Stream 18 Hours of Free Guided Meditations

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Image via Wiki­me­dia Com­mons

This year’s crazed elec­tion got you stressed out? Or just life in gen­er­al? “It’s nev­er too late,” Allen Gins­berg reminds us, “to med­i­tate.” On Mon­day, we brought you sev­er­al ver­sions of Ginsberg’s med­i­ta­tion instruc­tions, which he set to song and record­ed with Bob Dylan and dis­co maven/experimental cel­list Arthur Rus­sell, among oth­ers. Ginsberg’s “sug­ar-coat­ed dhar­ma,” as he called it, does a great job of draw­ing atten­tion to med­i­ta­tion and its ben­e­fits, per­son­al and glob­al, but it’s hard­ly the sooth­ing sound­track one needs to get in the right pos­ture and frame of mind.

For that, you might try Moby’s 4 hours of ambi­ent music, which he released free to the pub­lic through his web­site last month. Tra­di­tion­al­ly speak­ing, no music is nec­es­sary, but there’s also no need go the way of Zen monks, or to embrace any form of Bud­dhism or oth­er reli­gion. Whol­ly sec­u­lar forms of mind­ful­ness med­i­ta­tion have been shown to reduce stress, depres­sion, and anx­i­ety, help man­age phys­i­cal pain, improve con­cen­tra­tion, and pro­mote a host of oth­er ben­e­fits.

Still skep­ti­cal? Don’t take my word for it. We’ve point­ed you toward the vast amount of sci­en­tif­ic research on the sub­ject of mind­ful­ness med­i­ta­tion, much of it con­duct­ed by skep­ti­cal researchers who came to believe in the ben­e­fits after see­ing the evi­dence. If you too have come around to the idea that, yes, you should prob­a­bly med­i­tate, your next thought may be, but how? Well, in addi­tion to Ginsberg’s wit­ty Vipas­sana how-to, UCLA has a series of short, guid­ed med­i­ta­tions avail­able on iTune­sU. And just above, we have an entire playlist of guid­ed meditations—18 hours in total. It was put togeth­er by Spo­ti­fy, whose free soft­ware you can down­load here.

These include more reli­gious­ly-ori­ent­ed kinds of med­i­ta­tions like “Guid­ed Chakra Bal­anc­ing” and the mys­ti­cal philoso­phies of Deep­ak Chopra, but don’t run off yet if all that’s too woo for you. There are also sev­er­al hours of very prac­ti­cal, non-reli­gious instruc­tion from teach­ers like Pro­fes­sor Mark Williams of the Oxford Mind­ful­ness Cen­tre, who offers med­i­ta­tions for cog­ni­tive ther­a­py. See Williams dis­cuss mind­ful­ness research and med­i­ta­tion as an effec­tive means of man­ag­ing depres­sion in the video above. (Catch a full mind­ful­ness lec­ture from Pro­fes­sor Williams and hear anoth­er guid­ed med­i­ta­tion from him on Youtube).

You’ll also find a 30-minute guid­ed med­i­ta­tion for sleep, sitar music from Ravi Shankar, and many oth­er guid­ed med­i­ta­tions at var­i­ous points on the spec­trum from the mys­ti­cal to the whol­ly prac­ti­cal. Some­thing for every­one here, in oth­er words. Go ahead and give it a try. No mat­ter if you can man­age ten min­utes or an hour a day, it’s nev­er too late.

Relat­ed Con­tent:

Dai­ly Med­i­ta­tion Boosts & Revi­tal­izes the Brain and Reduces Stress, Har­vard Study Finds

Allen Gins­berg Teach­es You How to Med­i­tate with a Rock Song Fea­tur­ing Bob Dylan on Bass

Free Guid­ed Med­i­ta­tions From UCLA: Boost Your Aware­ness & Ease Your Stress

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

Test Your Literary Mettle: Take a 50 Question Quiz from The Strand Bookstore

640px-Strand_Bookstore

Image by Beyond My Ken via Wiki­me­dia Com­mons

Think you know lit­er­a­ture inside and out? If you’re feel­ing con­fi­dent, then we’d sug­gest tak­ing the lit­er­ary match­ing quizzes that the great Strand Book­store (locat­ed in New York City, of course) has giv­en to its prospec­tive employ­ees since the 1970s. Click here, and you can take a series of 5 quizzes (each with 10 ques­tions) where you’re asked to match authors and titles. When you’re done, let us know how you did in the com­ments sec­tion below. Best of luck.

