Philosopher Sam Harris Leads You Through a 26-Minute Guided Meditation

We’ve post­ed on med­i­ta­tion research late­ly because it’s so com­pelling, and med­i­ta­tion music and instruc­tions because so many cre­ative peo­ple have found it lib­er­at­ing. But it’s always worth not­ing that a few med­i­ta­tion skep­tics have weighed in with point­ed objec­tions to the large claims med­i­ta­tion teach­ers often make. And yet even after one of the most unspar­ing cri­tiques of med­i­ta­tion research and teach­ing, sci­ence writer John Hor­gan still admits that “it might make you feel bet­ter, nicer, wis­er” and plans to con­tin­ue med­i­tat­ing in the face of his “per­fect con­tempt for it.”

Anoth­er pro­fes­sion­al skep­tic has gone even fur­ther along this road. Once spo­ken of as one of the dread­ed “Four Horse­men” of New Athe­ism, Sam Har­ris has also long called him­self a sec­u­lar Bud­dhist, and has writ­ten “a guide to spir­i­tu­al­i­ty with­out reli­gion.”

Wad­ing into the pol­i­tics of med­i­ta­tion means deal­ing with skep­tics like Har­ris who treat Bud­dhism as quaint and archa­ic fool­ish­ness that just hap­pened to pre­serve the sci­en­tif­ic tech­nol­o­gy of mind­ful­ness, and it means sort­ing through a lot of sci­en­tif­ic stud­ies, many of which—as is always the case—have a num­ber fatal flaws in their method. Har­ris’ sci­en­tif­ic claims about mind­ful­ness have come in for their own cri­tiques, from both mys­tics and sec­u­lar­ists.

All of this said, the fact is that, like yoga and many oth­er prac­tices designed to har­mo­nize mind and body, the ben­e­fits of med­i­ta­tion, place­bo-induced or oth­er­wise, are observ­able, and the risks entire­ly neg­li­gi­ble. Many skep­ti­cal researchers have decid­ed to dive in and try med­i­ta­tion before ful­ly cred­it­ing their doubts. And that, sup­pos­ed­ly, is the very instruc­tion we find in what is often called the Bud­dhist “char­ter for free inquiry,” which tells prac­ti­tion­ers to inves­ti­gate for them­selves and take no one’s word for any­thing, a few hun­dred years in advance of the British Roy­al Soci­ety’s mot­to, nul­lius in ver­ba.

In this spir­it, skep­tics like Har­ris have inves­ti­gat­ed med­i­ta­tion and report­ed their find­ings. Many also, like Har­ris and aca­d­e­m­ic researchers like Oxford psy­chi­a­trist Mark Williams, have record­ed their own guid­ed mind­ful­ness med­i­ta­tions that cor­re­spond in many respects to the orig­i­nal ancient instruc­tions. We’ve pre­vi­ous­ly fea­tured guid­ed med­i­ta­tions from UCLA and a com­pi­la­tion of record­ed instruc­tions from new agers and sci­en­tists. At the top of the post, you can hear Har­ris’ very straight­for­ward guid­ed med­i­ta­tion, and fur­ther down a short­er ver­sion of the same.

In the video above, Har­ris employs just a lit­tle hyper­bole in com­par­ing mind­ful­ness to the Large Hadron Col­lid­er. His claim that only through this prac­tice can we dis­cov­er “the self is an illu­sion” rings false when we think of the many oth­er philoso­phers who have inde­pen­dent­ly come to the same con­clu­sion, whether as Taoists or Empiri­cists. But Har­ris isn’t only mak­ing the case for mind­ful­ness meditation’s true cor­re­spon­dence to some fun­da­men­tal nature of real­i­ty, but for its prag­mat­ic use­ful­ness in help­ing us move through the world with greater skill and peace of mind—reliable out­comes from reg­u­lar med­i­ta­tion that no one has yet cred­i­bly denied.

