Nine Inch Nails Releases 2 Free Albums: They’re Now Ready to Download

Image by via Wiki­me­dia Com­mons

FYI: Nine Inch Nails has released two new albums to help you weath­er the glob­al storm. Down­load them for free here.

The offer comes pref­aced with these words from the band…

FRIENDS-

WEIRD TIMES INDEED…

AS THE NEWS SEEMS TO TURN EVER MORE GRIM BY THE HOUR, WE’VE FOUND OURSELVES VACILLATING WILDLY BETWEEN FEELING LIKE THERE MAY BE HOPE AT TIMES TO UTTER DESPAIR – OFTEN CHANGING MINUTE TO MINUTE. ALTHOUGH EACH OF US DEFINE OURSELVES AS ANTISOCIAL-TYPES WHO PREFER BEING ON OUR OWN, THIS SITUATION HAS REALLY MADE US APPRECIATE THE POWER AND NEED FOR CONNECTION.

MUSIC – WHETHER LISTENING TO IT, THINKING ABOUT IT OR CREATING IT – HAS ALWAYS BEEN THE THING THAT HELPED US GET THROUGH ANYTHING – GOOD OR BAD. WITH THAT IN MIND, WE DECIDED TO BURN THE MIDNIGHT OIL AND COMPLETE THESE NEW GHOSTS RECORDS AS A MEANS OF STAYING SOMEWHAT SANE.

GHOSTS V: TOGETHER IS FOR WHEN THINGS SEEM LIKE IT MIGHT ALL BE OKAY, AND GHOSTS VI: LOCUSTS… WELL, YOU’LL FIGURE IT OUT.

IT MADE US FEEL BETTER TO MAKE THESE AND IT FEELS GOOD TO SHARE THEM. MUSIC HAS ALWAYS HAD A WAY OF MAKING US FEEL A LITTLE LESS ALONE IN THE WORLD… AND HOPEFULLY IT DOES FOR YOU, TOO. REMEMBER, EVERYONE IS IN THIS THING TOGETHER AND THIS TOO SHALL PASS.

WE LOOK FORWARD TO SEEING YOU AGAIN SOON.
BE SMART AND SAFE AND TAKE CARE OF EACH OTHER.

WITH LOVE,
TRENT & ATTICUS

Patrick Stewart Is Reading Every Shakespeare Sonnet on Instagram: One a Day “to Keep the Doctor Away”

He is a “geek cul­tur­al icon”: Cap­tain Picard and Pro­fes­sor X. We’ve heard him game­ly voice a ridicu­lous ani­mat­ed char­ac­ter in Amer­i­can Dad. We know him as an advo­cate for vic­tims of domes­tic vio­lence, a trag­ic real­i­ty he wit­nessed as a child. There are many sides to Patrick Stew­art, but at his core, Shake­speare nerds know, he’s a Shake­speare­an. Maybe you’ve seen him in 2010’s Ceaușes­cu-inspired Mac­beth or the 2012 BBC pro­duc­tion of Richard II, or as Claudius in 2009’s tele­vised Roy­al Shake­speare Com­pa­ny Ham­let, with David Ten­nant in the title role?

Only the most envi­able nerds, how­ev­er, have seen him live on stage with the RSC, in any num­ber of roles, minor and major, that he has played since join­ing the com­pa­ny in 1966. He’s as august a Shake­speare­an actor as Olivi­er or Giel­gud. So, imag­ine Olivi­er or Giel­gud read­ing a Shake­speare son­net to you every day, right in the com­fort of your own home. Maybe even bet­ter (some might say), we have the mel­liflu­ous Stew­art deliv­er­ing the goods, to soothe us in our days of iso­la­tion.

After receiv­ing a very enthu­si­as­tic response when he “ran­dom­ly and ele­gant­ly recit­ed Shakespeare’s Son­net 116 to his fans on social media,” writes Laugh­ing Squid, Stew­art “decid­ed to read one Shake­speare son­net aloud each day in hopes of ‘keep­ing the doc­tor away.’” Think of it as pre­ven­ta­tive med­i­cine for the itchy, cooped-up soul. On his Insta­gram, Sir Patrick shows up loung­ing com­fort­ably in casu­al clothes, fur­ther­ing the illu­sion that he’s joined us in our liv­ing rooms—or we’ve joined him in his.

 

View this post on Insta­gram

 

A post shared by Patrick Stew­art (@sirpatstew) on


Where the inti­ma­cy of celebri­ty social media can some­times feel cloy­ing and insin­cere, Stew­art seems to feel so gen­uine­ly at home with his set­ting and his text that we do too. The actor occa­sion­al­ly adds some brief com­men­tary. In his read­ing of Son­net 2, above, he says before begin­ning, “this is one of my favorites.”