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:

Down­load 55 Free Online Lit­er­a­ture Cours­es: From Dante and Mil­ton to Ker­ouac and Tolkien

1,000 Free Audio Books: Down­load Great Books for Free.

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

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Joseph Priestley Visualizes History & Great Historical Figures with Two of the Most Influential Infographics Ever (1769)

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Not a day now goes by with­out the appear­ance of new info­graph­ics, each of them meant to bring its view­ers a fuller under­stand­ing of a sub­ject or phe­nom­e­non (or con­vince them of an argu­ment) at a glance. Mod­ern tech­nol­o­gy has made it pos­si­ble for us to see, as well as cre­ate, a wider vari­ety of info­graph­ics filled with more data than ever, but their cre­ation as an artis­tic and intel­lec­tu­al pur­suit began longer ago than you might think. Here we have two hand­made info­graph­ics by the 18th-cen­tu­ry Eng­lish poly­math Joseph Priest­ley, notable not just for their ear­li­ness, but for the fact that they remain among the most impres­sive exam­ples of the form.

Priest­ley’s 1769 A New Chart of His­to­ry appears at the top of the post (click for larg­er ver­sion or see this one too). Accom­pa­nied by a descrip­tion and sub­ti­tles, “A View of the Prin­ci­pal Rev­o­lu­tions of Empire that have tak­en place in the World” lit­er­al­ly illus­trates its cre­ator’s view, uncon­ven­tion­al at the time, that to tru­ly under­stand his­to­ry requires more than just exam­in­ing the his­to­ry of one coun­try or one peo­ple. It requires exam­in­ing the his­to­ry of all the civ­i­liza­tions of Earth, which he divid­ed into Scan­di­navia, Poland, Rus­sia, Great Britain, Spain, France, Italy, “Turkey in Europe” and “Turkey in Asia,” Ger­many, Per­sia, India, Chi­na, Africa, and Amer­i­ca.

PriestleyChart

His ear­li­er A Chart of Biog­ra­phy (1765), a piece of which appears just above, had visu­al­ized not the for­tunes of empires but the for­tunes of indi­vid­u­als, more than 2000 states­men, war­riors, divines, meta­physi­cians, math­e­mati­cians, physi­cians, poets, artists, ora­tors, crit­ics, his­to­ri­ans, and anti­quar­i­ans who lived between 1200 BC and his own day. “What makes this viz espe­cial­ly amaz­ing,” says a pre­sen­ta­tion by Tableau Soft­ware on the five most influ­en­tial data visu­al­iza­tions of all time, “is that we can still learn from it at the aggre­gate lev­el when we com­bine it with the sec­ond part of his two-part visu­al­iza­tion” — the New Chart of His­to­ry.

“Togeth­er, they weave an intri­cate sto­ry. They explain and doc­u­ment both the rise and fall of empires, and the unique thinkers that defined those nations,” the lead­ing lights of the Greeks, the Romans, the Enlight­en­ment, and oth­er civ­i­liza­tions and peri­ods besides. They make his­to­ry, at least as Priest­ley and his stu­dents knew it, quick­ly gras­pable at a com­bi­na­tion of scales sel­dom con­sid­ered before, and one which has influ­enced think­ing ever since about how civ­i­liza­tions grow, col­lapse, expand, and col­lide. After their ini­tial pub­li­ca­tion, the Chart of Biog­ra­phy and New Chart of His­to­ry met with great acclaim and decades of pop­u­lar demand, and they still read as not just his­tor­i­cal, geo­graph­i­cal, and polit­i­cal, but some­how poet­ic — poet­ic in the man­ner, specif­i­cal­ly, of Shelly’s Ozy­man­dias.

You can read more about both charts at MIT’s Dig­i­tal Human­i­ties site.