Relat­ed Con­tent:

Lena Dun­ham Shows Why It’s So Damn Hard to Med­i­tate: A Four-Minute Com­e­dy

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

Stream 18 Hours of Free Guid­ed Med­i­ta­tions

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

Simone de Beauvoir Defends Existentialism & Her Feminist Masterpiece, The Second Sex, in Rare 1959 TV Interview

Giv­en how many aca­d­e­m­ic phi­los­o­phy depart­ments have ban­ished Exis­ten­tial­ism into some prim­i­tive wilder­ness, it seems strik­ing to hear peo­ple talk about it as a cur­rent phe­nom­e­non with a seri­ous, liv­ing pedi­gree and a hip youth van­guard dis­till­ing its ideas into pop cul­ture. By the time I’d heard of Albert Camus—by way of The Cure’s ear­ly sin­gle “Killing an Arab”—the ref­er­ences to the French philoso­pher and his nov­el The Stranger were already exot­ic, and as kitschy as the faux-Mid­dle East­ern gui­tar line in the song. But in 1959, the hip­ster exis­ten­tial­ist was a phe­nom­e­non so wide­spread that Nor­man Mail­er wrote a scathing essay about the char­ac­ter.

And a Cana­di­an jour­nal­ist, sit­ting down to inter­view Exis­ten­tial­ist philoso­pher Simone de Beau­voir, began by ask­ing her to com­ment on the “group of noisy, row­dy jazz-lov­ing young peo­ple, in the imme­di­ate post-war peri­od.” This first wave of 50s Parisian hip­sters embraced Sartre, Camus, and Beau­voir right along with Coltrane and Char­lie Park­er.

Beau­voir dis­miss­es any con­nec­tion between her kind of Exis­ten­tial­ism and that of the row­dy mass­es except that of phys­i­cal prox­im­i­ty. Nonethe­less, like 90s fem­i­nist punk rock­ers who spread the ideas of third wave fem­i­nism, the French and Amer­i­can Beats made Exis­ten­tial­ist phi­los­o­phy cool.

Beau­voir prefers to draw a clear bound­ary between her work and the next generation’s appro­pri­a­tion. By this time, both Sartre and Camus had dis­avowed the term Exis­ten­tial­ist and had a falling-out over Com­mu­nism. But Beau­voir uses the term and refers to a “We,” who “think—and it’s one of the most impor­tant points in existentialism—that man is the pur­pose of man, his own future, and the pur­pose of all his activ­i­ties.” She draws on stark bina­ry oppo­si­tions of “good” and “evil” to explain the “fun­da­men­tal basis of what you could call our ethics,” and yet, she says, “we don’t ask meta­phys­i­cal ques­tions.”

If it sounds like Beau­voir is sum­ma­riz­ing Sartre, that’s part of what’s going on. The inter­view­er keeps press­ing to under­stand the “exis­ten­tial­ist man’s con­cep­tion of the world.” She oblig­es, dis­cussing “Sartre­an Exis­ten­tial­ism” and his major work Being and Noth­ing­ness and enter­tain­ing vague ques­tions about athe­ism and pol­i­tics. Final­ly, around 12:15, they begin to talk about the book for which de Beau­voir is best known, The Sec­ond Sex, which would go on to inspire 60s fem­i­nists like Bet­ty Friedan, Glo­ria Steinem, and UK col­lec­tivist mag­a­zine Spare Rib.

Calm and mea­sured through­out the con­ver­sa­tion, Beau­voir defends her ideas, includ­ing the most provoca­tive, that, as the inter­view­er para­phras­es, “You don’t believe in the exis­tence of a fem­i­nine nature. You believe peo­ple are first human, before being male or female.” She makes it clear right away that her anti-gen­der essen­tial­ism has roots in an even more fun­da­men­tal, and very Exis­ten­tial­ist, skep­ti­cism: “I don’t believe in the exis­tence of a human nature.” All of us, what­ev­er gen­der we’re taught to iden­ti­fy with, become prod­ucts of our “place, time, civil­i­sa­tion, and tech­nique etc.” through cul­tur­al con­di­tion­ing, not inner neces­si­ty.