When forty win­ters shall besiege thy brow,
And dig deep trench­es in thy beau­ty’s field,
Thy youth’s proud liv­ery so gazed on now,
Will be a tot­ter’d weed of small worth held: 
Then being asked, where all thy beau­ty lies,
Where all the trea­sure of thy lusty days; 
To say, with­in thine own deep sunken eyes,
Were an all-eat­ing shame, and thrift­less praise.
How much more praise deserv’d thy beau­ty’s use,
If thou couldst answer ‘This fair child of mine
Shall sum my count, and make my old excuse,’
Prov­ing his beau­ty by suc­ces­sion thine!
This were to be new made when thou art old,
And see thy blood warm when thou feel’st it cold.

Maybe we all feel we’re grow­ing old in the bore­dom and anx­i­ety of our new siege-like con­di­tions. The poet urges us to make the most it. Sure, plen­ty of peo­ple are already engaged in mak­ing chil­dren, with­out any help from Shake­speare or Patrick Stew­art, but those who aren’t might decide to work on oth­er lega­cies that will out­live them.

Stew­art tells Vari­ety that his only regret dur­ing his time with the RSC is that he “might have per­haps been a rather bold­er, pushi­er and more extrav­a­gant actor.” But it’s his under­state­ment and sub­tle­ty that make him so com­pelling. He also says that his first year with the RSC was, “at that point, the hap­pi­est year of my work­ing life,” though he was only cast to play small roles until he was made an Asso­ciate Artist in 1967, just one year after join­ing.

 

View this post on Insta­gram

 

A post shared by Patrick Stew­art (@sirpatstew) on


He worked along­side a “new nucle­us of tal­ent” that includ­ed Helen Mir­ren and Ben Kings­ley and remained exclu­sive­ly with the com­pa­ny until 1982. (See a young Stew­art as Oberon in A Mid­sum­mer Night’s Dream pro­duc­tion from 1977.) Stew­art returned to the stage with the RSC often, and while his Insta­gram read­ings are hard­ly com­pa­ra­ble in scope and inten­si­ty to his Shake­speare­an work on stage and screen, they have proven a true balm for lovers of Shake­speare’s poet­ry, as read by Patrick Stew­art as a love­ably book­ish home­body, which turns out to be an unsur­pris­ing­ly large num­ber of peo­ple.

If you’re in dire need of such a thing—or just can’t miss the oppor­tu­ni­ty to see one of the great­est liv­ing Shake­speare­an actors read all of the Son­nets in his sweats—check in with Stewart’s Insta­gram to get caught up and for the lat­est install­ment, and fol­low along with poems here. For even more Shake­speare­an Stew­art geek­ery, read his rec­ol­lec­tion of his 1965 Roy­al Shake­speare Com­pa­ny audi­tion—in which com­pa­ny co-founder John Bar­ton had him per­form Hen­ry V’s famous Agin­court speech four times in a row before invit­ing him to join.

via Laugh­ing Squid

Relat­ed Con­tent:

An Inno­cent Christ­mas Typo Caus­es Sir Patrick Stew­art to Star as Satan In This Ani­mat­ed Hol­i­day Short

Patrick Stew­art Talks Can­did­ly About Domes­tic Vio­lence in a Poignant Q&A Ses­sion at Comic­palooza

Sir Patrick Stew­art & Sir Ian McK­ellen Play The New­ly­wed Game

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

How to Teach and Learn Philosophy During the Pandemic: A Collection of 450+ Philosophy Videos Free Online

The term phi­los­o­phy, as every intro­duc­to­ry course first explains, means the love of wis­dom. And as the old­est intel­lec­tu­al dis­ci­pline, phi­los­o­phy has proven that the love of wis­dom can with­stand the worst human his­to­ry can throw at it. Civ­i­liza­tions may rise and fall, but soon­er or lat­er we always find ways to get back to phi­los­o­phiz­ing. The cur­rent coro­n­avirus pan­dem­ic, the most fright­en­ing glob­al event most of us have seen in our life­times, does­n’t quite look like a civ­i­liza­tion-ender, though it has forced many of us to change the way we live and learn. In short, we’re doing much more of it online, and a new col­lec­tion of edu­ca­tion­al videos free online is keep­ing phi­los­o­phy in the mix.

“In order to aid phi­los­o­phy pro­fes­sors dur­ing the pan­dem­ic as they tran­si­tion from in-per­son to online teach­ing, Liz Jack­son (ANU) and Tyron Gold­schmidt (Rochester) cre­at­ed a spread­sheet of vide­o­record­ed phi­los­o­phy class­es and lec­tures,” writes Dai­ly Nous’ Justin Wein­berg. At the time of Wein­berg’s post on Mon­day, the spread­sheet, avail­able as an open Google doc­u­ment, con­tained more than 200 videos, a num­ber that has since more than dou­bled to 457 and count­ing.

