What’s a Scientifically-Proven Way to Improve Your Ability to Learn? Get Out and Exercise

Wiki­me­dia Com­mons Image by the U.S. Navy

The ben­e­fit, nay neces­si­ty, of phys­i­cal exer­cise is unde­ni­able. The med­ical com­mu­ni­ty has iden­ti­fied seden­tary lifestyles as an epi­dem­ic, some­times called “sit­ting dis­ease” (or as peo­ple like to say, “sit­ting is the new smok­ing”). Pro­longed sit­ting has been estab­lished as a cause of all sorts of chron­ic ill­ness­es includ­ing heart dis­ease, dia­betes, and even cer­tain can­cers. Com­bine this prob­lem with the steady stream of processed foods in more and more diets and we have a full-blown pub­lic health cri­sis on our hands that requires some seri­ous inter­ven­tion on the part of doc­tors, dieti­cians, phys­i­cal ther­a­pists, and sci­en­tists.

And as more and more researchers are find­ing out, a poor diet and lack of exer­cise can also have seri­ous­ly harm­ful effects on the brain. Con­verse­ly, as a recent Uni­ver­si­ty of Cal­i­for­nia study shows, exer­cise boosts brain func­tion; it “enhances learn­ing and mem­o­ry, improves exec­u­tive func­tion” and “coun­ter­acts… men­tal decline.” To put the the­o­ry of enhanced learn­ing to the test, researchers have con­duct­ed sev­er­al exper­i­ments and found that phys­i­cal activ­i­ty can improve the abil­i­ty to learn new things at near­ly any age.

Stud­ies have “found cor­re­la­tions between children’s aer­o­bic fit­ness and their brain struc­ture,” reports The New York Times, and kids who exer­cise before math and read­ing tests show con­sis­tent­ly high­er scores than their seden­tary peers. Like­wise, a study con­duct­ed with col­lege stu­dents in Ire­land found that par­tic­i­pants per­formed sig­nif­i­cant­ly bet­ter on mem­o­ry tests after 30 min­utes of cycling. One like­ly expla­na­tion is that exer­cise increas­es the pro­duc­tion of BDNF (Brain-Derived Neu­rotrop­ic Fac­tor), a pro­tein that pro­motes nerve health. And in a new paper pub­lished by researchers from Italy, Chi­na, and Thai­land, we find that that exer­cise can specif­i­cal­ly improve the abil­i­ty to learn new lan­guages.

The study test­ed 40 col­lege-age Chi­nese stu­dents who are learn­ing Eng­lish. One group remained seden­tary, while anoth­er rode exer­cise bikes at a mod­er­ate pace both before and dur­ing study ses­sions. The stu­dents who biked per­formed bet­ter on 8 sep­a­rate vocab­u­lary tests and were bet­ter able to rec­og­nize cor­rect Eng­lish sen­tences. These results are sim­i­lar to those of a recent Ger­man study which found that a group of young women rid­ing exer­cise bikes, at slow and mod­er­ate paces, per­formed much bet­ter on vocab­u­lary tests than anoth­er group who didn’t exer­cise.

Though The New York Times points to a dif­fer­ent study with con­trast­ing results, the evi­dence seems large­ly on the side of exer­cise-enhances-learn­ing pro­po­nents. “In recent years,” the Times notes, “a wealth of stud­ies in both ani­mals and peo­ple have shown that we learn dif­fer­ent­ly if we also exer­cise.” You’ll find many of those stud­ies sum­ma­rized at the BBC, The Guardian, and else­where, along with sev­er­al pos­si­ble expla­na­tions for the phe­nom­e­non. Psy­chol­o­gist Justin Rhodes notes that “aer­o­bic exer­cise can actu­al­ly reverse hip­pocam­pal shrink­age,” increas­ing gray mat­ter in an area of the brain asso­ci­at­ed with mem­o­ry and emo­tion. His con­tention is backed by recent research on mice and humans.

In any case, although it appears that more vig­or­ous exer­cis­es like cycling and run­ning cre­ate the most improve­ment, tak­ing a brisk walk before a class or study ses­sion can also help with reten­tion and alert­ness. What­ev­er kind of exer­cise one does, a sim­ple “take-home mes­sage,” says one researcher, “may be that instruc­tion should be flanked by phys­i­cal activ­i­ty. Sit­ting for hours and hours with­out mov­ing is not the best way to learn.” Hav­ing trou­ble get­ting moti­vat­ed to run or bike before you study for that math test or start a new lan­guage course? Take some advice from Har­vard Med­ical School on how to start slow­ly, find some­thing you like doing, and turn every­day activ­i­ties into exer­cise.