Relat­ed Con­tent:

An Inter­ac­tive Time­line Cov­er­ing 14 Bil­lion Years of His­to­ry: From The Big Bang to 2015

10 Mil­lion Years of Evo­lu­tion Visu­al­ized in an Ele­gant, 5‑Foot Long Info­graph­ic from 1931

6,000 Years of His­to­ry Visu­al­ized in a 23-Foot-Long Time­line of World His­to­ry, Cre­at­ed in 1871

4000 Years of His­to­ry Dis­played in a 5‑Foot-Long “His­tom­ap” (Ear­ly Info­graph­ic) From 1931

5‑Minute Ani­ma­tion Maps 2,600 Years of West­ern Cul­tur­al His­to­ry

The His­to­ry of Phi­los­o­phy, from 600 B.C.E. to 1935, Visu­al­ized in Two Mas­sive, 44-Foot High Dia­grams

The Tree of Lan­guages Illus­trat­ed in a Big, Beau­ti­ful Info­graph­ic

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Last Known Photos of Jim Morrison, Taken Days Before His Death in Paris (June 1971)

It’s got to be one of my favorite ledes of all time: “The Doors leg­end Jim Mor­ri­son ‘faked his own death’ and is liv­ing as an aging home­less hip­py in New York, accord­ing to a con­spir­a­cy the­o­rist.”

This dead­pan gem from wacky UK tabloid Express might con­vince the cred­u­lous, with its pho­to spread com­par­ing white-beard­ed “Richard”—the aged, sup­pos­ed­ly re-sur­faced Morrison—with those of Mor­ri­son in his last years: beard­ed, bloat­ed, and look­ing ten years old­er.

These are often the images we remem­ber, but the pho­tos in the video mon­tage above (set to some inex­plic­a­bly un-Door-sy music that you might want to mute) show us a more youth­ful, clean-shaven, baby-faced, and much health­i­er lizard king, trav­el­ing through Paris with his girl­friend Pamela Cour­son and their friend Alain Ron­ay, who took the pho­tos on June 28th, 1971. (See a pho­to spread here at Vin­tage Every­day.)

Mor­ri­son was “clear­ly not in a good way,” writes Ulti­mate Clas­sic Rock, “when he head­ed off for Paris,” but in these images, he appears ful­ly ready to embark on a new career as a pub­lished poet instead of join­ing the “27 Club,” as he would just days lat­er, when Cour­son awoke to find him dead in the bath­tub of their Paris apart­ment on July 3rd.

Part of the rea­son fans have dogged­ly held on to the the­o­ry Mor­ri­son faked his death has to do with the mys­te­ri­ous cir­cum­stances sur­round­ing that discovery–the “nag­ging­ly non-spe­cif­ic ‘heart fail­ure’” ascribed as the cause by French author­i­ties, the lack of an autop­sy, and the “dozens of rumors—many of them unfound­ed” that pro­lif­er­at­ed around the mys­tery.

It turns out that cir­cum­stances of Jim Morrison’s death were sor­did­ly pre­dictable, if we believe one­time Doors pub­li­cist Dan­ny Sug­er­man, who wrote in his 1989 mem­oir Won­der­land Avenue about con­ver­sa­tions with Cour­son, who “stat­ed that Mor­ri­son had died of an acci­den­tal hero­in over­dose, hav­ing snort­ed what he believed to be cocaine,” writes The Vin­tage News.

Her account is sup­port­ed by the con­fes­sion of Alain Ronay—in a 1991 issue of Paris Match, where many of these pho­tos appeared—who wrote that Cour­son nod­ded off instead of get­ting help for Mor­ri­son. Ron­ay also describes in his account (read it in full, trans­lat­ed, here), how he and film­mak­er Agnes Var­da helped mis­lead author­i­ties as to Morrison’s iden­ti­ty, cov­ered up his pri­or drug use, threw the press off track, and guid­ed the inves­ti­ga­tion away from the drugs and Courson’s involve­ment.

Ron­ay seems cred­i­ble enough, but what­ev­er the cir­cum­stances sur­round­ing Morrison’s death, it’s clear he had a lot of writ­ing left in him. In his last inter­view with Rolling Stone, he talked about his poet­ry and his admi­ra­tion for Nor­man Mail­er and revealed he’d been work­ing on a screen­play. While in Paris, he made sev­er­al record­ings of his poet­ry with some unnamed musi­cians. Last year, a hand­writ­ten poem found in his Paris apart­ment went up for auc­tion. Its final, omi­nous line read, “Last words, Last words out.”

via The Vin­tage News/Dan­ger­ous Minds

Relat­ed Con­tent:

“The Lost Paris Tapes” Pre­serves Jim Morrison’s Final Poet­ry Record­ings from 1971

