“Auteur in Space”: A Video Essay on How Andrei Tarkovsky’s Solaris Transcends Science Fiction

If you haven’t yet seen Andrei Tarkovsky’s Solaris but do plan on watch­ing it (find it online here), rest assured that there’s no wrong way to go about it. You can plunge, with­out prepa­ra­tion, right into its vivid, tor­ment­ed Sovi­et sci-fi world of fail­ing high tech­nol­o­gy, sub­lime nat­ur­al forces, and haunt­ing mem­o­ry. You can do no end of pre­lim­i­nary research on the film, its mak­er, and its mak­er’s strug­gle to adapt the orig­i­nal Stanis­law Lem nov­el to his own dis­tinc­tive sen­si­bil­i­ty. Or you could just pre­cede your screen­ing with “Auteur in Space,” a brief exam­i­na­tion of Solaris by well-known cinephile video essay­ist kog­o­na­da.  It was made on behalf of The British Film Insti­tute.

“The very con­cept of genre is as cold as the tomb,” the nar­ra­tor quotes Tarkovsky as writ­ing, going on to cite his crit­i­cism of Stan­ley Kubrick­’s 2001 â€śfor being too enam­ored by the spec­ta­cle of the genre, for being too exot­ic, too immac­u­late.” From then on, the video demon­strates not just what Tarkovsky does to push Solaris out of the shad­ow of 2oo1, but also to break it out of the stan­dard forms of sci­ence fic­tion and, ulti­mate­ly, to free it from the stric­tures of genre itself — to occu­py that cat­e­go­ry we can only call Tarkovsky.

And so the Russ­ian auteur decides to make the space sta­tion on which most of the film takes place “look like a bro­ken-down old bus.” He decides “to spend five min­utes show­ing a man in an ordi­nary car trav­el­ing along the high­way, and less than two min­utes show­ing his main char­ac­ter trav­el­ing through space.” He gives in to his “occu­pa­tion with the ele­men­tal things of Earth.” He comes to “ques­tion the lim­its of sci­ence in engag­ing the mys­ter­ies of exis­tence,” ulti­mate­ly using Solaris to pit sci­ence against fic­tion, “each with their own weight and his­to­ry and pur­suit of truth and knowl­edge.”

If, indeed, you haven’t yet seen Solaris and watch this video essay, you’ll sure­ly find your­self no longer able to resist the temp­ta­tion to expe­ri­ence the film as soon as pos­si­ble. Maybe you’ll pop in the DVD or Blu-Ray, or bet­ter yet, maybe you’ll catch a the­atri­cal screen­ing. But if you under­stand­ably can’t wait for even a moment, you can watch it free online right now. And find oth­er Tarkovsky films free online here.

via io9

Relat­ed Con­tent:

Andrei Tarkovsky Calls Kubrick’s 2001: A Space Odyssey a “Pho­ny” Film “With Only Pre­ten­sions to Truth”

Watch Solaris (1972), Andrei Tarkovsky’s Haunt­ing Vision of the Future

Andrei Tarkovsky’s Solaris Shot by Shot: A 22-Minute Break­down of the Director’s Film­mak­ing

The Mas­ter­ful Polaroid Pic­tures Tak­en by Film­mak­er Andrei Tarkovsky

Tarkovsky’s Advice to Young Film­mak­ers: Sac­ri­fice Your­self for Cin­e­ma

A Poet in Cin­e­ma: Andrei Tarkovsky Reveals the Director’s Deep Thoughts on Film­mak­ing and Life

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Pres. Obama Releases a Free Playlist of 40 Songs for a Summer Day (Plus 6 Books on His Summer Reading List)

obama summer playlist

Like much of the rest of the coun­try, Pres­i­dent Oba­ma is get­ting some down­time in August — in his case spend­ing 16 days in Martha’s Vine­yard. From that nice get­away spot, POTUS has launched on Spo­ti­fy (down­load the free soft­ware here) two playlists of music — 20 songs for a hot sum­mer day, and anoth­er 20 for a nice sum­mer evening. You can play the songs below, and fur­ther down the page, find six books on his sum­mer vaca­tion read­ing list.

Day­time lis­ten­ing fea­tures songs from Bob Dylan, Bob Mar­ley, Cold­play, Howl­in’ Wolf, Aretha Franklin, Flo­rence and the Machine, and The Rolling Stones. For night­time, he’s serv­ing up John Coltrane, Van Mor­ri­son, Joni Mitchell, Nina Simone and more. The man has taste. And for sum­mer read­ing you can do worse than offer Jhumpa Lahiri, James Salter and Eliz­a­beth Kol­bert.