Relat­ed Con­tent:

Why Sit­ting Is The New Smok­ing: An Ani­mat­ed Expla­na­tion

This Is Your Brain on Exer­cise: Why Phys­i­cal Exer­cise (Not Men­tal Games) Might Be the Best Way to Keep Your Mind Sharp

Hear Aer­o­bic Exer­cise: When Sovi­et Musi­cians Record­ed Elec­tron­ic Music for a Sub­ver­sive Home Fit­ness Record (1984)

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

Reality Is Nothing But a Hallucination: A Mind-Bending Crash Course on the Neuroscience of Consciousness

If you’ve been accused of liv­ing in “a world of your own,” get ready for some val­i­da­tion. As cog­ni­tive sci­en­tist Anil Seth argues in “Your Brain Hal­lu­ci­nates Your Con­scious Real­i­ty,” the TED Talk above, every­one lives in a world of their own — at least if by “every­one” you mean “every brain,” by “world” you mean “entire real­i­ty,” and by “of their own” you mean “that it has cre­at­ed for itself.” With all the sig­nals it receives from our sens­es and all the pri­or expe­ri­ences it has orga­nized into expec­ta­tions, each of our brains con­structs a coher­ent image of real­i­ty — a “mul­ti­sen­so­ry, panoram­ic 3D, ful­ly, immer­sive inner movie” — for us to per­ceive.

“Per­cep­tion has to be a process of ‘informed guess­work,’ ” says the TED Blog’s accom­pa­ny­ing notes, “in which sen­so­ry sig­nals are com­bined with pri­or expec­ta­tions about the way the world is, to form the brain’s best guess of the caus­es of these sig­nals.”

Seth uses opti­cal illu­sions and clas­sic exper­i­ments to under­score the point that “we don’t just pas­sive­ly per­ceive the world; we active­ly gen­er­ate it. The world we expe­ri­ence comes as much from the inside-out as the out­side-in,” in a process hard­ly dif­fer­ent from that which we casu­al­ly call hal­lu­ci­na­tion. Indeed, in a way, we’re always hal­lu­ci­nat­ing. “It’s just that when we agree about our hal­lu­ci­na­tions, that’s what we call ‘real­i­ty.’” And as for what, exact­ly, con­sti­tutes the “we,” our brains do a good deal of work to con­struct that too.

Sev­en­teen min­utes only allows Dash to go so far down the rab­bit hole of the neu­ro­science of con­scious­ness, but he’ll gal­va­nize the curios­i­ty of any­one with even a mild inter­est in this mind-mend­ing sub­ject. He leaves us with a few impli­ca­tions of his and oth­ers’ research to con­sid­er: first, “just as we can mis­per­ceive the world, we can mis­per­ceive our­selves”; sec­ond, “what it means to be me can­not be reduced to — or uploaded to — a soft­ware pro­gram run­ning on an advanced robot, how­ev­er sophis­ti­cat­ed”; third, “our indi­vid­ual inner uni­verse is just one way of being con­scious, and even human con­scious­ness gen­er­al­ly is a tiny region in a vast space of pos­si­ble con­scious­ness­es.” As we’ve learned, in a sense, from every TED Talk, no mat­ter how busy a brain may be con­struct­ing both real­i­ty and the self, it can always come up with a few big take­aways for the audi­ence.

Relat­ed Con­tent:

Free Online Psy­chol­o­gy & Neu­ro­science Cours­es

John Sear­le Makes A Force­ful Case for Study­ing Con­scious­ness, Where Every­thing Else Begins

Robert Sapol­sky Explains the Bio­log­i­cal Basis of Reli­gios­i­ty, and What It Shares in Com­mon with OCD, Schiz­o­phre­nia & Epilep­sy

Stanford’s Robert Sapol­sky Demys­ti­fies Depres­sion, Which, Like Dia­betes, Is Root­ed in Biol­o­gy

Alan Watts On Why Our Minds And Tech­nol­o­gy Can’t Grasp Real­i­ty

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

Repairing Willie Nelson’s Trigger: A Good Look at How a Luthier Gets America’s Most Iconic Guitar on the Road Again

Many gui­tarists are of two minds about trib­ute mod­els. In some cas­es, they seem like shame­less cash grabs, par­tic­u­lar­ly when the artist is no longer with us and can’t con­sent to the process. Fender’s “Jimi Hen­drix Stra­to­cast­er” (reg­is­tered trade­mark) is in no way, after all, Jimi Hendrix’s Stra­to­cast­er. His white Strat was a right-hand­ed gui­tar he mod­i­fied him­self, turn­ing it upside down to play as a lefty. Born of neces­si­ty, it was nonethe­less a bril­liant mechan­i­cal inno­va­tion that defined his sound. The mass-mar­ket ver­sion flips every­thing over on a left-hand­ed gui­tar for the more numer­ous righty cus­tomers, under­min­ing the pur­pose of the design, mass-pro­duc­ing Hendrix’s hand­made alter­ations, and turn­ing a one-of-a-kind his­tor­i­cal arti­fact into a com­mod­i­ty.

Fel­low lefty Kurt Cobain’s inge­nious Jag-Stang—a mashup of Fender’s Mus­tang and Jaguar guitars—seems more legit, on the oth­er hand, since Fend­er made pro­to­types for Cobain from a design he him­self sent to the com­pa­ny (or rather from two Polaroids he taped togeth­er). There’s a pro­pri­etary rela­tion­ship here between artist and gui­tar mak­er, a pri­or arrange­ment. We don’t see that rela­tion­ship between anoth­er famous play­er and his guitar’s famous mak­er. Like Hen­drix and Cobain and their Fend­ers, Willie Nel­son has inspired gen­er­a­tions of play­ers to pick up Mar­tin acoustics. But I very much doubt that Mar­tin would ever pro­duce a repli­ca based on Trig­ger, Nelson’s stal­wart clas­si­cal ax, even if such a thing were pos­si­ble.