You’ll find an abun­dance of intro­duc­to­ry cours­es to the entire sub­ject of phi­los­o­phy as well as to sub­fields like log­ic and ethics, and also spe­cial­ized lec­ture series on every­thing from Hume and Niet­zsche to Sto­icism and meta­physics to death and the prob­lem of evil.

Wein­berg adds that “any­one can add their own videos or ones that they know about,” so if you’re aware of any video phi­los­o­phy cours­es that haven’t appeared on the spread­sheet yet, you can con­tribute to this ongo­ing effort in at-home phi­los­o­phy by insert­ing them your­self. Even as it is, Jack­son and Gold­sh­midt’s course col­lec­tion offers more than enough to give your­self a rich philo­soph­i­cal edu­ca­tion in this time of iso­la­tion — or, if you’re a phi­los­o­phy pro­fes­sor your­self, a way to enrich any remote teach­ing you have to do right now. Putting as it does so close at hand lec­tures by such fig­ures pre­vi­ous­ly fea­tured here on Open Cul­ture as Nigel War­bur­ton, Michael SandelPeter Adam­son, and the inim­itable Rick Rod­er­ick, it reminds us that the love of wis­dom is best expressed in a vari­ety of voic­es.

In addi­tion to the spread­sheet, can find many more phi­los­o­phy videos in our col­lec­tion, Free Online Phi­los­o­phy Cours­es.

via Dai­ly Nous

Relat­ed Con­tent:

Learn Phi­los­o­phy with a Wealth of Free Cours­es, Pod­casts and YouTube Videos

A His­to­ry of Phi­los­o­phy in 81 Video Lec­tures: From Ancient Greece to Mod­ern Times

350 Ani­mat­ed Videos That Will Teach You Phi­los­o­phy, from Ancient to Post-Mod­ern

Why You Should Read The Plague, the Albert Camus Nov­el the Coro­n­avirus Has Made a Best­seller Again

Use Your Time in Iso­la­tion to Learn Every­thing You’ve Always Want­ed To: Free Online Cours­es, Audio Books, eBooks, Movies, Col­or­ing Books & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Stream All 18 Hours of Ken Burns’ Baseball for Free on What Would Have Been Opening Day

Base­ball sea­son won’t start today, on what would have been Open Day. So here’s your next best bet. As Sam Barsan­ti writes at AV Club, “PBS and the world’s pre­em­i­nent direc­tor of extreme­ly watch­able and extreme­ly long doc­u­men­taries have a spe­cial treat: The entire­ty of Ken Burns’ Base­ball—over 18 hours—is now avail­able to stream for free on the PBS web­site and all of its relat­ed apps.”

It’s no coin­ci­dence that Burns’ doc­u­men­tary becomes free dur­ing COVID-19. On Twit­ter, Burns adds: “With events can­celed & so much closed, I asked @PBS to stream BASEBALL for free so we can par­tic­i­pate in the nation­al pas­time togeth­er. Watch at the link below or on any stream­ing device. And please look out for those with greater needs. Play ball.”

by | Permalink | Make a Comment ( 1 ) |

What’s the Function of Criticism? Pretty Much Pop: A Culture Podcast #36 with Critic Noah Berlatsky

Do we need pro­fes­sion­al crit­ics reg­u­lat­ing our enter­tain­ment intake?  Noah has writ­ten for numer­ous pub­li­ca­tions includ­ing The Wash­ing­ton Post, The Atlantic, NBC News, The Guardian, Slate, and Vox, and his work has come up for dis­cus­sion in mul­ti­ple past Pret­ty Much Pop episodes.

He was invit­ed to join hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt in spelling out the func­tions of crit­i­cism, the idea of crit­i­cism as art, ide­o­log­i­cal vs. aes­thet­ic cri­tique, and whether there’s any­thing wrong with being neg­a­tive about oth­er peo­ple’s art. While we talk most­ly about film, Noah also writes about TV, comics, music and more.

First, read some arti­cles by Noah about crit­i­cism:

Oth­er authors speak­ing on the util­i­ty of crit­ics:

Here are some exam­ples of Noah’s crit­i­cal work rel­e­vant to what came up in the inter­view and our recent episodes:

Includ­ed here with Noah’s per­mis­sion, here’s some crit­i­cism direct­ed at Noah:

At the end, after Noah leaves, Mark lays out a tax­on­o­my of crit­i­cism: sup­port­er, decoder, taste enforcer, and hater. Noah prac­tices all of these! Fol­low him on Twit­ter @nberlat and get scads of his writ­ing by sup­port­ing him at patreon.com/noahberlatsky.

Watch Mel Brooks’ depic­tion of the very first crit­ic.

This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.