“The Pres­i­den­t’s Sum­mer Playlist: Day”

“The Pres­i­den­t’s Sum­mer Playlist: Night”

Oba­ma’s Sum­mer Read­ing List:

All That Is, by James Salter

All The Light We Can­not See, by Antho­ny Doerr

The Sixth Extinc­tion, by Eliz­a­beth Kol­bert

The Low­land, by Jhumpa Lahiri

Between The World and Me, by Ta-Nehisi Coates

Wash­ing­ton: A Life, by Ron Cher­now

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!

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The First Scientific Map of the Moon (1679)

moon-lg (1)

Mil­lions watched as astro­naut Neil Arm­strong put boots to the moon in 1969.

It was, as he famous­ly remarked, one “giant leap for mankind,” but from a sci­en­tif­ic stand­point the ter­ri­to­ry was far from vir­gin.

Near­ly 300 years ear­li­er, engi­neer Gio­van­ni Domeni­co Cassi­ni, astronomer to Sun King Louis XIV, made lunar his­to­ry in 1679, when he pub­lished the first sci­en­tif­ic map of the moon, above.

Need­less to say, the event was not tele­vised and Cassi­ni nev­er had the oppor­tu­ni­ty to walk on the sur­face he stud­ied. Instead he observed it through the eye­piece of a tele­scope, a rel­a­tive­ly new inven­tion.

His pre­de­ces­sors, includ­ing Galileo, used the then-rev­o­lu­tion­ary tool to delve deep­er into their own lunar obses­sions, mak­ing sketch­es and per­form­ing exper­i­ments designed to repli­cate the craters they noticed in the moon’s crust.

Cassi­ni, then eight years into his forty year career as Direc­tor of the Paris Obser­va­to­ry, pro­duced a map so exhaus­tive, it pro­vid­ed his peers with far more details of the moon’s sur­face than they had with regard to their own plan­et.

He also used his pow­ers of obser­va­tion to expand human under­stand­ing of Mars, Sat­urn, and France itself (which turned out to be much small­er than pre­vi­ous­ly believed).

moon maiden

 

A man of sci­ence, he may not have been entire­ly immune to the sort of moon-based whim­sy that has long infect­ed poets, song­writ­ers, and 19th-cen­tu­ry roman­tic hero­ines. Hid­ing in the low­er right quad­rant, near Cape Her­a­clides on the Sinus Iridum (aka Bay of Rain­bows), is a tiny, bare-shoul­dered moon maid. See right above.

Or per­haps this appeal­ing­ly play­ful vision can be attrib­uted to Cassini’s engraver Claude Mel­lan.

Either way, she seems exact­ly the sort of female life form a 17th-cen­tu­ry human male might hope to encounter on a trip to the moon.

via Pick­over Real­i­ty Car­ni­val

Relat­ed Con­tent:

Free Online Astron­o­my Cours­es

Galileo’s Moon Draw­ings, the First Real­is­tic Depic­tions of the Moon in His­to­ry (1609–1610)

The Birth of the Moon: How Did It Get There in the First Place?

Michio Kaku Schools Takes on Moon Land­ing-Con­spir­a­cy Believ­er on His Sci­ence Fan­tas­tic Pod­cast

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

One of World’s Oldest Books Printed in Multi-Color Now Opened & Digitized for the First Time

Manual of Calligraphy and Painting2

Now free for the world to see on the Cam­bridge Uni­ver­si­ty Dig­i­tal Library are some trea­sures from the library’s Chi­nese col­lec­tions. Fire up that time machine called the Inter­net, and you can start perus­ing:

  • The ora­cle bones (pieces of ox shoul­der blades and tur­tle shells used for div­ina­tion in ancient Chi­na) which impor­tant­ly bear the ear­li­est sur­viv­ing exam­ples of Chi­nese writ­ing. They’re over three thou­sand years old.
  • A dig­i­ti­za­tion of one of the world’s ear­li­est print­ed books (Mahapra­j馻-parami­ta-sutra or Per­fec­tion of Wis­dom), a Bud­dhist text dat­ing between 1127 and 1175.
  • 14th-cen­tu­ry ban­knote. Accord­ing to Cam­bridge, “Paper cur­ren­cy first appeared in Chi­na dur­ing the 7th cen­tu­ry, and was in wide cir­cu­la­tion by the 11th cen­tu­ry, 500 years before its first use in Europe.”

But what’s been burn­ing up the Inter­net dur­ing the past few days (large­ly thanks to Hyper­al­ler­gic) is the dig­i­ti­za­tion of the Man­u­al of Cal­lig­ra­phy and Paint­ing.