That’s for the best. Trig­ger is and should remain an entire­ly unique object. It has an aura of its own, much of it ema­nat­ing from a huge hole in the mid­dle of the gui­tar. Like its own­er, Trig­ger is weath­ered and worn, and instant­ly rec­og­niz­able. It has been with Nel­son since he restart­ed his career in Austin after his first bout of Nashville fame, and it rep­re­sents Nelson’s trans­for­ma­tion from tra­di­tion­al croon­er into the out­law trou­ba­dour who emerged in the ear­ly sev­en­ties to change the course of coun­try music. (Read the sto­ry of the man and his gui­tar here.) To real­ly appre­ci­ate Trig­ger’s ragged mys­ter­ies, you don’t need to hear from Mar­tin gui­tars, but from one of the instrument’s elite hostlers, so to speak. Respect­ed luthi­er Mark Erlewine takes care of Trig­ger when it’s at home in Austin and can explain, as he does in the video above, every one of the guitar’s pecu­liar­i­ties.

“There are a num­ber of things wrong with it,” says Erlewine, “but they’re just minor repairs to keep it going.” As for that hole and the craters sur­round­ing it, he seems uncon­cerned. Though it looks like it might cave in at any moment, Erlewine has kept it struc­tural­ly sound. “Willie is not con­cerned about the looks of this gui­tar so much as the playa­bil­i­ty and func­tion­al­i­ty of it.” How did Trig­ger come to take on its dis­tinc­tive wounds? Not in the way you might expect. Rather than a stage acci­dent or tour mishap, the way these things can hap­pen, Nelson’s gui­tar became dam­aged through the sheer pas­sion of his fin­ger­style play­ing. Over the years his fin­ger­nails would “often chip into the wood and pull out wood as he plays.”

In per­fect con­di­tion when he bought it, Trig­ger has record­ed in its beat­en-up top the motor mem­o­ries of “over 10,000 shows and record­ing ses­sions” in the deep impres­sions of only its own­er’s fin­gers and per­son­al­i­ty. There is no way to dupli­cate this phe­nom­e­non for mass con­sump­tion. Stick with the video, from gui­tar tool and parts giant Stew­art-Mac­Don­ald, and see how Erlewine keeps Trig­ger healthy, “alive,” and “shored up over the years.”

via Uncrate

Relat­ed Con­tent:

Willie Nel­son and His Famous Gui­tar: The Tale of Trig­ger: Watch the Short Film Nar­rat­ed by Woody Har­rel­son

Willie Nelson–Young, Clean-Shaven & Wear­ing a Suit–Sings Ear­ly Hits at the Grand Ole Opry (1962)

Mark Knopfler Gives a Short Mas­ter­class on His Favorite Gui­tars & Gui­tar Sounds

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

On the Power of Teaching Philosophy in Prisons

Phi­los­o­phy is often seen as an arcane aca­d­e­m­ic dis­ci­pline, in com­pe­ti­tion with the hard sci­ences or laden with abstruse con­cepts and lan­guage inac­ces­si­ble to ordi­nary peo­ple. Such a per­cep­tion may be war­rant­ed. This is not to damn aca­d­e­m­ic phi­los­o­phy but to high­light what has been lost through pro­fes­sion­al­iza­tion: clas­si­cal notions of ethics as “the art of liv­ing” or what Michel Fou­cault called “the care of the self”; the ancient Greek idea of par­rhe­sia—bold, hon­est speech uncloud­ed by pro­pri­etary jar­gon; phi­los­o­phy as a prac­tice like med­i­ta­tion or yoga, a tech­nique for self-knowl­edge, self-con­trol, and wise, just, and con­sid­er­ate rela­tion­ships with oth­ers.

From Socrates to Aris­to­tle to Epi­cu­rus and the Sto­ics, ancient West­ern thinkers believed phi­los­o­phy to be inti­mate­ly rel­e­vant to every­day life. This was very much the case in ancient East­ern thought as well, in the Jain­ist sages, the Bud­dha, or Lao-Tzu, to name a few. We will find some form of pop­u­lar phi­los­o­phy on every con­ti­nent and every his­tor­i­cal age. And while plen­ty of mod­ern teach­ers still believe in phi­los­o­phy for every­one, they oper­ate in a con­sumer cul­ture that often deems them irrel­e­vant, at best. Still, many edu­ca­tors per­sist out­side the acad­e­my, endeav­or­ing to reach not only ordi­nary cit­i­zens but a class of dis­em­pow­ered peo­ple also deemed irrel­e­vant, at best: the impris­oned, many of whom have had few edu­ca­tion­al resources and lit­tle to no expo­sure to philo­soph­i­cal think­ing.