Free: Austin City Limits Opens Up Video Archives During COVID-19 Pandemic

Austin City Limits–an PBS music pro­gram record­ed live in Austin, Texas–has decid­ed to open its archives “as a gift to music fans dur­ing the cur­rent live music mora­to­ri­um.” They write: “Start­ing March 23, the peren­ni­al tele­vi­sion series will make fan-favorite episodes from the recent­ly broad­cast Sea­son 45 avail­able for stream­ing, in addi­tion to the entire slate of pro­grams from the pre­vi­ous two sea­sons of the acclaimed con­cert show­case. Over 35 ACL install­ments will be avail­able to stream free online at https://www.pbs.org/show/austin-city-limits/ offer­ing a wide vari­ety of music’s finest from every genre. here’s some­thing for every­one: an elec­tri­fy­ing hour with gui­tar hero Gary Clark Jr.; an epic stage jour­ney with 2020’s Gram­my-win­ning glob­al pop phe­nom Bil­lie Eil­ish; super­group The Racon­teurs, fea­tur­ing Jack White and Bren­dan Ben­son, in an all-out hour of pure rock and roll.”

Get more infor­ma­tion here, and stream episodes here.

Above you can watch Robert Plant on Austin City Lim­its dur­ing a show record­ed in 2016.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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!

Relat­ed Con­tent:

Live Per­form­ers Now Stream­ing Shows, from their Homes to Yours: Neil Young, Cold­play, Broad­way Stars, Met­ro­pol­i­tan Operas & More

Watch Curat­ed Playlists of Exper­i­men­tal Videos & Films to Get You Through COVID-19: Miran­da July, Jan Švankma­jer, Guy Maddin & More

The Met Opera Stream­ing Free Operas Online to Get You Through COVID-19

Bruce Spring­steen Releas­es Live Con­cert Film Online: Watch “Lon­don Call­ing: Live In Hyde Park” and Prac­tice Self Dis­tanc­ing

Take a Virtual Tour of the Paris Catacombs

The Paris Cat­a­combs is “one of those places,” wrote pho­tog­ra­ph­er Félix Nadar, “that every­one wants to see and no one wants to see again.” If any­one would know, Nadar would. He spent three months in and out of the under­ground city of death, with its macabre piles of skulls and cross­bones, tak­ing pho­tographs (see here) that would help turn it into an inter­na­tion­al­ly famous tourist attrac­tion. In these days of quar­an­tine, no one can see it; the site is closed until fur­ther notice. But if you’re the type of per­son who enjoys tour­ing necrop­olis­es, you can still get your fix with a vir­tu­al vis­it.

Why would any­one want to do this, espe­cial­ly dur­ing a glob­al out­break? The Cat­a­combs have attract­ed seek­ers after mor­bid curiosi­ties and spir­i­tu­al and philo­soph­i­cal truths for over two hun­dred years, through rev­o­lu­tions, mas­sacres, and plagues.

A stark, haunt­ing reminder of what Nadar called “the egal­i­tar­i­an con­fu­sion of death,” they wit­ness mute­ly, with­out euphemism, to the future we are all assured, no mat­ter our rank or posi­tion. They began as a dis­or­dered pile of bones in the late 18th cen­tu­ry, trans­ferred from over­crowd­ed ceme­ter­ies and became a place where “a Merovin­gian king remains in eter­nal silence next to those mas­sa­cred in Sep­tem­ber ‘92” dur­ing the French Rev­o­lu­tion.

Con­tem­pla­tions of death, espe­cial­ly in times of war, plague, famine, and oth­er shocks and crises, have been an inte­gral part of many cul­tur­al cop­ing mech­a­nisms, and often involve med­i­ta­tions on corpses and grave­yards. The Cat­a­combs are no dif­fer­ent, a sprawl­ing memen­to mori named after the Roman cat­a­combs, “which had fas­ci­nat­ed the pub­lic since their dis­cov­ery,” as the offi­cial site notes. Expand­ed, ren­o­vat­ed, and rebuilt dur­ing the time of Napoleon and lat­er dur­ing the exten­sive ren­o­va­tions of Paris in the mid-19th cen­tu­ry, the site was first “con­se­crat­ed as the ‘Paris Munic­i­pal Ossuary’ on April 7, 1786” and opened to the pub­lic in 1809.