Manual of Calligraphy and Painting1

Made in 1633 in Nan­jing, the Man­u­al of Cal­lig­ra­phy and Paint­ing is note­wor­thy part­ly because “It is the ear­li­est and finest exam­ple of mul­ti-colour print­ing any­where in the world, com­pris­ing 138 paint­ings and sketch­es with asso­ci­at­ed texts by fifty dif­fer­ent artists and cal­lig­ra­phers.” And part­ly because “The bind­ing is so frag­ile, and the man­u­al so del­i­cate, that until it was dig­i­tized, we have nev­er been able to let any­one look through it or study it – despite its undoubt­ed impor­tance to schol­ars,” says Charles Aylmer, Head of the Chi­nese Depart­ment at Cam­bridge Uni­ver­si­ty Library.

Shi zhu zhai shu hua pu2

Begin your dig­i­tal tour of the 388-page Man­u­al here (or see a few sam­ples above) and be among the first to lay eyes on it.

via Hyper­al­ler­gic/Book Patrol/Cam­bridge Uni­ver­si­ty Library

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!

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A Look Inside Hannah Arendt’s Personal Library: Download Marginalia from 90 Books (Heidegger, Kant, Marx & More)

Hannah_Arendt

It does seem pos­si­ble, I think, to over­val­ue the sig­nif­i­cance of a writer’s library to his or her own lit­er­ary pro­duc­tions. We all hold on to books that have long since ceased to have any pull on us, and lose track of books that have great­ly influ­enced us. What we keep or don’t keep can be as much a mat­ter of hap­pen­stance or sen­ti­ment as delib­er­ate per­son­al archiv­ing. But while we may not always be con­scious cura­tors of our lives’ effects, those effects still speak for us when we are gone in ways we may nev­er have intend­ed. In the case of famous—and famous­ly controversial—thinkers like Han­nah Arendt, what is left behind will always con­sti­tute a body of evi­dence. And in some cases—such as that of Arendt’s teacher and one­time lover Mar­tin Hei­deg­ger’s glar­ing­ly anti-Semit­ic Black Note­books—the evi­dence can be irrev­o­ca­bly damn­ing.

Heidegger Early Greek

In Arendt’s case, we have no such smok­ing gun to sub­stan­ti­ate argu­ments that, despite her own back­ground, Arendt was anti-Jew­ish and blamed the vic­tims of the Holo­caust. Dur­ing the so-called “Eich­mann wars” in the mid-twen­ti­eth cen­tu­ry, a tor­rent of crit­i­cism bom­bard­ed Arendt’s Eich­mann in Jerusalem, the com­pi­la­tion of dis­patch­es she penned as an observ­er of the Nazi arch-bureaucrat’s tri­al. These days, writes Corey Robin in The Nation, “while the con­tro­ver­sy over Eich­mann remains, the con­tro­ver­sial­ists have moved on.” The debate now seems more cen­tered on Arendt’s book itself than on her moti­va­tions. What do Arendt’s obser­va­tions reveal to us today about the log­ic of total­i­tar­i­an­ism and geno­ci­dal state actions? One way to approach the ques­tions of mean­ing in Eich­mann, and in her mon­u­men­tal The Ori­gins of Total­i­tar­i­an­ism, is to exam­ine the sources of her thought—and her use of those sources.

Arendt Nicomachean

Arendt’s library—much of it on view online thanks to Bard col­lege—offers us a unique oppor­tu­ni­ty to do just that, not only by giv­ing us access to the spe­cif­ic edi­tions and trans­la­tions that she her­self read and saved (for what­ev­er rea­son), but also by offer­ing insight into what Arendt con­sid­ered impor­tant enough in those texts to under­line and anno­tate. In Bard’s dig­i­tal col­lec­tion of “Arendt Mar­gin­a­lia”—selec­tions of her anno­tat­ed books in down­load­able PDFs—we see a polit­i­cal phi­los­o­phy informed by Aris­to­tle (see a page from her copy of Nico­machean Ethics above), Pla­to, and Kant, but also by con­ser­v­a­tive Ger­man polit­i­cal the­o­rist Carl Schmitt, a mem­ber and active sup­port­er of Nazism, and of course, by Hei­deg­ger, whose work occu­pies a cen­tral place in her library: in Ger­man and Eng­lish (like his Ear­ly Greek Think­ing above, inscribed by the trans­la­tor), and in pri­ma­ry and sec­ondary sources.