We have many exam­ples of influ­en­tial thinkers writ­ing from prison, whether Boethius’ ear­ly Chris­t­ian Con­so­la­tions of Phi­los­o­phy, Anto­nio Gramsci’s pas­sion­ate Marx­ist prison let­ters, Oscar Wilde’s De Pro­fundis, or Mar­tin Luther King, Jr.’s essen­tial “Let­ter from a Birm­ing­ham Jail.” These have maybe pro­vid­ed read­ers who have nev­er been jailed with trag­ic, yet roman­tic notions of doing phi­los­o­phy while doing time. But the philoso­phers who enter pris­ons to work with peo­ple convicted—justly or otherwise—of all man­ner of crimes can­not afford to have roman­tic ideas. Philoso­pher Alan Smith found this to be espe­cial­ly so after teach­ing in UK pris­ons for 14 years, and writ­ing bold­ly and can­did­ly about the expe­ri­ence in his Guardian col­umn “Phi­los­o­phy for Pris­on­ers.”

Final­ly retir­ing in 2013, Smith con­fessed, “If I car­ried on in prison, I would have to do it dif­fer­ent­ly; I would have to admit that it was prison.” He may have felt burned out at the end of his sojourn, but he had­n’t lost his sense of eth­i­cal pur­pose:

When we don’t know about his­to­ry and art and soci­ety we are adrift. Most of you read­ing this will nev­er have had that expe­ri­ence, but many of the men I taught were igno­rant of just about every­thing, and as grown men felt this keen­ly. Edu­ca­tion was a relief, a route to self-respect.

Those who do this work report on how so many inmates hunger for routes to self-knowl­edge, reflec­tion, and rig­or­ous intel­lec­tu­al exer­cise. Sev­er­al edu­ca­tors at The Phi­los­o­phy Foun­da­tion, for exam­ple, have writ­ten about their expe­ri­ences teach­ing phi­los­o­phy in var­i­ous UK pris­ons. Con­di­tions are dif­fer­ent, and often much bleak­er, in the US—a coun­try with 5% of the world’s pop­u­la­tion and 25% of its prisoners—but here, too, philoso­phers have helped inmates dis­cov­er new truths about them­selves and their soci­ety. In the very short TED talk up top, Damon Horowitz, who teach­es at San Quentin through the Prison Uni­ver­si­ty Project, gives a pas­sion­ate, rapid-fire account­ing of his mis­sion behind bars: “Every­one’s got an opin­ion. We are here for knowl­edge. Our ene­my is thought­less­ness.” A cho­rus of ven­er­a­ble ancients would assured­ly agree.

Fur­ther down, you can see par­tic­i­pants in Prince­ton’s Prison Teach­ing Ini­tia­tive talk about the virtues and rewards of their accred­it­ed pro­gram. That includes teach­ers and stu­dents alike.

Note: You can find 140+ Free Phi­los­o­phy Cours­es in our ever-grow­ing list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Tim Rob­bins’ Improv Class­es Trans­form Pris­on­ers’ Lives & Low­er Recidi­vism Rates

Pat­ti Smith Reads from Oscar Wilde’s De Pro­fundis, the Love Let­ter He Wrote From Prison (1897)

What Pris­on­ers Ate at Alca­traz in 1946: A Vin­tage Prison Menu

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

Long Before Photoshop, the Soviets Mastered the Art of Erasing People from Photographs — and History Too

Adobe Pho­to­shop, the world’s best-known piece of image-edit­ing soft­ware, has long since tran­si­tioned from noun to verb: “to Pho­to­shop” has come to mean some­thing like “to alter a pho­to­graph, often with intent to mis­lead or deceive.” But in that usage, Pho­to­shop­ping did­n’t begin with Pho­to­shop, and indeed the ear­ly mas­ters of Pho­to­shop­ping did it well before any­one had even dreamed of the per­son­al com­put­er, let alone a means to manip­u­late images on one. In Amer­i­ca, the best of them worked for the movies; in Sovi­et Rus­sia they worked for a dif­fer­ent kind of pro­pa­gan­da machine known as the State, not just pro­duc­ing offi­cial pho­tos but going back to pre­vi­ous offi­cial pho­tos and chang­ing them to reflect the regime’s ever-shift­ing set of pre­ferred alter­na­tive facts.

“Like their coun­ter­parts in Hol­ly­wood, pho­to­graph­ic retouch­ers in Sovi­et Rus­sia spent long hours smooth­ing out the blem­ish­es of imper­fect com­plex­ions, help­ing the cam­era to fal­si­fy real­i­ty,” writes David King in the intro­duc­tion to his book The Com­mis­sar Van­ish­es: The Fal­si­fi­ca­tion of Pho­tographs and Art in Stal­in’s Rus­sia. “Stal­in’s pock­marked face, in par­tic­u­lar, demand­ed excep­tion­al skills with the air­brush. But it was dur­ing the Great Purges, which raged in the late 1930s, that a new form of fal­si­fi­ca­tion emerged. The phys­i­cal erad­i­ca­tion of Stal­in’s polit­i­cal oppo­nents at the hands of the secret police was swift­ly fol­lowed by their oblit­er­a­tion from all forms of pic­to­r­i­al exis­tence.”

Using tools that now seem impos­si­bly prim­i­tive, Sovi­et pro­to-Pho­to­shop­pers made “once-famous per­son­al­i­ties van­ish” and craft­ed pho­tographs rep­re­sent­ing Stal­in “as the only true friend, com­rade, and suc­ces­sor to Lenin, the leader of the Bol­she­vik Rev­o­lu­tion and founder of the USSR.”