It is a place that reminds us how all con­flicts end. To the “litany of roy­al and impov­er­ished dead from French his­to­ry,” writes Alli­son Meier at the Pub­lic Domain Review, Nadar added in his essay on the Cat­a­combs “the names of rev­o­lu­tion­ary vic­tims and per­pe­tra­tors like Max­im­i­lien Robe­spierre and Jean-Paul Marat.” Rumi­na­tions on the uni­ver­sal nature of death may be an odd diver­sion for some, and for oth­ers an urgent reminder to find out what mat­ters to them in life. Learn more about the fas­ci­nat­ing his­to­ry of the Paris Cat­a­combs here and begin your vir­tu­al vis­it here.

via Boing Boing

Relat­ed Con­tent:

Behold Félix Nadar’s Pio­neer­ing Pho­tographs of the Paris Cat­a­combs (1861)

Notre Dame Cap­tured in an Ear­ly Pho­to­graph, 1838

19th-Cen­tu­ry Skele­ton Alarm Clock Remind­ed Peo­ple Dai­ly of the Short­ness of Life: An Intro­duc­tion to the Memen­to Mori

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

What Happened to U.S. Cities That Practiced–and Didn’t Practice–Social Distancing During 1918’s “Spanish Flu”

Amer­i­cans have long been accused of grow­ing social­ly dis­tant, bowl­ing alone, as Robert Put­nam wrote in 2000, or worse becom­ing rad­i­cal­ized as “lone wolves” and iso­lat­ed trolls. But we are see­ing how much we depend on each oth­er as social dis­tanc­ing becomes the painful nor­mal. Not quite quar­an­tine, social dis­tanc­ing involves a semi-vol­un­tary restric­tion of our move­ments. For many peo­ple, this is, as they say, a big ask. But no mat­ter what cer­tain world lead­ers tell us, if at all pos­si­ble, we should stay home, and stay a safe dis­tance away from peo­ple who don’t live with us.

Peo­ple in the U.S. have done this before, of course, just a lit­tle over a hun­dred years ago dur­ing the influen­za epi­dem­ic called the “Span­ish Flu,” though the buzzy term “social dis­tanc­ing” wasn’t used then. As the short VOA News video above explains, dur­ing the spread of the dis­ease, city offi­cials in St. Louis did what cities all over the coun­try are doing now: shut down schools, play­grounds, libraries, church­es, pub­lic offices, and parks and banned gath­er­ings of over 20 peo­ple. Philadel­phia, on the oth­er hand, refused to do the same. The city “allowed a major World War I sup­port parade to take place that attract­ed 20,000 peo­ple.”

The refusal to shut down large gath­er­ings cost thou­sands of lives. “Three days lat­er, every bed in Philadelphia’s 31 hos­pi­tals was filled with sick and dying Span­ish flu patients.” COVID-19 may be a far milder ill­ness in chil­dren and most healthy peo­ple, but this is exact­ly what makes it so insid­i­ous. One per­son can infect dozens before show­ing any symp­toms, if ever. Dur­ing the “Span­ish” flu pan­dem­ic, “the best approach­es were lay­ered,” writes Ger­man Lopez at Vox. “It wasn’t enough to just tell peo­ple to stay home, because they might feel the need to go to school or work, or they could just ignore guid­ance and go to events, bars, church or oth­er big gath­er­ings any­way.”

The com­par­i­son between St. Louis and Philadel­phia stress­es the need for city offi­cials to inter­vene in order for social dis­tanc­ing strate­gies to work. How­ev­er we might feel in ordi­nary cir­cum­stances about gov­ern­ments ban­ning pub­lic gath­er­ings, the glob­al spread of a dead­ly virus seems to war­rant a coor­di­nat­ed pub­lic response that best con­tains the spread. “In prac­ti­cal terms,” Lopez points out, “this meant advis­ing against or pro­hibit­ing just about every aspect of pub­lic life, from schools to restau­rants to enter­tain­ment venues (with some excep­tions for gro­cery stores and drug­stores).”

Lopez cites sev­er­al aca­d­e­m­ic stud­ies of the 1918 influen­za out­break as evi­dence of the effec­tive­ness of social dis­tanc­ing. For even more data on our cur­rent pan­dem­ic, see Tomas Pueyo’s exten­sive Medi­um essay com­pil­ing data and sta­tis­tics on COVID-19’s spread and pre­ven­tion. And if you’re still hav­ing a lit­tle trou­ble fig­ur­ing out what exact­ly “social dis­tanc­ing” involves, see this excel­lent guide from Asaf Bit­ton, physi­cian, pub­lic health researcher, and direc­tor of the Ari­adne Labs at Brigham and Women’s Hos­pi­tal and the Har­vard T.H. Chan School of Pub­lic Health.

As Bit­ton tells Isaac Chotin­er in a recent New York­er inter­view, “social dis­tanc­ing isn’t some exter­nal con­cept that applies only to work and school. Social dis­tanc­ing is real­ly extreme. It is a con­cept that dis­con­nects us phys­i­cal­ly from each oth­er. It pro­found­ly reori­ents our dai­ly life habits. And it is very hard.” No mat­ter how polar­ized we become, or how glued to our var­i­ous screens, we are “social crea­tures” who need con­nec­tion and com­mu­ni­ty. When we make the tran­si­tion out of life at a dis­tance, maybe the mem­o­ry of that need will help us over­come some of our pre-virus social alien­ation.