While it may go too far to claim, as promi­nent schol­ar Bernard Wasser­stein did in 2009, that an exam­i­na­tion of Arendt’s sources shows her inter­nal­iz­ing the val­ues of Nazis and anti-Semi­tes, the pre­pon­der­ance of con­ser­v­a­tive Ger­man thinkers in her per­son­al library does give us a sense of her intel­lec­tu­al lean­ings. But we can­not draw broad con­clu­sions from a cur­so­ry sur­vey of a life­time of read­ing and re-read­ing, though we do see a par­tic­u­lar­ly Aris­totelian strain in her think­ing: that the indi­vid­ual is only as healthy as his or her polit­i­cal cul­ture. What schol­ars of Arendt will find in Bard’s dig­i­tal col­lec­tion are ample clues to the devel­op­ment and evo­lu­tion of her phi­los­o­phy over time. What lay read­ers will find is the out­line of a course on the sources of Arendt-ian thought, includ­ing not only Greeks and Ger­mans, but the Amer­i­can poet Robert Low­ell, who wrote a glow­ing pro­file of Arendt and con­tributed at least four signed books of his to her library.

I say “at least” because the Bard dig­i­tal col­lec­tion is yet incom­plete, rep­re­sent­ing only a por­tion of the phys­i­cal media in the college’s phys­i­cal archive of “approx­i­mate­ly 4,000 vol­umes, ephemera and pam­phlets that made up the library in Han­nah Arendt’s last apart­ment in New York City.” What we don’t have online are books inscribed to her by Jew­ish schol­ar and mys­tic Ger­shom Scholem, by W.H. Auden and Ran­dall Jar­rell, and many oth­ers. Nonethe­less the “Arendt Mar­gin­a­lia” gives us an oppor­tu­ni­ty to peer into a writer and scholar’s process, and see her wres­tle with the thought of her pre­de­ces­sors and con­tem­po­raries. The full Arendt col­lec­tion gives us even more to sift through, includ­ing pri­vate cor­re­spon­dence and record­ings of pub­lic speech­es. The dig­i­ti­za­tion of these sources offers many oppor­tu­ni­ties for those who can­not trav­el to New York and access the phys­i­cal archives to delve into Arendt’s intel­lec­tu­al world in ways pre­vi­ous­ly only avail­able to pro­fes­sion­al aca­d­e­mics.

Relat­ed Con­tents:

Enter the Han­nah Arendt Archives & Dis­cov­er Rare Audio Lec­tures, Man­u­scripts, Mar­gin­a­lia, Let­ters, Post­cards & More

Han­nah Arendt Dis­cuss­es Phi­los­o­phy, Pol­i­tics & Eich­mann in Rare 1964 TV Inter­view

Han­nah Arendt’s Orig­i­nal Arti­cles on “the Banal­i­ty of Evil” in the New York­er Archive

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

Get a Free Subscription to the Beta Version of The Great Courses Plus (Space Limited)

We’ve told you about the Great Cours­es Plus (now called Won­dri­um) before–a new video sub­scrip­tion ser­vice that lets you watch free cours­es (about 8,000 lec­tures in total) across a wide range of sub­jects, all taught by some of the best lec­tur­ers in the coun­try. The top­ics cov­er every­thing from His­to­ry, Phi­los­o­phy, Lit­er­a­ture, and Eco­nom­ics, to Math, Sci­ence, Pro­fes­sion­al Devel­op­ment, Cook­ing, and Pho­tog­ra­phy. And you can binge-watch entire col­lege cours­es in a mat­ter of days by watch­ing videos on your TV, tablet, lap­top and smart phone, with the help of apps designed for Apple, Google Play, Kin­dle Fire, and Roku.

Inter­est­ed in try­ing out this ser­vice? Right now, the Great Cours­es Plus/Won­dri­um is offer­ing a spe­cial deal for Open Cul­ture read­ers. If you click here, and sign up for a free tri­al, you can use this ser­vice for 30 days … for free. And then, if you would like, you can con­tin­ue to sub­scribe and pay their nor­mal prices. If you have time on your hands, this is a great way to keep your mind engaged and stream what PC Mag­a­zine has called “an excel­lent library of col­lege-lev­el lec­tures.”

Note: The Great Cours­es is a part­ner with Open Cul­ture. So if you sign up for a free tri­al, it ben­e­fits not just you and Great Cours­es Plus. It ben­e­fits Open Cul­ture too. So con­sid­er it win-win-win.