This qua­si-arti­sanal work, “one of the more enjoy­able tasks for the art depart­ment of pub­lish­ing hous­es dur­ing those times,” demand­ed seri­ous dex­ter­i­ty with the scalpel, glue, paint, and air­brush. (Some exam­ples, as you can see in this five-page gallery of images from The Com­mis­sar Van­ish­es, evi­denced more dex­ter­i­ty than oth­ers.) In this man­ner, Stal­in could order writ­ten out of his­to­ry such com­rades he ulti­mate­ly deemed dis­loy­al (and who usu­al­ly wound up exe­cut­ed as) as Naval Com­mis­sar Niko­lai Yezhov, infa­mous­ly made to dis­ap­pear from Stal­in’s side on a pho­to tak­en along­side the Moscow Canal, or Peo­ple’s Com­mis­sar for Posts and Telegraphs Niko­lai Antipov, com­man­der of the Leningrad par­ty Sergei Kirov, and Chair­man of the Pre­sid­i­um of the Supreme Sovi­et Niko­lai Shvernik — pic­tured, and removed one by one, just above.

This prac­tice even extend­ed to the mate­ri­als of the Sovi­et space pro­gram, writes Wired’s James Oberg. Cos­mo­nauts tem­porar­i­ly erased from his­to­ry include Valentin Bon­darenko, who died in a fire dur­ing a train­ing exer­cise, and the espe­cial­ly promis­ing Grig­oriy Nelyubov (pic­tured, and then not pic­tured, at the top of the post), who “had been expelled from the pro­gram for mis­be­hav­ior and lat­er killed him­self.” Yuri Gagarin, the cos­mo­naut who made his­to­ry as the first human in out­er space, did not, of course, get erased by the proud author­i­ties, but even his pho­tos, like the one just above where he shakes hands with the Sovi­et space pro­gram’s top-secret leader Sergey Koroly­ov, went under the knife for cos­met­ic rea­sons, here the removal of the evi­dent­ly dis­tract­ing work­man in the back­ground — hard­ly a major his­tor­i­cal fig­ure, let alone a con­tro­ver­sial one, but still a real and maybe even liv­ing reminder that while the cam­era may lie, it can’t hold its tongue for­ev­er.

h/t @JackFeerick

Relat­ed Con­tent:

Joseph Stal­in, a Life­long Edi­tor, Wield­ed a Big, Blue, Dan­ger­ous Pen­cil

Leon Trot­sky: Love, Death and Exile in Mex­i­co

Watch the Sur­re­al­ist Glass Har­mon­i­ca, the Only Ani­mat­ed Film Ever Banned by Sovi­et Cen­sors (1968)

Sovi­et Union Cre­ates a List of 38 Dan­ger­ous Rock Bands: Kiss, Pink Floyd, Talk­ing Heads, Vil­lage Peo­ple & More (1985)

Russ­ian His­to­ry & Lit­er­a­ture Come to Life in Won­der­ful­ly Col­orized Por­traits: See Pho­tos of Tol­stoy, Chekhov, the Romanovs & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

India on Film, 1899–1947: An Archive of 90 Historic Films Now Online

India, the largest democ­ra­cy in the world, is a ris­ing eco­nom­ic pow­er­house, and a major play­er in the fields of media, enter­tain­ment, and telecom­mu­ni­ca­tions.

But for many arm­chair trav­el­ers, sub­con­ti­nen­tal moder­ni­ty takes a back­seat to post­card visions of ele­phants, teem­ing rus­tic streets, and snake charm­ers.

Fans of Rud­yard Kipling and E.M. Forster will thrill to the vin­tage footage in a just released British Film Insti­tute online archive, India on Film (see a trail­er above).

1914’s The Won­der­ful Fruit of the Trop­ics, a sten­cil-coloured French-pro­duced primer on the edi­ble flo­ra of India offers just the right blend of exoti­cism and reas­sur­ance (“the fruit of a man­go is excel­lent as a food”) for a new­ly arrived British house­wife.

A Native Street in India (1906) speaks to the pop­u­lous­ness that con­tin­ues to define a coun­try sched­uled to out­pace China’s num­bers with­in the next 10 years.

An East­ern Mar­ket fol­lows a Pun­jabi farmer’s trek to town, to buy and sell and take in the big city sights.

The archive’s biggest celeb is sure­ly activist Mahat­ma Gand­hi, whose great nephew, Kanu, enjoyed unlim­it­ed film­ing access on the assur­ance that he would nev­er ask his uncle to pose.

The Raj makes itself known in 1925’s King Emper­or’s Cup Race, a Han­d­ley Page biplane arriv­ing in Cal­cut­ta in 1917, and sev­er­al films doc­u­ment­ing Edward Prince of Wales’ 1922 tour

Explore the full BFI’s full India on Film: 1899–1947 playlist here. It fea­tures 90 films in total, with maybe more to come.