The Doors Play Live in Den­mark & LA in 1968: See Jim Mor­ri­son Near His Charis­mat­ic Peak

A Young, Clean Cut Jim Mor­ri­son Appears in a 1962 Flori­da State Uni­ver­si­ty Pro­mo Film

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

 

What Are the Most Stolen Books? Bookstore Lists Feature Works by Murakami, Bukowski, Burroughs, Vonnegut, Kerouac & Palahniuk

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In 1971, Abbie Hoff­man pub­lished his coun­ter­cul­tur­al how-to/”hip Boy Scout hand­book,” Steal This Book. Since then, mil­lions of peo­ple have queued up to pay for it. Did they mis­read the very clear instruc­tion in the title? Or did most of Hoffman’s read­ers think of it as anoth­er Yip­pie hoax, not to be tak­en any more seri­ous­ly than Piga­sus, the 145-pound pig Hoff­man and his mer­ry band of pranksters nom­i­nat­ed for pres­i­dent in 1968? Seems to me Hoff­man was dead seri­ous about the pig, and about his call for shoplift­ing, or “inven­to­ry shrink.”

Nev­er­the­less, mil­lions of peo­ple have need­ed no unam­bigu­ous prod­ding from the Andy Kauf­man of polit­i­cal the­ater to steal mil­lions of oth­er books from shops world­wide, to the detri­ment of pub­lish­ers and book­sellers and the edi­fi­ca­tion of penu­ri­ous read­ers. The books most stolen from book­stores hap­pen to also be those that might best appeal to the kind of rad­i­cal anar­cho-hip­pies Hoff­man addressed, includ­ing Jack Kerouac’s On the Road and any­thing by Bukows­ki and Bur­roughs.

Also high on the list is Haru­ki Murakami’s The Wind-Up Bird Chron­i­cle, not a nov­el we nec­es­sar­i­ly asso­ciate with dump­ster-divers and box­car-hop­pers, but one of many Murakamis book thieves have tak­en to lift­ing nonethe­less. Kurt Von­negut ranks high­ly, includ­ing his very pop­u­lar Cat’s Cra­dle and Break­fast of Cham­pi­ons. Oth­er favorite authors include hyper-mas­cu­line seers of soci­etal deca­dence, Chuck Palah­niuk and Brett Eas­t­on Ellis.

How do we know this? One source is sim­ply an image, above, tweet­ed out by Vintage/Anchor Books—a pho­to of a “Most Stolen Books” shelf at an unnamed book­store. We might assume whichev­er store it is has all the evi­dence it needs from a con­sis­tent­ly shrink­ing inven­to­ry of these titles. And anoth­er major book­store con­firms much of the anony­mous shelf above.

Melis­sa MacAulay at The Edit­ing Com­pa­ny blog writes that dur­ing a part-time gig at Cana­di­an giant Indi­go books, Palahniuk’s Fight Club end­ed up behind the counter. Read­ers look­ing for a copy instead found “a small sign direct­ing you to ‘please ask for assis­tance.’” In addi­tion to Palah­niuk, Indigo’s big three most stolen authors are Muraka­mi, Kurt Von­negut, and Bukows­ki, who tops out as the “reign­ing king of ‘Shoplift Lit.’”

In yet anoth­er “Most Stolen” list, blog­ger Can­dice Huber—inspired by Markus Zusak’s 2013 nov­el The Book Thiefunder­took her own infor­mal research and came up with sim­i­lar results, with Bukows­ki and Bur­roughs in the top spot and Ker­ouac at num­ber two. “All of the books list­ed,” notes Kot­tke, “are by men and most by ‘man­ly’ men” (what­ev­er that means). See her list, with com­men­tary, below.

Any­thing by Charles Bukows­ki or William S. Bur­roughs. Book sell­ers tend to keep books by these authors behind the counter because they get swiped so often.

On the Road by Jack Ker­ouac. If you notice a theme here, Bukows­ki, Bur­roughs, and Ker­ouac books all share, shall I put it blunt­ly, con­tent of sex and drugs. It seems that those most like­ly to com­mit a reck­less act (steal­ing) are also inter­est­ed in read­ing about reck­less acts.

Graph­ic Nov­els. The major­i­ty of book thieves are young, white males, and this is what they read.