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Brian Eno Lists 20 Books for Rebuilding Civilization & 59 Books For Building Your Intellectual World

eno books

Cre­ative Com­mons image via Wiki­me­dia Com­mons

Artist and music pro­duc­er Bri­an Eno wrote one of my very favorite books: A Year with Swollen Appen­dices, which takes the form of his per­son­al diary of the year 1995 with essay­is­tic chap­ters (the “swollen appen­dices”) on top­ics like “edge cul­ture,” gen­er­a­tive music, new ways of singing, pre­ten­sion, CD-ROMs (a rel­e­vant top­ic back then), and pay­ment struc­tures for record­ing artists (a rel­e­vant top­ic again today). It also includes a fair bit of Eno’s cor­re­spon­dence with Stew­art Brand, once edi­tor of the Whole Earth Cat­a­log and now pres­i­dent of the Long Now Foun­da­tion, “a coun­ter­point to today’s accel­er­at­ing cul­ture” meant to “help make long-term think­ing more com­mon” and “cre­ative­ly fos­ter respon­si­bil­i­ty in the frame­work of the next 10,000 years.”

It so hap­pens that Eno now sits on the Long Now Foun­da­tion’s board and has had a hand in some of its projects. Nat­u­ral­ly, he con­tributed sug­gest­ed read­ing mate­r­i­al to the foun­da­tion’s Man­u­al of Civ­i­liza­tion, a col­lec­tion of books human­i­ty could use to rebuild civ­i­liza­tion, should it need rebuild­ing. Eno’s full list, which spans his­to­ry, pol­i­tics, phi­los­o­phy, soci­ol­o­gy, archi­tec­ture, design, nature, and lit­er­a­ture, runs as fol­lows:

If you’d like to know more books that have shaped Eno’s think­ing, do pick up a copy of A Year with Swollen Appen­dices. Like all the best diarists, Eno makes plen­ty of ref­er­ences to his day-to-day read­ing mate­r­i­al, and at the very end — beyond the last swollen appen­dix — he includes a bib­li­og­ra­phy, on which you’ll find more from Christo­pher Alexan­der, a reap­pear­ance of Rorty’s Con­tin­gency, Irony and Sol­i­dar­i­ty, and even Stew­ard Brand’s own How Build­ings Learn (on a tele­vi­sion ver­sion of which the two would col­lab­o­rate):

Relat­ed Con­tent:

David Bowie’s Top 100 Books

Bri­an Eno Lists the Ben­e­fits of Singing: A Long Life, Increased Intel­li­gence, and a Sound Civ­i­liza­tion

Jump Start Your Cre­ative Process with Bri­an Eno’s “Oblique Strate­gies”

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

What Books Could Be Used to Rebuild Civ­i­liza­tion?: Lists by Bri­an Eno, Stew­art Brand, Kevin Kel­ly & Oth­er For­ward-Think­ing Minds

What Books Should Every Intel­li­gent Per­son Read?: Tell Us Your Picks; We’ll Tell You Ours

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

The 10 Great­est Books Ever, Accord­ing to 125 Top Authors (Down­load Them for Free)

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The End of an Era: A Short Film About The Last Day of Hot Metal Typesetting at The New York Times (1978)

This is usu­al­ly what hap­pens when I write a piece for Open Cul­ture: As I drink an over­priced cof­fee at my local cof­fee shop, I research a top­ic on the inter­net, write and edit an arti­cle on Microsoft Word and then copy and paste the whole thing into Word­Press. My edi­tor in Open Cul­ture’s gleam­ing inter­na­tion­al head­quar­ters up in Palo Alto gives it a look-over and then, with the push of a but­ton, pub­lish­es the arti­cle on the site.

It’s sober­ing to think what I casu­al­ly do over the course of a morn­ing would require the effort of dozens of peo­ple 40 years ago.

Until the 1970s, with the rise in pop­u­lar­i­ty of com­put­er type­set­ting, news­pa­pers were print­ed the same way for near­ly a cen­tu­ry. Lino­type machines would cast one line at a time from molten lead. Though an improve­ment from hand­set type, where print­ers would assem­ble lines of type one char­ac­ter at a time, lino­type still required numer­ous skilled print­ers to assem­ble each and every news­pa­per edi­tion.

The New York Times tran­si­tioned from that ven­er­at­ed pro­duc­tion method to com­put­er type­set­ting on Sun­day, July 2, 1978. David Loeb Weiss, a proof­read­er at the Times, doc­u­ment­ed this final day in the doc­u­men­tary Farewell — Etaoin Shrd­lu.

The title of the movie, by the way, comes from the first two lines of a printer’s key­board, which are arranged accord­ing to a letter’s fre­quen­cy of use. When a print­er typed “etaoin shrd­lu,” it meant that the line had a mis­take in it and should be dis­card­ed.