The Sec­ond Sex, she says, is not a revolt or a protest, but a descrip­tion of an oppres­sive set of rela­tions that “cur­rent­ly nei­ther men nor women can just trans­form… with a mag­ic wand.” Nev­er­the­less, de Beau­voir became increas­ing­ly activist as she aged, giv­ing the elo­quent inter­view on “Why I’m a Fem­i­nist” in 1975. And above all, the younger gen­er­a­tion who picked up piece­meal Sartre also picked up enough of Beauvoir’s work to begin forc­ing changes in the mate­r­i­al con­di­tions she iden­ti­fied as cre­at­ing gen­der-based forms of social oppres­sion.

Relat­ed Con­tent:

Simone de Beau­voir Tells Studs Terkel How She Became an Intel­lec­tu­al and Fem­i­nist (1960)

Down­load All 239 Issues of Land­mark UK Fem­i­nist Mag­a­zine Spare Rib Free Online

11 Essen­tial Fem­i­nist Books: A New Read­ing List by The New York Pub­lic Library

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

 

Watch Hannah Arendt’s Diagnosis of the Banality of Evil as an 8‑Bit Video Game

Per­mit us a cou­ple of great over­sim­pli­fi­ca­tions: Han­nah Arendt became well-known by writ­ing about evil. Video games, espe­cial­ly clas­sic ones, usu­al­ly chal­lenge the play­er to fight some kind of evil. And so we have a suit­able, if at first seem­ing­ly incon­gru­ous, meet­ing of form and sub­stance in this video, “What is Evil?,” from the 8‑Bit Phi­los­o­phy series. It casts the 20th-cen­tu­ry polit­i­cal the­o­rist as the hero this time around, ren­der­ing in vin­tage video-game aes­thet­ics her quest not sim­ply to fight evil, but to iden­ti­fy evil — a much more trou­bling enter­prise.

“Tra­di­tion­al con­cep­tions of evil focus on the utter mon­stros­i­ty of evil actions — the com­plete awe and unthink­a­bil­i­ty of hor­ror,” says the nar­ra­tor. “Called pure or rad­i­cal evil, this is the sort of evil asso­ci­at­ed with antag­o­nists or vil­lains — is is the antithe­sis of good.”

It also hap­pens to be just the sort of obvi­ous straight-up evil video games tend to put their play­ers up against: ene­my ships you can only shoot down before they shoot you down, mad doc­tors you can only blow up before they blow the world up, mon­sters you can can only jump on before they eat you.

Arendt start­ed see­ing things dif­fer­ent­ly from this black-and-white (or in the case of eight-bit video games, 64-col­or) con­cep­tion after she saw the tri­al of Adolf Eich­mann. “Put on tri­al for numer­ous hor­rors, Eich­mann was found guilty of crimes against human­i­ty — espe­cial­ly against the Jew­ish peo­ple, for over­see­ing the trains that trans­port­ed peo­ple to Nazi death camps.” Sound like a mean piece of work though the guy may, Arendt beheld in the court­room “an alto­geth­er innocu­ous and seem­ing­ly nor­mal lit­tle man,” a “stereo­typ­i­cal bureau­crat” who “nev­er stopped to put him­self in any­one else’s shoes,” dri­ven by an “unques­tion­ing sense of oblig­a­tion to author­i­ty.”

To put it in video-game terms, Arendt expect­ed the sort of grotesque, cack­ling big boss that appears in the last stage, and she got the kind of drone who sim­ply stands around wait­ing to be slain with one hit in the first. This led her to coin her immor­tal phrase “the banal­i­ty of evil,” which, she explains in Eich­mann in Jerusalem, describes it “only on the strict­ly fac­tu­al lev­el. He was not stu­pid. It was thought­less­ness, some­thing by no means iden­ti­cal to stu­pid­i­ty. Such remote­ness from real­i­ty can wreak more hav­oc than all the instincts tak­en togeth­er.” And what kind of sword, laser, or pow­er-up could defeat that?

Relat­ed Con­tent:

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

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

8‑Bit Phi­los­o­phy: Pla­to, Sartre, Der­ri­da & Oth­er Thinkers Explained With Vin­tage Video Games

Exis­ten­tial Phi­los­o­phy of Kierkegaard, Sartre, Camus Explained with 8‑Bit Video Games

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.