Relat­ed Con­tent:

Par­vati Saves the World: Watch a Remix of Bol­ly­wood Films That Com­bats Rape in India

Google’s Mov­ing Ad About 1947 Par­ti­tion of India & Pak­istan Tops 10 Mil­lion Views

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

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

Artists Put a Hidden Message in Their Letter Resigning from President’s Committee on the Arts & the Humanities

It was­n’t the most high pro­file mass res­ig­na­tion of last week. (The CEOs on Trump’s busi­ness advi­so­ry coun­cils got that dis­tinc­tion.) But it was arguably the most cre­ative one. Last Fri­day, “all 16 of the promi­nent artists, authors, per­form­ers and archi­tects on the President’s Com­mit­tee on the Arts and the Human­i­ties resigned,” reports The New York Times. And while their res­ig­na­tion let­ter did­n’t mince words (read it online here), it did take the added step of encod­ing in its text a short mes­sage for POTUS. Cir­cle the first let­ter of each para­graph and what do you get? RESIST, the mantra of 2017.

In oth­er relat­ed news, the admin­is­tra­tion announced that Trump will skip the annu­al Kennedy Cen­ter Hon­ors this year–just the fourth time that a pres­i­dent has missed this annu­al nation­al cel­e­bra­tion of the arts. This year’s hon­orees include Glo­ria Este­fan, LL COOL J, Nor­man Lear, Lionel Richie, and Car­men de Laval­lade.

via Boing Boing/Art­net

Relat­ed Con­tent:

‘Stair­way to Heav­en’: Watch a Mov­ing Trib­ute to Led Zep­pelin at The Kennedy Cen­ter

William Faulkn­er Resigns From His Post Office Job With a Spec­tac­u­lar Let­ter (1924)

Watch “Don’t Be a Suck­er!,” the 1947 US Gov­ern­ment Anti-Hatred Film That’s Rel­e­vant Again in 2017

Han­nah Arendt Explains How Pro­pa­gan­da Uses Lies to Erode All Truth & Moral­i­ty: Insights from The Ori­gins of Total­i­tar­i­an­ism

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The Comedic Legacies of Dick Gregory and Jerry Lewis (RIP): A Study in Contrasts

Two titans of com­e­dy passed away this week­end, but the deaths of Dick Gre­go­ry and Jer­ry Lewis have seemed like cul­tur­al foot­notes amidst some of the most anx­ious, angry few days in recent U.S. his­to­ry. Gre­go­ry and Lewis are stars of a bygone era, maybe two full gen­er­a­tions behind con­tem­po­rary pop­u­lar rel­e­vance. And yet, in many ways, the mid-20th cen­tu­ry world where both men got their start feels clos­er than ever.

Both Gre­go­ry and Lewis once wield­ed con­sid­er­able pow­er in the enter­tain­ment indus­try and in their oth­er cho­sen spheres of influence—the civ­il rights move­ment and char­i­ta­ble giv­ing, respec­tive­ly. In near­ly every oth­er respect, the two could not have been more dif­fer­ent.

Gre­go­ry broke into main­stream suc­cess with a new wave of black comics like Bill Cos­by and Richard Pry­or, and like Pry­or, he did so by telling painful truths about racism that many white Amer­i­cans laughed about but were unwill­ing to hon­est­ly con­front or change. You can hear an ear­ly exam­ple in the rou­tine above, from his 1962 album Dick Gre­go­ry Talks Turkey.

Gre­go­ry got his big break in 1961 when he seized the moment in a try­out at Hugh Hefner’s Chica­go Play­boy Club. As he lat­er told CBS Sun­day Morn­ing, “I pushed that white boy out of the way and ran up there…. Two hours lat­er, they called Hefn­er. And Hefn­er came by and they went out of their mind.” That same year, he made his first nation­al TV appear­ance. See it at 15:16 in the doc­u­men­tary Walk in My Shoes just above, which also fea­tures Mal­colm X and Con­gress for Racial Equal­i­ty (CORE) founder James Farmer.

In the playlist  below, you can hear three full Gre­go­ry com­e­dy record­ings, Liv­ing Black & White (1961), East & West (1961), and an inter­view album, Dick Gre­go­ry on Com­e­dy. Through­out his career, Gre­go­ry was an uncom­pro­mis­ing civ­il rights activist who was beat­en and arrest­ed in the six­ties at march­es and protests. He was at the 1963 March on Wash­ing­ton, faced down the Klan to help inte­grate restau­rants, and fast­ed to protest the Viet­nam War. In a review of his provoca­tive­ly-titled auto­bi­og­ra­phy, The New York Times described him as “a man who deeply wants a world with­out mal­ice and hate and is doing some­thing about it.”

He also did some­thing about it in com­e­dy. When Jack Paar’s pro­duc­er called him to appear on the show, Gre­go­ry hung up on him. Then Paar him­self called, and Gre­go­ry told him he wouldn’t come on unless he could sit on the couch, a priv­i­lege afford­ed white comics and denied their black coun­ter­parts. Paar agreed. “It was sit­ting on the couch,” he said, “that made my salary grow in three weeks from $250 work­ing sev­en days a week to $5,000 a night.” For the next sev­er­al decades, he lever­aged his wealth and fame for human­i­tar­i­an and civ­il rights caus­es, and even a run for may­or of Chica­go in 1967 and a pop­u­lar write-in pres­i­den­tial cam­paign in the 1968 elec­tion. He died at 84 a ven­er­at­ed elder states­man of stand-up com­e­dy and of the Civ­il Rights Move­ment.