Watch­ing the movie, you get a sense of just how much work went into each page and how print­ers were skilled crafts­men. (You try spot­ting a typo on a page of upside down and back­wards type.) The film also cap­tures the furi­ous ener­gy and the cacoph­o­ny of clinks and clanks of the com­pos­ing room. You can see just how much phys­i­cal work was involved. After all, each page was print­ed off of a 40-pound plate made of lead.

The tone of the movie is under­stand­ably melan­choly. The work­ers are bid­ding farewell to a job that had exist­ed for decades. “All the knowl­edge I’ve acquired over my 26 years is all locked up in a lit­tle box now called a com­put­er,” notes one print­er. “And I think most jobs are going to end up the same way.” Some­one else wrote the fol­low­ing on the com­pos­ing room’s chalk­board. “The end of an era. Good while it last­ed. Cry­ing won’t help.”

You can watch the full doc­u­men­tary above. It will also be added to our list of 200 Free Doc­u­men­taries, a sub­set of our meta col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

H/T @Kirstin­But­ler

Relat­ed Con­tent:

Friedrich Nietzsche’s Curi­ous Type­writer, the “Malling-Hansen Writ­ing Ball”

53 New York Times Videos Teach Essen­tial Cook­ing Tech­niques: From Poach­ing Eggs to Shuck­ing Oys­ters

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Mark Twain Wrote the First Book Ever Writ­ten With a Type­writer

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Hear What Hamlet, Richard III & King Lear Sounded Like in Shakespeare’s Original Pronunciation

As we high­light­ed a few days ago, recent find­ings by South African sci­en­tists sug­gest that William Shake­speare may have smoked pot, pos­si­bly com­pos­ing some of his cel­e­brat­ed plays while under the influ­ence. Their research is sure to spark con­tro­ver­sy among Shake­speare schol­ars and his­to­ri­ans alike, but it’s cer­tain­ly a more inter­est­ing con­tro­ver­sy than the tired debate about whether Shake­speare wrote his plays at all. Per­haps even more inter­est­ing than Shake­speare’s drug of choice for lovers of his lan­guage are debates about what Shake­speare’s plays might have sound­ed like to his orig­i­nal audi­ences. In oth­er words, high or not, what might Shake­speare, his actors, and his audi­ence have sound­ed like when they spoke the lan­guage we call Eng­lish.

Of course they called the lan­guage Eng­lish as well, but we might not rec­og­nize some words as such when hear­ing Shake­speare’s accent aloud. On the oth­er hand, it might be sur­pris­ing just how much the Bard’s orig­i­nal pro­nun­ci­a­tion sounds like so many oth­er kinds of Eng­lish we know today.

In a post two years ago, we quot­ed Shake­speare­an actor, direc­tor, and writer Ben Crys­tal on Shake­speare’s orig­i­nal pro­nun­ci­a­tion, which, he says, “has flecks of near­ly every region­al U.K. Eng­lish accent, and indeed Amer­i­can and in fact Aus­tralian, too.” Hear­ing Shake­speare’s Eng­lish spo­ken aloud, Crys­tal remarks, is hear­ing a sound that “reminds peo­ple of the accent of their home.” You can test this the­o­ry, and hear for your­self the sound of Shake­speare’s Eng­lish with the video and audio high­light­ed here, show­cas­ing Crys­tal’s per­for­mance of the plays in orig­i­nal pro­nun­ci­a­tion (OP).

At the top, see Crys­tal recite an excerpt of Ham­let’s “to be or not to be” speech in a video pro­mo­tion for a 2011 Kick­starter cam­paign to fund a film ver­sion of Ham­let in OP. And above, we have two audio clips of Richard III and King Lear, respec­tive­ly, both from an OP Shake­speare CD Crys­tal record­ed with sev­er­al oth­er actors. Crys­tal came by his ver­sion of orig­i­nal pro­nun­ci­a­tion hon­est­ly, and from a very rep­utable source, who also hap­pens to be his father, David. The elder Crys­tal is per­haps the most high­ly-regard­ed lin­guist and schol­ar of the Eng­lish lan­guage alive today, and in addi­tion to pub­lish­ing sev­er­al books both schol­ar­ly and pop­u­lar, he has worked with the Globe The­atre on pro­duc­ing plays in OP since 1994. Learn more about Crys­tal’s process at our pre­vi­ous post on his work. Below, in an excerpt from a much longer talk, see Ben Crys­tal describe and demon­strate the dif­fer­ences between “Received Pronunciation”—the “prop­er,” gener­ic form of British English—and Shake­speare’s pro­nun­ci­a­tion. He then dis­cuss­es with his audi­ence the ways Shake­speare’s Eng­lish seems to roam all over the map, hew­ing to no par­tic­u­lar British region or class.