Get a Free Pocket Edition of the U.S. Constitution (Now #2 on the Amazon Bestseller List)

we the people

Going into the Demo­c­ra­t­ic Nation­al Con­ven­tion, who would have thought that the speech we’d all remem­ber this week would belong to Khazir Khan, the father of a Mus­lim-Amer­i­can sol­dier who died fight­ing for the Unit­ed States in Iraq? Khan’s rebuke of Don­ald Trump’s divi­sive pres­i­den­tial cam­paign was sting­ing, and it came capped with these lines:

Don­ald Trump, you are ask­ing Amer­i­cans to trust you with our future. Let me ask you: Have you even read the U.S. Con­sti­tu­tion? I will glad­ly lend you my copy. In this doc­u­ment, look for the words “lib­er­ty” and “equal pro­tec­tion of law.”

Have you ever been to Arling­ton Ceme­tery? Go look at the graves of the brave patri­ots who died defend­ing Amer­i­ca — you will see all faiths, gen­ders, and eth­nic­i­ties.

You have sac­ri­ficed noth­ing and no one.

This pri­vate cit­i­zen suc­ceed­ed in doing what Hillary Clin­ton, Bill Clin­ton, Pres­i­dent Oba­ma, Joe Biden and maybe even Michael Bloomberg could not. In his own mod­est, under­stat­ed way, he put Trump on the defen­sive. And when Trump lashed out, you could final­ly hear the whis­pers: Have you no sense of decen­cy, Don­ald, at long last?

Khizr Khan may be to Don­ald Trump what Joseph Welch was to Joe McCarthy. That would be one pos­i­tive out­come of Khan’s speech. The oth­er is that sales of the U.S. Con­sti­tu­tion (as Elec­tric Lit­er­a­ture not­ed) have gone through the roof. The U.S. Con­sti­tu­tion is cur­rent­ly #2 on Ama­zon’s list of best­selling books, right behind the new Har­ry Pot­ter book. Fath­om that.

You, too, can buy a pock­et edi­tion of the Con­sti­tu­tion. But why not get it for free? Through Novem­ber 8, the ACLU is run­ning a pro­mo­tion which will let you snag a free pock­et-sized Constitution–one that can fit in your back­pack, glove com­part­ment, or back pock­et. It mea­sures 3/12” x 5.5” and fea­tures “the full text of the Con­sti­tu­tion, the Amend­ments, includ­ing the Bill of Rights, as well as a Know Your Rights series: What to do if you’re stopped by the police.”

Head to this page, and use the coupon code POCKETRIGHTS.

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:

R Crumb, the Father of Under­ground Comix, Takes Down Don­ald Trump in a NSFW 1989 Car­toon

J.K. Rowl­ing Defends Don­ald Trump’s Right to Be “Offen­sive and Big­ot­ed”

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

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Hear Wittgenstein’s Tractatus Logico-Philosophicus Sung as a One-Woman Opera

wittgenstein opera2

Image by Aus­tri­an Nation­al Library, via Wiki­me­dia Com­mons

What is it about Aus­tri­an philo­soph­i­cal prodi­gy Lud­wig Wittgen­stein’s Trac­ta­tus Logi­co-Philo­soph­i­cus that so inspires artists? Jasper Johns, the Coen Broth­ers, Derek Jar­man…. Per­haps it’s easy to see his appeal to writ­ers. His suc­cinct phi­los­o­phy of lan­guage con­tains a ground­break­ing claim, for its time, wrote Bertrand Rus­sell in his 1922 intro­duc­tion: “In order that a cer­tain sen­tence should assert a cer­tain fact there must… be some­thing in com­mon between the struc­ture of the sen­tence and the struc­ture of the fact.”