The Great Gats­by by F. Scott Fitzger­ald. Which was actu­al­ly one of the most com­mon­ly stolen books long before the movie came out.

Var­i­ous Selec­tions from Ernest Hem­ing­way, includ­ing A Move­able Feast and The Sun Also Ris­es.

Naked and Me Talk Pret­ty One Day by David Sedaris. David Sedaris? Real­ly?

The New York Tril­o­gy by Paul Auster. I wouldn’t have thought this was the stuff of the five-fin­ger dis­count.

Steal this Book did not crack the top sev­en, though it did receive hon­or­able men­tion, along with Hunter S. Thompson’s Fear and Loathing in Las Vegas, Jef­frey Eugenides’ The Vir­gin Sui­cides, Paulo Coelho’s The Alchemist, and “any­thing by Mar­tin Amis.” Hav­ing been a poor col­lege stu­dent myself once (not that I lift­ed my books!), and hav­ing taught many a cash-strapped under­grad, I’d assume a good num­ber of the miss­ing Fitzger­alds and Hem­ing­ways left book­stores in the hands of thieves bear­ing syl­labi.

A 2009 Guardian list gives us an entire­ly dif­fer­ent image of British book thieves with a pen­chant for box­er Lenny McLean’s mem­oirs, Yolan­da Celbridge’s “mod­ern S&M clas­sic” The Tam­ing of Tru­di, com­ic books Tintin and Aster­ix, Banksy’s cof­fee table book Wall and Piece, and Har­ry Pot­ter. Hoff­man comes in at num­ber six.

When it comes to books stolen from libraries, on the oth­er hand, Huber points out this dynam­ic: “library theft leans more toward the prac­ti­cal than the pop­u­lar, where­as book­store theft leans toward the pop­u­lar.” The top sev­en here include expen­sive art books, The Bible, The Guin­ness Book of World Records, textbooks/reference books/exam prep books, and, nat­u­ral­ly, books on uni­ver­si­ty read­ing lists. Also, Sports Illus­trat­ed Swim­suit Edi­tion and “oth­er racy books/magazines”—many stolen, per­haps, to avoid the embar­rass­ment of pry­ing librar­i­an eyes.

We do not assume that you, dear upstand­ing read­er, have ever stolen a book, or any­thing else. And yet, did you find any­thing on these lists sur­pris­ing? (I thought Hen­ry Miller might make the cut.…) What books would you expect to see stolen often that didn’t appear? What about a list of “most bor­rowed” (and maybe nev­er returned) books from friends/acquaintances/family/roommates? Let us know your thoughts below.

via Vintage/Anchor/Kot­tke

Relat­ed Con­tent:

The 20 Most Influ­en­tial Aca­d­e­m­ic Books of All Time: No Spoil­ers

28 Impor­tant Philoso­phers List the Books That Influ­enced Them Most Dur­ing Their Col­lege Days

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

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

Was a 32,000-Year-Old Cave Painting the Earliest Form of Cinema?

A few years ago, Wern­er Her­zog’s acclaimed Cave of For­got­ten Dreams pulled off an unlike­ly com­bi­na­tion of tech­nol­o­gy and sub­ject mat­ter, using the lat­est in 3D cin­e­ma to cap­ture the old­est known man­made images. But in the view of French archae­ol­o­gist and film­mak­er Marc Azé­ma, it must have made per­fect sense as a kind of clos­ing of a grand cul­tur­al loop. More than twen­ty years of research has made him see the kind of up to 32,000-year-old cave paint­ings shown in Her­zog’s film as sequen­tial images of man and beast, not just sta­t­ic ones — mov­ing pic­tures, if you like — that emerge when arranged in a cer­tain way.

Azé­ma’s short video “Sequen­tial Ani­ma­tion: The First Pale­olith­ic Ani­mat­ed Pic­tures” does that arrang­ing for us, reveal­ing how the ear­ly anatom­i­cal sketch­es found on the walls of caves in France and Por­tu­gal depict ani­mal move­ment as the human artists per­ceived it. The con­nec­tion to mod­ern cin­e­ma, if you go through Ead­weard Muy­bridge’s nine­teenth-cen­tu­ry stud­ies of motion and then on to the prod­ucts of the Lumière broth­ers’ ear­ly movie cam­era, looks clear indeed. Once we fig­ured out how to sat­is­fy our ages-long curios­i­ty about how things move, we then, human ambi­tion being what it is, had to find a way to turn the dis­cov­ery toward artis­tic ends again.