Relat­ed Con­tent:   

Free Cours­es on the Coro­n­avirus: What You Need to Know About the Emerg­ing Pan­dem­ic

Watch “Coro­n­avirus Out­break: What You Need to Know,” and the 24-Lec­ture Course “An Intro­duc­tion to Infec­tious Dis­eases,” Both Free from The Great Cours­es

How to Pro­tect Your­self Against COVID-19/­Coro­n­avirus

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

Watch Curated Playlists of Experimental Videos & Films to Get You Through COVID-19: Miranda July, Jan Švankmajer, Guy Maddin & More

When we get sick, many of us habit­u­al­ly use the time away from work and oth­er oblig­a­tions to do the same thing: watch movies. But old favorites and recent releas­es we’d missed our first chance to catch can only last us so long: now, with so much of the world either sick or at home try­ing not to get sick, a com­bi­na­tion of iso­la­tion and uncer­tain­ty about the state of things push­es us to seek out more cin­e­mat­i­cal­ly dar­ing fare. To sat­is­fy this demand, Los Ange­les film­mak­er Kate Lain has cre­at­ed a col­lec­tion called “CABIN FEVER: Cop­ing with COVID-19 playlist of online exper­i­men­tal films & videos,” all of them free to watch online, begun “as an editable Google sheet on March 13 to gath­er some exper­i­men­tal films togeth­er based on moods one might be expe­ri­enc­ing while being cooped up.”

Since then, Lain writes, “the list has mor­phed some, with some great new cat­e­gories being added to the mix.” The most recent ver­sion of the spread­sheet, avail­able in .XSLX and .PDF for­mats, includes such cat­e­gories as “For when you need to laugh or smile,” “For when you’re stuck inside but want to be out­side,” “Ani­mals,” “Plants,” “Nos­tal­gia,” and “Virus movies cuz why not.” (One such movie, Tuzan Wu’s Dis­ease of Man­i­fes­ta­tion, appears at the top of the post.)

With­in these and oth­ers appears the work of such film­mak­ers as Jan Švankma­jer, Miran­da July, Fer­nand Léger (pre­vi­ous­ly fea­tured here on Open Cul­ture), Man Ray, Maya Deren, and Cindy Sher­man. (Avant-garde enthu­si­asts may also rejoice at the sight of names like Hol­lis Framp­ton, James Ben­ning, and Ken­neth Anger.)

Inspired by Lain’s col­lec­tion, Hyper­al­ler­gic’s Dessane Lopez Cas­sell has “reached out to artists, film­mak­ers, and Hyper­al­ler­gic con­trib­u­tors to assem­ble a list of what we’ve been shar­ing and encoun­ter­ing across our net­works.” Their selec­tions include Afro­nauts, “a lumi­nous short which ren­ders the sto­ry of the Zam­bian Space Pro­gram” — at which we looked back ear­li­er this month — “as a dream­like work of spec­u­la­tive fic­tion”; Bassem Saad’s Saint Rise, about the trans­porta­tion of a stat­ue of Saint Char­bel (“now being her­ald­ed by con­ser­v­a­tive reli­gious media as a heal­er of the Coro­n­avirus,” the film­mak­er adds) to a high moun­tain­top in Faraya, Leba­banon; and Guy Maddin’s The Green Fog (watch in full here and see the trail­er below), described by crit­ic Car­man Tse as “a scene-by-scene recre­ation of Ver­ti­go, made entire­ly of footage from oth­er movies that take place in San Fran­cis­co.”

“There’s an espe­cial­ly fun­ny mon­tage right at the cli­max of the movie that uses Chuck Nor­ris clips,” Tse notes, mak­ing The Green Fog a promis­ing choice for those of us who need to light­en the mood of our iso­la­tion — and who also appre­ci­ate a high den­si­ty of inter-cin­e­mat­ic ref­er­ence. Hail­ing as he does from the noto­ri­ous­ly win­try Cana­di­an city of Win­nipeg, Maddin him­self sure­ly knows a thing or two about how best to amuse one­self dur­ing long peri­ods stuck indoors. Indeed, every artist grow­ing up in cir­cum­stances of iso­la­tion, occa­sion­al or fre­quent, devel­ops a strong appre­ci­a­tion and high­ly refined sense of artis­tic dar­ing, one that unfail­ing­ly shows in their work when it debuts in the wider world. If we take this oppor­tu­ni­ty to expand the depth and breadth of our own view­ing expe­ri­ences, imag­ine how much more astute film­go­ers we’ll be after the pan­dem­ic pass­es.

Find the Cab­in Fever col­lec­tion of exper­i­men­tal videos and films here. It cur­rent­ly has 284 videos on the list. Hyper­all­ger­ic adds yet more here.

Relat­ed Con­tent:

1,150 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc.