There may be no high­er praise for care­ful, pre­cise lan­guage. Recall­ing the stock advice to “show, don’t tell,” Wittgen­stein assert­ed that what­ev­er bonds togeth­er the struc­ture of sen­tences and the struc­ture of the world, it is only some­thing we can show, not some­thing we can say. In this regard, Wittgen­stein also ele­vat­ed images, and he him­self had a keen eye for pho­tog­ra­phy and archi­tec­ture. Of course, the imag­i­na­tive, mys­ti­cal aspect of Wittgenstein’s lit­tle book of apho­risms and sym­bols appeals to musi­cians and com­posers as well.

John Cage drew heav­i­ly on Wittgenstein’s work and the Trac­ta­tus has been adapt­ed by oth­ers in musi­cal pieces rang­ing from the under­stat­ed and med­i­ta­tive to the com­i­cal­ly ridicu­lous. The adap­ta­tion above takes a stark oper­at­ic approach. Com­posed by Bal­duin Sulz­er, the “one woman opera,” as the singer Anna Maria Pammer’s site describes it (in Google trans­la­tion from Ger­man), “dri­ves the metic­u­lous­ness and insis­tence of the text on the top.” Draw­ing on the work of the Sec­ond Vien­nese School, “the basic musi­cal idea comes from the music of the time of ori­gin of the Trac­ta­tus, i.e. the time of World War I.”

Wittgen­stein has long been asso­ci­at­ed with Arnold Schoen­berg and the Trac­ta­tus has been called a “tone poem.” The chill­i­ness, alter­nat­ing with rapid crescen­dos, with which Pam­mer deliv­ers the philo­soph­i­cal libret­to recalls the book’s tenor, as well as Wittgenstein’s tem­pera­ment more gen­er­al­ly. Giv­en to vio­lent out­bursts and fits of deri­sion, Wittgen­stein spent the first part of his life attempt­ing to cre­ate per­fect sys­tems— “a log­i­cal­ly per­fect lan­guage,” wrote Rus­sell. In between this aus­tere pur­suit, he lived just as aus­tere­ly and some­times vio­lent­ly. John Cage’s enact­ment of Wittgenstein’s the­o­ries comes clos­er to the intent of “show don’t tell,” but Sulzer’s adap­ta­tion per­haps best dra­ma­tizes the mys­ti­cal ellipses of Wittgenstein’s first major work. If you need Spo­ti­fy’s free soft­ware, down­load it here.

Relat­ed Con­tent:

Wittgenstein’s Mas­ter­piece, the Trac­ta­tus Logi­co-Philo­soph­i­cus, Gets Turned into Beau­ti­ful, Med­i­ta­tive Music

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

In Search of Lud­wig Wittgenstein’s Seclud­ed Hut in Nor­way: A Short Trav­el Film

The Pho­tog­ra­phy of Lud­wig Wittgen­stein

Free Online Phi­los­o­phy Cours­es

Down­load 135 Free Phi­los­o­phy eBooks: From Aris­to­tle to Niet­zsche & Wittgen­stein

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

Watch “Traffic Stop,” an Emmy-Nominated, Animated Film About a Traffic Stop Gone Horribly Wrong

As the Black Lives Mat­ter move­ment has come to occu­py a greater swath of America’s atten­tion span, a con­ver­sa­tion has arisen around the pit­falls of ally­ship, a term that lends itself to dis­cus­sions of gen­der and dis­abil­i­ty, as well as race.

Sim­ply put, the self-pro­claimed allies are mem­bers of a more priv­i­leged major­i­ty, eager to lend sup­port through word and deed.

Unfor­tu­nate­ly, their enthu­si­asm often turns them into micro­phone hogs in what activist Princess Har­mo­ny Rodriguez has referred to as “ally the­ater.”

A num­ber of would-be allies con­fuse humil­i­ty with the seek­ing of brown­ie points. If they real­ly got it, those at the cen­ter of the move­ment say, they would not expect mem­bers of the minor­i­ty to rearrange their to-do lists to bring them up to speed on what it’s like to be a per­son of col­or (or a trans­gen­dered per­son or a dis­abled per­son).

Would-be allies are there­fore advised to step out of the spot­light, stuff a sock in it, and edu­cate them­selves, by work­ing to find exist­ing essays and nar­ra­tives, authored by those with whom they would be in sol­i­dar­i­ty.