“I don’t think it’s too much to call it an ear­ly form of cin­e­ma,” says Azé­ma in the seg­ment from PRI’s The World embed­ded above. “It was the first grand form of com­mu­ni­ca­tion, with an audi­ence and pic­tures.” He points to the key con­cept of reti­nal per­sis­tence, or per­sis­tence of vision, “when you’ve got an image, then a suc­ces­sive image, and anoth­er image, and the reti­na fol­lows what’s com­ing next,” which makes cin­e­ma pos­si­ble in the first place — and which ear­ly man, who “had the need to get the images out of his brain and on the wall,” seems to have known some­thing about. And what, we can hard­ly resist won­der­ing, will cin­e­ma look like to the future gen­er­a­tions who will regard even our biggest-bud­get 3D spec­ta­cles as, essen­tial­ly, pre­his­toric cave paint­ings?

Relat­ed Con­tent:

The His­to­ry of the Movie Cam­era in Four Min­utes: From the Lumiere Broth­ers to Google Glass

Watch the Films of the Lumière Broth­ers & the Birth of Cin­e­ma (1895)

We Were Wan­der­ers on a Pre­his­toric Earth: A Short Film Inspired by Joseph Con­rad

Hear the World’s Old­est Instru­ment, the “Nean­derthal Flute,” Dat­ing Back Over 43,000 Years

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Replica of an Algerian City, Made of Couscous: Now on Display at The Guggenheim

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If you head over to The Guggen­heim in New York City, you’re bound to spend time immers­ing your­self in the Moholy-Nagy exhib­it that’s now on dis­play. It’s well worth your time. You can also take a side trip through a small­er exhi­bi­tion fea­tur­ing the work of Mid­dle East­ern and North African artists. And there you’ll dis­cov­er the work of Kad­er Attia, a French-Alger­ian artist whose work “reflects on the impact of West­ern soci­eties on their for­mer colo­nial coun­ter­parts.” Above, we have Atti­a’s repli­ca of an Alger­ian city (Ghardaïa) made out of cous­cous. The Tate explains the con­cep­tu­al thrust of the piece as fol­lows:

The instal­la­tion presents a mod­el of the Alger­ian town Ghardaïa made from cous cous, shown along­side pho­tographs of the Swiss-born archi­tect Le Cor­busier and the French archi­tect Fer­nand Pouil­lon, and a print of the UNESCO dec­la­ra­tion that the town is a World Her­itage site. Dur­ing the nine­teenth cen­tu­ry Ghardaïa was colonised by France, but the build­ings were not altered dur­ing this peri­od and remain char­ac­ter­is­tic of Moz­abite archi­tec­ture. Le Cor­busier vis­it­ed Ghardaïa in 1931, just three years after becom­ing a French cit­i­zen, and made sketch­es of the build­ings. These strong­ly resem­ble the style of mod­ernist archi­tec­ture he sub­se­quent­ly espoused in his trea­tise on urban plan­ning, La cité radieuse.

That a not­ed French archi­tect should take inspi­ra­tion from an Alger­ian town may not seem sig­nif­i­cant, how­ev­er, as Attia notes, ‘archi­tec­ture has first to do with pol­i­tics, with the polit­i­cal order.’ As Attia is a child of Alger­ian immi­grants and grew up part­ly in a Parisian ban­lieue, this state­ment seems par­tic­u­lar­ly res­o­nant. The use of cous cous as the mate­r­i­al to ‘build’ the mod­el is appro­pri­ate as it will pro­vide an approx­i­ma­tion of the town’s decay over time through­out the exhi­bi­tion, while rep­re­sent­ing one of the region’s most pop­u­lar foods – now a sta­ple of Euro­pean cui­sine.

By repli­cat­ing the town as an archi­tects’ mod­el in this way Attia shows the impact of his native cul­ture, which had oper­at­ed as a non-pow­er­ful host to colo­nial France, on their old colonis­ers, who went on to play host to the artist and his fam­i­ly. As well as high­light­ing the cul­tur­al impact of the colonised onto the colonis­er, revers­ing the nor­mal­ly report­ed direc­tion of influ­ence, this also reveals the com­plex­i­ty of hos­pi­tal­i­ty between peo­ple and nations which often relates to dis­pos­ses­sion and re-appro­pri­a­tion…

Atti­a’s cous­cous instal­la­tion is also on dis­play at The Tate. If you’re in Lon­don, pay them a vis­it.