Relat­ed Con­tent:

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Dis­cov­er What Shakespeare’s Hand­writ­ing Looked Like, and How It Solved a Mys­tery of Author­ship

A 68 Hour Playlist of Shakespeare’s Plays Being Per­formed by Great Actors: Giel­gud, McK­ellen & More

Free Online Shake­speare Cours­es: Primers on the Bard from Oxford, Har­vard, Berke­ley & More

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

Theodor Adorno’s Critical Theory Text Minima Moralia Sung as Hardcore Punk Songs

Image of Theodor Adorno (right) by Jere­my J. Shapiro, via Wiki­me­dia Com­mons

With the pos­si­ble excep­tion of John Gray’s Straw Dogs, few works of phi­los­o­phy con­front the bar­ren­ness of human life in the mod­ern world in bleak­er terms than Theodor Adorno’s Min­i­ma Moralia. Tak­ing its title from Aristotle’s Magna Moralia, or “The Great Ethics,” Adorno’s book sub­verts the clas­si­cal idea of the good life as a real­is­tic aspi­ra­tion in a world dom­i­nat­ed by total­i­tar­i­an sys­tems of con­trol and inex­orable, grind­ing log­ics of pro­duc­tion and con­sump­tion. “Our per­spec­tive of life has passed into an ide­ol­o­gy which con­ceals the fact that there is life no longer,” writes Adorno in his Ded­i­ca­tion. The indi­vid­ual has been “reduced and degrad­ed” by cap­i­tal­ism and fas­cism, flat­tened to mere appear­ance in the “sphere of con­sump­tion.”

Adorno’s book—a philo­soph­i­cal mem­oir of his expe­ri­ence as an “intel­lec­tu­al in emigration”—reflects his pes­simism not only in its title but also in its sub­ti­tle: Reflec­tions from Dam­aged Life. How lit­tle he could have suspected—and how much he like­ly would have despised—the kin­ship between his own post­war angst and the neu­rot­ic anger of the Amer­i­can hard­core punk gen­er­a­tion to come some thir­ty-five years lat­er.

Take, for exam­ple these lyrics to Black Flag’s “Dam­aged,” from their 1981 album of the same name:

Right now look at me now
Look at me now
Just shad­ows
I’m just shad­ows of what I was
I just want anoth­er thing
I don’t even get by for that

One might make the case that Black Flag lyrics—and those of so many sim­i­lar bands—play out Adorno’s the­sis over and over: to quote a much less angry pop band from a lat­er gen­er­a­tion: “Mod­ern Life is Rub­bish.”

Seiz­ing on these pes­simistic par­al­lels between punk rock and crit­i­cal the­o­ry, film­mak­er and artist Bri­an J. Davis record­ed an EP of read­ings from five chap­ters of Adorno’s book, set to blis­ter­ing hard­core drums and gui­tars. (Any­one hap­pen to know who is on vocals?) Above, hear “They, The Peo­ple,” and “This Side of the Plea­sure Prin­ci­ple” and below, we have “UNmea­sure for UNmea­sure,” “John­ny Head-in-the-Air,” and “Every Work is an Uncom­mit­ted Crime.”

As you’ll note, Adorno’s titles allude to well-known works of art, pol­i­tics, folk song, and the­o­ry and—as the publisher’s note in my Ver­so edi­tion puts it— “involve irony or inver­sion,” pri­ma­ry rhetor­i­cal meth­ods of his “neg­a­tive dialec­tic.” The hard­core punks who picked up, how­ev­er uncon­scious­ly, on Adorno’s dis­af­fect­ed cri­tique may have eschewed his self-con­scious­ly lit­er­ary approach, but they were no less mas­ters of irony, even if their tar­gets hap­pened to be much more pop-cul­tur­al.

Punk rock Adorno comes to us from WFMU’s Ken­neth S as exam­ples of “aca­d­e­m­ic the­o­ry… sung by peo­ple who can’t sing.” As Col­in Mar­shall point­ed out in a post yes­ter­day, Gold­smith has made his own con­tri­bu­tion to the genre, singing writ­ings by Wal­ter Ben­jamin, Lud­wig Wittgen­stein, and Sig­mund Freud. And to even more humor­ous effect, we’ve pre­vi­ous­ly brought you the work of M.A. Num­mi­nen, Finnish per­for­mance artist who turned Wittgenstein’s Trac­ta­tus into a bizarre com­ic opera.

