family affair, with Cosway printing husband Richard’s celestial rendering of daughter Louisa Paolina Angelica. (Mrs. Cosway was also an accomplished composer and painter of miniatures and mythological scenes, though history has decreed her most enduring claim to fame should be her hold over a besotted Thomas Jefferson.)

The library highlights the continuum with an online gallery showcasing the work of contemporary female printmakers, some of whom are contributing guest posts to curator Madeleine Viljoen’s Printing Women blog.

Female Artists 5

Sara Sanders, whose 2010 Lithograph, Untitled Chair #5, above, is part of a larger series, writes:

I believe that the domestic objects with which we spend our lives retain traces of our histories and tell stories about our pasts. These prints are part of an ongoing series of portraits of chairs drawn in the way we imagine them to be. Two of the chairs in this series were drawn from existing objects with a rich history, while the rest are imagined character studies.

Her thoughts seem particularly germane, when the “lesser genres” of ornament, still-life, and landscape were by default frequent subjects for the female artists in Koenen’s collection. Propriety deemed the fairer sex should not be party to the nude figure studies that significant religious and historical scenes so often demanded.

(Channel your inner Guerrilla Girl by performing an image search on Rape of the Sabine Women, and imagining the models as aspirant artists themselves, confined to such subject matter as violets and laundry day.)

That’s not to say domestic subjects can’t prove divine.

Female Artists 6

Witness 1751’s A Child Seated, Blowing Bubbles by Madame de Pompadour, an amateur artist and frequently painted beauty, who, the National Gallery’s website informs us, was “groomed from childhood to become a plaything for the King.”

View the online brochure for New York Public Library’s Printing Women: Three Centuries of Female Printmakers, 1570–1900 exhibition here. The exhibition at The New York Public Library ends May 27th, 2016.

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

Hear Oscar Wilde’s The Importance of Being Earnest Performed by Sir John Gielgud & Other Legends (1953)

importance of being earnest

We here at Open Culture hardly have to tell you that, when a play often called the wittiest comedy in the English language meets the English actor often called the greatest of his generation, you won’t want to miss the resulting performance. Unfortunately, if you wanted to catch Sir John Gielgud’s turn as Jack Worthing in Oscar Wilde’s The Importance of Being Earnest, you’d have had to do so in the 1930s or 1940s. Though it came decades after the Victorian-era play’s 1895 debut in London (as well as Wilde’s own death), it defined the sensibility of this “Trivial Comedy for Serious People” for generations to come.

That owes not just to Gielgud’s Jack Worthing, but to Dame Edith Evans’ Lady Bracknell. Looking back at The Importance of Being Earnest‘s 1939 revival at the Globe, the Guardian‘s Samantha Ellis quotes a contemporary Times critic describing Evans as “born to play the part … Her appearance is masterly — perfectly upholstered, with a feminine art now lost, before and behind; and her voice is correspondingly upholstered so that every phrase, harsh or drawling, comes from the comfortable heart of Lady Bracknell’s arrogance.” The two together gave full life to the dynamic Wilde wrote for the characters, seemingly understanding well the pains he took to craft a perfect union of form and substance, raising social triviality to a kind of artistic sublimity.

But while the window to see Gielgud and Evans perform live on stage has long since closed, you can still savor their masterful exchange of these seriously light lines — in this piece of theater where words are all — through this 1953 recording available on Spotify. (If you don’t have Spotify’s free software, you can download it here. You can also hear the play on Youtube: Act 1 above, Act 2 here, Act 3 here.) Before these two master thespians took it on, some critics wondered whether Wilde’s signature work as a playwright had grown dated, the years having exposed its empty frivolity. But now that even more years have passed, The Importance of Being Earnest has undergone countless new productions, adaptations, and interpretations, becoming the most quoted English-language play after the works of Shakespeare and, in a way, proving one of its most oft-quoted lines: “In matters of grave importance, style, not sincerity, is the vital thing.”

You can find works by Oscar Wilde in our collections of Free eBooks and Free Audio Books.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and style. He’s at work on a book about Los Angeles, A Los Angeles Primer, 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.

Richard Feynman Creates a Simple Method for Telling Science From Pseudoscience (1966)

RichardFeynman-PaineMansionWoods1984_copyrightTamikoThiel_bw

Photo by Tamiko Thiel via Wikimedia Commons

How can we know whether a claim someone makes is scientific or not? The question is of the utmost consequence, as we are surrounded on all sides by claims that sound credible, that use the language of science—and often do so in attempts to refute scientific consensus. As we’ve seen in the case of the anti-vaccine crusade, falling victim to pseudoscientific arguments can have dire effects. So how can ordinary people, ordinary parents, and ordinary citizens evaluate such arguments?


The problem of demarcation, or what is and what is not science, has occupied philosophers for some time, and the most famous answer comes from philosopher of science Karl Popper, who proposed his theory of “falsifiability” in 1963. According to Popper, an idea is scientific if it can conceivably be proven wrong. Although Popper’s strict definition of science has had its uses over the years, it has also come in for its share of criticism, since so much accepted science was falsified in its day (Newton’s gravitational theory, Bohr’s theory of the atom), and so much current theoretical science cannot be falsified (string theory, for example). Whatever the case, the problem for lay people remains. If a scientific theory is beyond our comprehension, it’s unlikely we’ll be able to see how it might be disproven.