Jer­ry Lewis’s lega­cy is much more com­pli­cat­ed, and serves in many ways as a “cau­tion­ary tale,” as Nick Gille­spie puts it, for the hubris of celebri­ty. Lewis broke through in the 50s as the ani­mat­ed, rub­bery com­ic foil to Dean Martin’s suave straight man in the huge­ly famous com­e­dy duo of Mar­tin & Lewis. See them above do a standup rou­tine in 1952 on their Col­gate Com­e­dy Hour, with an intro­duc­tion (and inter­ven­tion) from Bob Hope. The act was a phe­nom­e­non. “Com­ing from lit­er­al­ly nowhere,” writes Shawn Levy at The Guardian, “the pair rode a sky­rock­et­ing 10-year career that made them sta­ples of Amer­i­can show­biz for the rest of their lives…. They met when they were just two guys scuf­fling for a break in Times Square, and they helped forge a new brand of pop­u­lar enter­tain­ment suit­ed to the post­war mood.”

In the same year as the broad­cast fur­ther up, Lewis made his first appear­ance, with Mar­tin and Jack­ie Glea­son, on the Mus­cu­lar Dys­tro­phy Asso­ci­a­tions of Amer­i­ca (MDAA) telethon. Just above, see them do a bit while the famil­iar banks of oper­a­tors stand by behind them. Lewis began host­ing his own MDAA telethon in 1966 and did so until 2010, rais­ing bil­lions for the orga­ni­za­tion, which remem­bers him as a “Com­ic genius. Cul­tur­al icon. Human­i­tar­i­an.” Many dis­abil­i­ty activists feel oth­er­wise, includ­ing many for­mer “Jerry’s Kids,” his “pet name,” writes Gille­spie, for the poster chil­dren he recruit­ed to rep­re­sent the MD com­mu­ni­ty on the telethon and relat­ed advo­ca­cy mate­ri­als. “The telethon was wide­ly par­o­died,” and Lewis’s efforts have been seen by many activists and pro­tes­tors as self-serv­ing, per­pet­u­at­ing harm­ful, demean­ing atti­tudes and encour­ag­ing pity for MD suf­fer­ers rather than accep­tance and social equal­i­ty.

As a movie star, Lewis often played an all-Amer­i­can doo­fus whose phys­i­cal antics and stam­mer­ing, boy­ish per­sona endeared him to audi­ences (see above, for exam­ple, from 1952’s Sailor Beware). As a direc­tor, he made tight­ly chore­o­graphed mad­cap come­dies. He also trad­ed in offen­sive stereo­types, par­tic­i­pat­ing in an ugly Hol­ly­wood tra­di­tion that emerged from anti-Chi­nese big­otry of the 19th cen­tu­ry and anti-Japan­ese World War II pro­pa­gan­da. (Lewis was unflat­ter­ing­ly remem­bered in The Japan Times as the “king of low-brow com­e­dy… for­ev­er squeal­ing, gri­mac­ing and flail­ing his way” through var­i­ous roles.) He intro­duced Asian car­i­ca­tures into his act in the Mar­tin & Lewis days (see below) and reprised the shtick in his crit­i­cal­ly-loathed 1980 film Hard­ly Work­ing, in which, writes Paul Maco­v­az at Sens­es of Cin­e­ma, he “real­izes an offen­sive, pro­found­ly racist yel­low-face sashi­mi chef.”

“I imag­ine that most view­ers will be trou­bled by it,” Maco­v­az com­ments, “wrenched vis­cer­al­ly from their enjoy­ment of the Lewisian idiot and pressed squirm­ing into the overde­ter­mined con­cep­tu­al nar­ra­tive zone of Amer­i­can Ori­en­tal­ism.” Those view­ers who know anoth­er of Lewis’s lat­er-career dis­as­ters will rec­og­nize anoth­er awk­ward char­ac­ter in Hard­ly Work­ing, the sad-faced clown of 1972’s dis­as­trous The Day the Clown Died, a film so ill-advised and bad­ly exe­cut­ed that Lewis nev­er allowed it to be released. (Just below, see a short doc­u­men­tary on the abortive effort.)  In the movie, as com­e­dy writer Bruce Handy not­ed in a 1992 Spy mag­a­zine arti­cle, the come­di­an plays “an unhap­py Ger­man cir­cus clown… sent to a con­cen­tra­tion camp and forced to become a sort of geno­ci­dal Pied Piper, enter­tain­ing Jew­ish chil­dren as he leads them to the gas cham­bers.” Meant to be his first “seri­ous,” dra­mat­ic role, the large­ly unseen film now stands as an arche­typ­al epit­o­me of poor taste—an artis­tic fail­ure that Mel Brooks might have dreamed up as a sick joke.

As Gille­spie points out, Lewis’s last years saw him threat­en­ing to punch Lind­say Lohan and telling refugees to “stay where the hell they are.” Long past the time most peo­ple want­ed to hear them, he per­sist­ed in mak­ing “racist and misog­y­nis­tic jokes” and gave “the most painful­ly awk­ward inter­view of 2016” to the Hol­ly­wood Reporter. He became well-known for ver­bal­ly abus­ing his audi­ences. The run­ning joke that Lewis was beloved by the French, which “only made him less respectable in his home coun­try,” may have been run into the ground. But in the lat­ter half of his career, it sums up how much Amer­i­can comedians—even those like Steve Mar­tin, Robin Williams, Jim Car­rey, and Eddie Mur­phy, who were clear­ly influ­enced by his man­ic humor—were often unwill­ing to make too much of the debt. But look­ing back at his 1950s dada zani­ness and at films like The Nut­ty Pro­fes­sor, it’s impos­si­ble to deny his con­tri­bu­tions to 20th cen­tu­ry com­e­dy and even a cer­tain brand of absur­dist 21st cen­tu­ry humor.