Human nature ensures that tem­pers will flare and hurt feel­ings will be aired. The hor­ri­fy­ing social ill that gave rise to the movement—the shoot­ing of unarmed black men by those charged with pro­tect­ing the whole of the public—is elbowed off­stage, so that a phe­nom­e­non such as ally­ship can be the num­ber one top­ic of debate on col­lege cam­pus­es, web­sites, and social media.

“Traf­fic Stop,” above, pro­vides a rare moment of racial accord, stem­ming from yet anoth­er ghast­ly tale of police bru­tal­i­ty.

The short ani­ma­tion was born of a con­ver­sa­tion record­ed by Alex Lan­dau and Pat­sy Hath­away in a Sto­ryCorps booth, a mas­sive oral his­to­ry project designed to attract a wide diver­si­ty of par­tic­i­pants.

Lan­dau is African-Amer­i­can.

His adop­tive moth­er, Hath­away, is white.

Those who would clas­si­fy adopt­ing a child of anoth­er race as “ally­ship” must con­cede that, if so, it is cer­tain­ly of no casu­al stripe.

The events of Jan­u­ary 15, 2009, when Den­ver police stopped the 19-year-old Lan­dau and a white friend for mak­ing an ille­gal left turn, caused Hath­away to rethink the col­or­blind world­view she had espoused while rais­ing her son.

“I thought that love would con­quer all and skin col­or real­ly did­n’t mat­ter,” Hath­away tells Lan­dau. “I had to learn the real­ly hard way when they almost killed you.”

Had the attack hap­pened a few years lat­er, Landau’s friend might have man­aged to doc­u­ment the pro­ceed­ings with a cell phone, despite the hand­cuffs that were placed on him after a bag of mar­i­jua­na was found in his pock­et.

Instead, this ani­ma­tion, and the gris­ly graph­ic pho­to that fol­lows of Landau’s face pri­or to receiv­ing 45 stitch­es, will have to suf­fice. His rec­ol­lec­tion of the laugh­ter and racial epi­thets direct­ed his way as he lay bleed­ing on the ground are stom­ach-churn­ers, too.

Like his moth­er, Landau’s child­hood per­cep­tion of an all-inclu­sive, benev­o­lent world was shat­tered. They mourned it togeth­er when they were reunit­ed in the emer­gency room on the night of the ill-fat­ed traf­fic stop.

Look and lis­ten.

Then, if you are ready to wade into thornier ter­ri­to­ry, read the hun­dreds of com­ments view­ers have post­ed on youtube.

Ulti­mate­ly, the City of Den­ver award­ed Lan­dau a $795,000 set­tle­ment, while the Den­ver Police Depart­ment, cit­ing a lack of evi­dence, cleared all three offi­cers of mis­con­duct. Fol­low up arti­cles from 2011 and 2013 are avail­able here and here.

Traf­fic Stop was ani­mat­ed by  Gina Kamentsky & Julie Zam­marchi (read an inter­view with them here). It was recent­ly nom­i­nat­ed for an Emmy award last week.

via West­word

Relat­ed Con­tent:

Read Online Key Doc­u­ments from the Fer­gu­son Grand Jury: Wit­ness Tes­ti­mo­ny, Foren­sic Evi­dence & More

‘Tired of Giv­ing In’: The Arrest Report, Mug Shot and Fin­ger­prints of Rosa Parks (Decem­ber 1, 1955)

Pep­per Spray­ing Peace­ful Pro­tes­tors Con­tin­ues; This Time at UC Davis

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

Edward Wright Creates a List of His 1,000 Favorite Movies: Watch 10 of Them Free Online

There was a time when draw­ing up a list of your top ten favorite films of all time would suf­fice to estab­lish your­self as a cinephile. But sub­se­quent gen­er­a­tions of ever more obses­sive film-lovers have upped the ante — as, even more influ­en­tial­ly, have the film­mak­er-cinephiles. Quentin Taran­ti­no (on whose favorite movies we have post­ed many a time) may still stand as that tribe’s liv­ing arche­type, but his suc­ces­sors have made no secrets of the cin­e­ma they admire. Take, for instance, Edgar Wright, direc­tor of such intel­li­gent come­dies as Shaun of the DeadHot Fuzz, and The World’s End, and author (with MUBI’s Sam DiS­alle) of a list of his top thou­sand favorite films of all time.