For a much more seri­ous look at Adorno and music—a sub­ject he wrote pas­sion­ate­ly and con­tro­ver­sial­ly about—check out this post on his own avant-garde com­po­si­tions, which turn out to be much less punk rock than one might expect giv­en his social alien­ation and despon­den­cy.

Relat­ed Con­tent:

The The­o­ry of Wal­ter Ben­jamin, Lud­wig Wittgen­stein & Sig­mund Freud Sung by Ken­neth Gold­smith

Lud­wig Wittgenstein’s Trac­ta­tus Gets Adapt­ed Into an Avant-Garde Com­ic Opera

Hear Theodor Adorno’s Avant-Garde Musi­cal Com­po­si­tions

Theodor Adorno’s Rad­i­cal Cri­tique of Joan Baez and the Music of the Viet­nam War Protest Move­ment

Theodor Adorno’s Phi­los­o­phy of Punc­tu­a­tion

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

Learn to Speak 48 Languages for Free: Everything from Arabic to Indonesian to Yiddish on One Page

Even by the stan­dards of Unit­ed States Pres­i­dents, Barack Oba­ma has led a pret­ty unusu­al life. His ear­ly expe­ri­ences includ­ed a child­hood plunge into inter­na­tion­al­ism in the form of not just his Kenyan father but his Indone­sian step­fa­ther, to whose home­land the fam­i­ly moved when Oba­ma was six years old. For the next four years, the young future Com­man­der in Chief attend­ed local schools in Jakar­ta, and the lan­guage he picked up then has stuck with him today. It cer­tain­ly served him well when he returned to Indone­sia as Pres­i­dent to give the speech above, in which he talks about his love for that coun­try and his belief in its impor­tance to the future, speak­ing bits and pieces in Indone­sian through­out — and draw­ing great applause each time.

If you want to be like Bar­ry and meet with a sim­i­lar­ly rap­tur­ous recep­tion when next you give a pub­lic address in the Emer­ald of the Equa­tor, start by learn­ing the basics of the Indone­sian lan­guage at our Free For­eign Lan­guage Lessons page. There, you’ll find a wealth of pod­casts like Learn­ing Indone­sian (iTunes), Indonesianpod101 (iTunes), and Indone­sian Sur­vival Phras­es (iTunes). [Advanced learn­ers might pre­fer tun­ing in to news-in-Indone­sian pod­casts from SBS (iTunes) and NHK World (iTunes) radio.] Indonesianpod101 even has a Youtube page with video lessons like the one just above.

Even if you don’t plan on becom­ing Pres­i­dent, you may still have plen­ty of rea­sons to learn Indone­sian. With its famil­iar alpha­bet and sim­ple gram­mar with­out tens­es, gen­der forms, noun cas­es, and the like, it ranks as one of the very eas­i­est lan­guages in which to attain flu­en­cy. I know an Amer­i­can col­lege pro­fes­sor in South Korea who con­stant­ly urges his stu­dents to study Indone­sian, since it offers the “gold­en tip” of a wedge into the rest of Asia: mas­ter it, and you’ll have built up momen­tum to learn the oth­er, more com­pli­cat­ed lan­guages of the region, from Man­darin to Can­tonese to Japan­ese and beyond — all of which you can also begin study­ing at, of course, our Free Lan­guage Lessons page.

If your lin­guis­tic inter­ests slant toward Europe rather than Asia, don’t wor­ry, we’ve still got your back: our lists include learn­ing resources for lan­guages of that con­ti­nent as major as Span­ish, French, Ital­ian, Russ­ian, Eng­lish, and Ger­man to niche lan­guages like Cata­lan, Finnish, Hun­gar­i­an, and Ser­bo-Croa­t­ian. If you notice we’ve missed any lan­guage you’ve har­bored a burn­ing desire to learn, drop us a line so we can start gath­er­ing pod­casts, videos, and PDFs on it. In the mean­time, sure­ly the Free Lan­guage Lessons page offers you some­thing to start on and get that incom­pa­ra­ble feel­ing of break­ing into a new lan­guage for the first time. Semoga berun­tung, as we say in Jakar­ta!

Relat­ed Con­tent:

Learn 48 Lan­guages Online for Free: Span­ish, Chi­nese, Eng­lish & More

Study 40+ Lan­guages with Free Lessons from the U.S. For­eign Ser­vice Insti­tute

Let’s Learn Japan­ese: Two Clas­sic Video Series to Get You Start­ed in the Lan­guage

Learn Latin, Old Eng­lish, San­skrit, Clas­si­cal Greek & Oth­er Ancient Lan­guages in 10 Lessons

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.


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