A Page of Mad­ness: The Lost, Avant Garde Mas­ter­piece from Ear­ly Japan­ese Cin­e­ma (1926)

Watch “Bells of Atlantis,” an Exper­i­men­tal Film with Ear­ly Elec­tron­ic Music Fea­tur­ing Anaïs Nin (1952)

The Exper­i­men­tal Abstract Films of Pio­neer­ing Amer­i­can Ani­ma­tor Mary Ellen Bute (1930s-1950s)

Sigour­ney Weaver Stars in a New Exper­i­men­tal Sci-Fi Film: Watch “Rak­ka” Free Online

Use Your Time in Iso­la­tion to Learn Every­thing You’ve Always Want­ed To: Free Online Cours­es, Audio Books, eBooks, Movies, Col­or­ing Books & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Meet the World’s First Known Author: Sumerian High Priestess Enheduanna

Watch­ers of West­world will have heard a char­ac­ter in the most recent episode utter the line, “for the first time, his­to­ry has an author.” It’s as loaded a bit of dia­logue as the series has dropped on fans, not least for its sug­ges­tion that in the absence of a god we should be bet­ter off with an all-know­ing machine.

The line might bend the ear of lit­er­ary schol­ars for anoth­er rea­son. The idea of author­ship is a com­pli­cat­ed one. In one sense, maybe, every­one is an author of his­to­ry, and in anoth­er, per­haps no one is. But it’s dif­fi­cult to com­pre­hend these abstractions—we crave sto­ries with strong char­ac­ters, hence our ven­er­a­tion of Great Men and Women of the past.

Still, in many times and places, indi­vid­ual author­ship was irrel­e­vant. Renais­sance thinkers reval­ued the author as an auc­tori­tas, a wor­thy fig­ure of influ­ence and renown. “Death of the author” the­o­rists point­ed out that the appear­ance of a lit­er­ary text could nev­er be reduced to a sin­gle, unchang­ing per­son­al­i­ty. In reli­gious stud­ies, ques­tions of author­ship open onto mine­field after mine­field. There may be no com­mon­ly agreed-upon way to think about what an author is.

Does it make sense, then, to talk about the “world’s first author”? Per­haps. In the TED-Ed les­son above by Soraya Field Fio­rio, we learn that the first known per­son to use writ­ten lan­guage for lit­er­ary pur­pos­es was named was Enhed­u­an­na, a pow­er­ful Mesopotami­an high priest­ess who wrote forty-two hymns and three epic poems in cuneiform 4,3000 hun­dred years ago.

Daugh­ter of Sar­gon of Akkad, who placed her in a posi­tion to rule, Enhed­u­an­na lived about “1,500 years before Homer and about 500 years before the Bib­li­cal patri­arch Abra­ham.” (There’s con­sid­er­able doubt, of course, about whether either of those peo­ple exist­ed, whether they wrote the works attrib­uted to them, or whether such works were penned by com­mit­tee, so to speak.)

Sar­gon was also an author, hav­ing com­posed an auto­bi­og­ra­phy, The Leg­end of Sar­gon, that “exert­ed a pow­er­ful influ­ence over the Sume­ri­ans he sought to con­quer,” notes Joshua J. Mark at the Ancient His­to­ry Ency­clo­pe­dia. But first, Enhed­u­an­na used her posi­tion as high priest­ess to uni­fy her father’s empire with reli­gious hymns that praised the gods of each major Sumer­ian city. “In her writ­ing, she human­ized the once aloof gods,” just as Homer would hun­dreds of years lat­er. “Now they suf­fered, fought, loved, and respond­ed to human plead­ing.”

Her hymns to Inan­na are her most defin­ing lit­er­ary achieve­ment, but Enhed­u­an­na has some­how been com­plete­ly left out of his­to­ry. “We know who the first nov­el­ist is,” writes Charles Hal­ton at Lit Hub, “eleventh cen­tu­ry Japan­ese Noble­woman Murasa­ki Shik­ibu, who wrote the Tale of Gen­ji.” Like­wise, we know the first nov­el­ist of the west­ern world, Miguel de Cer­vantes, and the first essay­ist, Michel de Mon­taigne. But “ask any per­son in your life who wrote the first poem and they’re apt to draw a blank.”

Maybe this is because, unlike nov­els, we don’t think of poet­ry as being invent­ed by a sin­gle indi­vid­ual. It seems as though it must have sprung from the col­lec­tive psy­che not long after humans began using lan­guage. Yet from the point of view of lit­er­ary history—which, like most his­to­ries, con­sists of a suc­ces­sion of great names—Enheduanna cer­tain­ly deserves the hon­or as the world’s first known poet and first known author.  Learn more about her in the les­son above.