Relat­ed Con­tent:

Hear 30 of the Great­est Standup Com­e­dy Albums: A Playlist Cho­sen by Open Cul­ture Read­ers

Chris Rock Cre­ates a List of His 13 Favorite Standup Com­e­dy Spe­cials

Bill Hicks’ 12 Prin­ci­ples of Com­e­dy

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

Final Show of Metallica’s North American Tour Now Streaming Free Online

A quick fyi: Metal­li­ca wrapped up their North Amer­i­can tour on Fri­day night in Edmonton–their first North Amer­i­can tour in eight years. The show was live-streamed on YouTube, and it’s now ful­ly view­able online, thanks to Metal­li­caTV. Enjoy all 2 hours and 41 min­utes of it. You can see a setlist for the show here.

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:

Metallica’s Bassist Robert Tru­jil­lo Plays Metal­li­ca Songs Fla­men­co-Style, Joined by Rodri­go y Gabriela

A Blue­grass Ver­sion of Metallica’s Heavy Met­al Hit, “Enter Sand­man”

Metal­li­ca Play­ing “Enter Sand­man” on Class­room Toy Instru­ments

Artistic Maps of Pakistan & India Show the Embroidery Techniques of Their Different Regions

Jour­nal­ist Saima Mir post­ed to Twit­ter this “map of Pak­istan show­ing the embroi­dery tech­niques of its regions.” And, sure enough, it led to some­one sur­fac­ing a cor­re­spond­ing map of Pak­istan’s neigh­bor, India. The under­ly­ing mes­sage of the maps? It’s to show, as @AlmostLived not­ed, “how diverse ele­ments come togeth­er to make beau­ti­ful things.” The map above was orig­i­nal­ly pro­duced by Gen­er­a­tion, a Pak­istani fash­ion com­pa­ny. We’re not clear on the ori­gin of the India map, unfor­tu­nate­ly.

via Boing Boing

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:

New BBC Drama­ti­za­tion of Salman Rushdie’s Midnight’s Chil­dren Now Stream­ing Free for a Lim­it­ed Time

Pak­istani Musi­cians Play an Enchant­i­ng Ver­sion of Dave Brubeck’s Jazz Clas­sic, “Take Five”

Pak­istani Immi­grant Goes to a Led Zep­pelin Con­cert, Gets Inspired to Become a Musi­cian & Then Sells 30 Mil­lion Albums

Intro­duc­tion to Indi­an Phi­los­o­phy: A Free Online Course

India’s Answer to M.I.T. Presents 268 Free Online Cours­es (in Eng­lish)

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Neil deGrasse Tyson: “Because of Pink Floyd, I’ve Spent Decades Undoing the Idea That There’s a Dark Side of the Moon”

In 1973, Pink Floyd released their influ­en­tial con­cept album, The Dark Side of the Moon, which gar­nered both crit­i­cal and com­mer­cial suc­cess. The album sold some 45 mil­lion copies, and remained on Bill­board­’s Top LPs & Tapes chart for 741 weeks (from 1973 to 1988). All of which was great for Pink Floyd. But not so much for sci­ence and edu­ca­tion.

As Neil deGrasse Tyson explains above. “That Pink Floyd had an album with that title meant I spent decades hav­ing to undo [that fact] as an edu­ca­tor.” That’s because “there is no dark side of the moon.” “There’s a far side and there’s a near.” “But all sides of the moon receive sun­light across the month.”

To delve deep­er into this, it’s worth read­ing this short arti­cle (Myth­busters: Is There Real­ly a Dark Side of the Moon?) from Yale Sci­en­tif­ic Mag­a­zine. There, they elab­o­rate:

No mat­ter where we are on Earth, we see and always have seen only one face of the moon. Since the moon rotates on its axis in the same amount of time that it takes the body to orbit our plan­et, the same half face of the moon is con­sis­tent­ly exposed to view­ers on Earth. This tim­ing is caused by a phe­nom­e­non called tidal lock­ing, which occurs when a larg­er astro­nom­i­cal body (Earth) exerts a strong grav­i­ta­tion­al pull on a small­er body (the moon), forc­ing one side of the small­er body to always face the larg­er one.…

[T]he fact that we earth­lings can­not see the far side of the moon does not mean that this face is nev­er exposed to sun­light. In fact, the far side of the moon is no more and no less dark than the hemi­sphere we do see.

Get the rest here.

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:

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

David Byrne & Neil deGrasse Tyson Explain the Impor­tance of an Arts Edu­ca­tion (and How It Strength­ens Sci­ence & Civ­i­liza­tion)

Michio Kaku & Noam Chom­sky School Moon Land­ing and 9/11 Con­spir­a­cy The­o­rists

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