“Arranged in chrono­log­i­cal order, Wright’s list kicks off with Robert Wiene’s 1920 clas­sic The Cab­i­net of Dr. Cali­gari and con­cludes with Nico­las Wind­ing Refn’s con­tro­ver­sial hor­ror flick The Neon Demon, which opened this year,” writes Enter­tain­ment Week­ly’s Dec­van Cog­gan. “In between are 998 eclec­tic choic­es, includ­ing every­thing from Cit­i­zen Kane and The God­fa­ther to The Lob­ster and The LEGO Movie.” That may not come as much of a sur­prise to Wright’s fans, who appre­ci­ate the eclec­tic sen­si­bil­i­ty, both aes­thet­ic and comedic, that per­me­ates his films. Now they have a guide to fol­low, through its influ­ence on his thor­ough­ly 21st-cen­tu­ry work, into near­ly the entire his­to­ry of cin­e­ma.

In fact, they can start right now with no few­er than ten pic­tures from the ear­li­er part of his chrono­log­i­cal­ly-arranged list. Fol­low the links below to our posts on them here on Open Cul­ture, where you can watch them for free. The ones with an aster­isk you can watch right here on this page.

Hyper­ki­net­ic humor, snap­py dia­logue, unre­al­i­ty, dystopia, men­ace: all qual­i­ties just as present in these clas­sic movies as in Wright’s own. Once you’ve seen them, you’ll find your appre­ci­a­tion for his back cat­a­log has risen to a whole new lev­el — and they’ll no doubt place you well to have the fullest pos­si­ble view­ing expe­ri­ence of his lat­est pic­ture, a crime com­e­dy called Baby Dri­ver, when it hits the­aters next year.

via Enter­tain­ment Week­ly

Relat­ed Con­tent:

Quentin Taran­ti­no Picks the 12 Best Films of All Time; Watch Two of His Favorites Free Online

Mar­tin Scors­ese Makes a List of 85 Films Every Aspir­ing Film­mak­er Needs to See

Wes Anderson’s Favorite Films: Moon­struck, Rosemary’s Baby, and Luis Buñuel’s The Exter­mi­nat­ing Angel

Orson Welles Names His 10 Favorite Films: From Chaplin’s City Lights to Ford’s Stage­coach

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

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.

Watch Carl Sagan’s “A Glorious Dawn” Become the First Vinyl Record Played in Space, Courtesy of Jack White

Third Man Records, the record label cre­at­ed by The White Stripes’ Jack White, announced Sat­ur­day that they’ve made his­to­ry by launch­ing a “space-proof” turntable into space (near space, to be pre­cise), using a high-alti­tude bal­loon to reach a peak alti­tude of 94,413 feet. Their goal was to “send a vinyl record up as high as pos­si­ble and doc­u­ment it being played there.” And that they did.

Accord­ing to their press release, for “the entire hour and twen­ty min­utes of ascen­sion, the Icarus turntable faith­ful­ly played Carl Sagan’s “A Glo­ri­ous Dawn” (from “Cos­mos” by Sym­pho­ny of Sci­ence com­pos­er John Boswell) on repeat, using an impres­sive­ly stur­dy phono car­tridge and sty­lus as well as an onboard flight com­put­er pro­grammed with a few dif­fer­ent actions to keep the record play­ing while it was safe to do so.” Even­tu­al­ly, when the bal­loon popped (around the 83rd minute), the turntable went into “tur­bu­lence mode” and safe­ly sur­vived the descent back down to earth. You can watch the entire his­toric voyage–all two hours of it–in the video above.

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:

Watch His­toric Footage of Joseph Kittinger’s 102,800 Jump from Space (1960)

How Vinyl Records Are Made: A Primer from 1956

How to Clean Your Vinyl Records with Wood Glue

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