Physicist and science communicator Richard Feynman came up with another criterion, one that applies directly to the non-scientist likely to be bamboozled by fancy terminology that sounds scientific. Simon Oxenham at Big Think points to the example of Deepak Chopra, who is “infamous for making profound sounding yet entirely meaningless statements by abusing scientific language.” (What Daniel Dennet calls “deepities.”) As a balm against such statements, Oxenham refers us to a speech Feynman gave in 1966 to a meeting of the National Science Teachers Association. Rather than asking lay people to confront scientific-sounding claims on their own terms, Feynman would have us translate them into ordinary language, thereby assuring that what the claim asserts is a logical concept, rather than just a collection of jargon.

The example Feynman gives comes from the most rudimentary source, a “first grade science textbook” which “begins in an unfortunate manner to teach science”: it shows its student a picture of a “windable toy dog,” then a picture of a real dog, then a motorbike. In each case the student is asked “What makes it move?” The answer, Feynman tells us “was in the teacher’s edition of the book… ‘energy makes it move.’” Few students would have intuited such an abstract concept, unless they had previously learned the word, which is all the lesson teaches them. The answer, Feynman points out, might as well have been “’God makes it move,’ or ‘Spirit makes it move,’ or, ‘Movability makes it move.’”

Instead, a good science lesson “should think about what an ordinary human being would answer.” Engaging with the concept of energy in ordinary language enables the student to explain it, and this, Feynman says, constitutes a test for “whether you have taught an idea or you have only taught a definition. Test it this way”:

Without using the new word which you have just learned, try to rephrase what you have just learned in your own language. Without using the word “energy,” tell me what you know now about the dog’s motion.

Feynman’s insistence on ordinary language recalls the statement attributed to Einstein about not really understanding something unless you can explain it to your grandmother. The method, Feynman says, guards against learning “a mystic formula for answering questions,” and Oxenham describes it as “a valuable way of testing ourselves on whether we have really learned something, or whether we just think we have learned something.”

It is equally useful for testing the claims of others. If someone cannot explain something in plain English, then we should question whether they really do themselves understand what they profess…. In the words of Feynman, “It is possible to follow form and call it science, but that is pseudoscience.”

Does Feynman’s ordinary language test solve the demarcation problem? No, but if we use it as a guide when confronted with plausible-sounding claims couched in scientific-sounding verbiage, it can help us either get clarity or suss out total nonsense. And if anyone would know how scientists can explain complicated ideas in plainly accessible ways, Feynman would.

via Big Think

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

Patti Smith on Virginia Woolf’s Cane, Charles Dickens’ Pen & Other Cherished Literary Talismans

Oh to be eulogized by Patti Smith, Godmother of Punk, poet, best-selling author.

Her memoir, Just Kids, was born of a sacred deathbed vow to her first boyfriend, photographer Robert Mapplethorpe.


Its follow up, M Train, started out as an exercise in writing about “nothing at all,” only to wind up as an elegy to her late husband, guitarist Fred “Sonic” Smith. (Their daughter suggested that her dad  “was probably annoyed that Robert got so much attention in the other book.”)

Cherishing the memories comes easily to Smith, as she reveals in a fascinating conversation with the New York Public Library’s Paul Holdengräber, above.

She and husband Smith celebrated their first anniversary by collecting stones from the French Guiana penal colony, Saint-Laurent-du-Maroni, in an effort to feel closer to Jean Genet, one of her most revered authors.

She believes in the transmutation of objects, unabashedly lobbying to liberate the walking stick that accompanied Virginia Woolf to her death from the NYPL’s collection in order to commune with it further. She may turn into a gibbering fangirl in face to face meetings with the authors she admires, but interacting with relics of those who have gone before has a centering effect.

Needless to say, her fame grants her access to items the rest of us are lucky to view though the walls of a vitrine.

She has paged through Sylvia Plath’s childhood notebooks and gripped Charles Dickens’ surprisingly modest pen. She has ““perpetuated remembrance” by coming into close contact with Bobby Fischer’s chess table, Frida Kahlo’s leg braces, and a hotel room favored by Maria Callas. Her recollection of these events is both reverential and impish, the stuff of a dozen anecdotes.

“I would faint to use (sculptor Constantin) Brâncuși’s toothbrush,“ she quips. “I wouldn’t use it though.”

Where tangible souvenirs prove elusive, Smith takes photographs.

Interviewer Holdengräber is uniquely equipped to share in Smith’s literary passions, egging her on with quotes recited from memory, including this beauty by Rainer Maria Rilke:

Now loss, however cruel, is powerless against possession, which it completes, or even, affirms: loss is, in fact, nothing else than a second acquisition–but now completely interiorized–and just as intense.

(The sentiment is so lovely, who can blame him for invoking it in previous conversation with NYPL guests, artist Edmund de Waal and pianist Van Cliburn.)

The topic can get heavy, but Smith is a consummate entertainer whose clownish brinkmanship leads her to cite Jimi Hendrix: “Hooray, I wake from yesterday.”

The complete transcript of the conversation is available for download here, as is an audio podcast.

Note: You can download Just Kids or M Train as free audio books if you join Audible.com’s 30-day free trial.

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


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