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Relat­ed Con­tent:

The Guggen­heim Puts Online 1600 Great Works of Mod­ern Art from 575 Artists

Rijksmu­se­um Dig­i­tizes & Makes Free Online 210,000 Works of Art, Mas­ter­pieces Includ­ed

The Nation­al Gallery Makes 25,000 Images of Art­work Freely Avail­able Online

Down­load 448 Free Art Books from The Met­ro­pol­i­tan Muse­um of Art

How Did Hitler Rise to Power? : New TED-ED Animation Provides a Case Study in How Fascists Get Democratically Elected

How does one rise to pub­lic office? In part, by flat­ter­ing the sen­si­bil­i­ties of those one seeks to serve.

Do you appeal to their high­er nature, their sense of civic respon­si­bil­i­ty and inter­con­nect­ness?

Or do you cap­i­tal­ize on pre-exist­ing bias­es, stok­ing already sim­mer­ing fears and resent­ments to the boil­ing point?

The world paid a ghast­ly price when Germany’s Chan­cel­lor and even­tu­al Führer Adolf Hitler proved him­self a mas­ter of the lat­ter approach.

It seems like we’ve been hear­ing about Hitler’s rise to pow­er a lot late­ly… and not in antic­i­pa­tion of the fast-approach­ing 80th anniver­sary of the 1936 Olympic Games in Berlin.

We must always resist the temp­ta­tion to over­sim­pli­fy his­to­ry, espe­cial­ly when doing so serves our own ends. There are way too many con­tribut­ing fac­tors to Hitler’s ascen­dan­cy to squeeze into a five minute ani­ma­tion.

On the oth­er hand, you can’t dump a ton of infor­ma­tion on people’s heads and expect them to absorb it all in one sit­ting. You have to start some­where.

TED-Ed les­son plan­ners Alex Gendler and Antho­ny Haz­ard, in col­lab­o­ra­tion with the Uncle Gin­ger ani­ma­tion stu­dio, offer a very cogent expla­na­tion of how “a tyrant who orches­trat­ed one of the largest geno­cides in his­to­ry” achieved such a calami­tous­ly pow­er­ful posi­tion. All in a demo­c­ra­t­ic fash­ion.

When view­ers have more than five min­utes to devote to the sub­ject, they can delve into addi­tion­al resources and par­tic­i­pate in dis­cus­sions on the sub­ject.

The video doesn’t touch on Hitler’s men­tal ill­ness or the par­tic­u­lars of Weimar era polit­i­cal struc­tures, but even view­ers with lim­it­ed his­tor­i­cal con­text will walk away from it with an under­stand­ing that Hitler was a mas­ter at exploit­ing the Ger­man majority’s mood in the wake of WWI. (A 1933 cen­sus shows that Jews made up less than one per­cent of the total pop­u­la­tion.)

Hitler’s rep­u­ta­tion as a charis­mat­ic speak­er is dif­fi­cult to accept, giv­en hind­sight, mod­ern sen­si­bil­i­ties, and the herky-jerky qual­i­ty of archival footage. He seems unhinged. How could the crowds not see it?

Per­haps they could, Gendler and Haz­ard sug­gest. They just did­n’t want to. Busi­ness­men and intel­lec­tu­als, want­i­ng to back a win­ner, ratio­nal­ized that his more mon­strous rhetoric was “only for show.”

Quite an atten­tion-get­ting show, as it turns out.

Could it hap­pen again?  Gendler and Haz­ard, like all good edu­ca­tors, present stu­dents with the facts, then open the floor for dis­cus­sion.

Relat­ed Con­tent:

Rare 1940 Audio: Thomas Mann Explains the Nazis’ Ulte­ri­or Motive for Spread­ing Anti-Semi­tism

How Jazz-Lov­ing Teenagers–the Swingjugend–Fought the Hitler Youth and Resist­ed Con­for­mi­ty in Nazi Ger­many

Noam Chom­sky on Whether the Rise of Trump Resem­bles the Rise of Fas­cism in 1930s Ger­many

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

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Open Culture was founded by Dan Colman.