 Relat­ed Con­tent:

How to Write in Cuneiform, the Old­est Writ­ing Sys­tem in the World: A Short, Charm­ing Intro­duc­tion

Watch a 4000-Year Old Baby­lon­ian Recipe for Stew, Found on a Cuneiform Tablet, Get Cooked by Researchers from Yale & Har­vard

Hear The Epic of Gil­gamesh Read in its Orig­i­nal Ancient Lan­guage, Akka­di­an

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

The “Feynman Technique” for Studying Effectively: An Animated Primer

After win­ning the Nobel Prize, physi­cist Max Planck “went around Ger­many giv­ing the same stan­dard lec­ture on the new quan­tum mechan­ics. Over time, his chauf­feur mem­o­rized the lec­ture and said, ‘Would you mind, Pro­fes­sor Planck, because it’s so bor­ing to stay in our rou­tine, if I gave the lec­ture in Munich and you just sat in front wear­ing my chauffeur’s hat?’ Planck said, ‘Why not?’ And the chauf­feur got up and gave this long lec­ture on quan­tum mechan­ics. After which a physics pro­fes­sor stood up and asked a per­fect­ly ghast­ly ques­tion. The speak­er said, ‘Well, I’m sur­prised that in an advanced city like Munich I get such an ele­men­tary ques­tion. I’m going to ask my chauf­feur to reply.’ ”

That this intel­lec­tu­al switcheroo nev­er actu­al­ly hap­pened did­n’t stop Char­lie Munger from using it as an open­er for a com­mence­ment speech to USC’s Law School. But when a suc­cess­ful bil­lion­aire investor finds val­ue even in an admit­ted­ly “apoc­ryphal sto­ry,” most of us will find val­ue in it as well. It illus­trates, accord­ing to the Free­dom in Thought video above, the dif­fer­ence between “two kinds of knowl­edge: the deep knowl­edge that Max had, and the shal­low knowl­edge that the chauf­feur had.” Both forms of knowl­edge have their advan­tages, espe­cial­ly since none of us have life­time enough to under­stand every­thing deeply. But we get in trou­ble when we can’t tell them apart: “We risk fool­ing our­selves into think­ing we actu­al­ly under­stand or know some­thing when we don’t. Even worse, we risk tak­ing action on mis­in­for­ma­tion or mis­un­der­stand­ing.”

Even if you put lit­tle stock into a made-up anec­dote about one Nobel-win­ning physi­cist, sure­ly you’ll believe the doc­u­ment­ed words of anoth­er. Richard Feyn­man once artic­u­lat­ed a first prin­ci­ple of know­ing as fol­lows: “You must not fool your­self, and you are the eas­i­est per­son to fool.” This prin­ci­ple under­lies a prac­ti­cal process of learn­ing that con­sists of four steps. First, “explain the top­ic out loud to a peer who is unfa­mil­iar with the top­ic. Meet them at their lev­el of under­stand­ing and use the sim­plest lan­guage you can.” Sec­ond, “iden­ti­fy any gaps in your own under­stand­ing, or points where you feel that you can’t explain an idea sim­ply.” Third, “go back to the source mate­r­i­al and study up on your weak points until you can use sim­ple lan­guage to explain it.” Final­ly, “repeat the three steps above until you’ve mas­tered the top­ic.”

We’ve fea­tured the so-called “Feyn­man tech­nique” once or twice before here on Open Cul­ture, but its empha­sis on sim­plic­i­ty and con­ci­sion always bears repeat­ing — in, of course, as sim­ple and con­cise a man­ner as pos­si­ble each time. Its ori­gins lie in not just Feny­man’s first prin­ci­ple of knowl­edge but his intel­lec­tu­al habits. This video’s nar­ra­tor cites James Gle­ick­’s biog­ra­phy Genius, which tells of how “Richard would cre­ate a jour­nal for the things he did not know. His dis­ci­pline in chal­leng­ing his own under­stand­ing made him a genius and a bril­liant sci­en­tist.” Like all of us, Feyn­man was igno­rant all his life of vast­ly more sub­jects than he had mas­tered. But unlike many of us, his desire to know burned so furi­ous­ly that it pro­pelled him into per­pet­u­al con­fronta­tion with his own igno­rance. We can’t learn what we want to know, after all, unless we acknowl­edge how much we don’t know.

Relat­ed Con­tent:

Richard Feynman’s “Note­book Tech­nique” Will Help You Learn Any Subject–at School, at Work, or in Life

Richard Feynman’s Tech­nique for Learn­ing Some­thing New: An Ani­mat­ed Intro­duc­tion

The Feyn­man Lec­tures on Physics, The Most Pop­u­lar Physics Book Ever Writ­ten, Is Now Com­plete­ly Online

The Cor­nell Note-Tak­ing Sys­tem: Learn the Method Stu­dents Have Used to Enhance Their Learn­ing Since the 1940s

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.


  • Great Lectures

  • About Us

    Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.


    Advertise With Us

  • Archives

  • Search

  • Quantcast
    Open Culture was founded by Dan Colman.