Christopher Hitchens Dismisses the Cult of Ayn Rand: There’s No “Need to Have Essays Advocating Selfishness Among Human Beings; It Requires No Reinforcement”

Charges of hypocrisy, con­tra­dic­tion, “flip-flop­ping,” etc. in pol­i­tics are so much mud thrown at the cas­tle walls. Unless the peas­ants gath­er in large enough num­bers to storm the palace and depose their lords, their right­eous­ness avails them noth­ing. What does it mat­ter to the cur­rent par­ty in pow­er, for example—who wears the nation­al flag like a cape and has decid­ed the civ­il reli­gion and its Evan­gel­i­cal vari­ety are one in the same—that its most-admired role mod­el and (alleged) fix­er is a cor­rupt Russ­ian auto­crat who mur­ders jour­nal­ists (or a Con­fed­er­ate gen­er­al who led the armies of a trea­so­nous slave state)?

So it is, on and on, with the polit­i­cal class.

Take Alan Greenspan, chair­man of the Fed­er­al Reserve from 1987 to 2006. Dur­ing these years, he was wide­ly hailed as a major pow­er behind the throne, no mat­ter the poli­cies of those who occu­pied it. He was “oblig­ed to report,” Christo­pher Hitchens wrote in Van­i­ty Fair in 2000, “to Con­gress only twice a year, at for­mal occa­sions where he is received with the def­er­ence that was once accord­ed the Emper­or of Japan.” I well remem­ber the dowdy fris­son accom­pa­ny­ing those appear­ances in the 90s, the Bill Clin­ton bub­ble years. Hitchens only slight­ly exag­ger­ates. But some­how, Greenspan retained this guru-like aura despite the fact that his posi­tion vio­lat­ed his sin­cere­ly-held beliefs as a mem­ber, he him­self told Hitchens, of Ayn Rand’s “inner cir­cle”

As Hitchens notes in the grainy video clip above, “a state Fed­er­al Reserve Bank is not part of the Lib­er­tar­i­an pro­gram, though Mr. Greenspan seems a bit iffy about this self-evi­dent propo­si­tion.” In addi­tion to cham­pi­oning athe­ism and abor­tion rights, Rand, Greenspan’s “intel­lec­tu­al guru,” defined the rigid ide­o­log­i­cal dis­dain for gov­ern­ment med­dling in mar­kets and social spend­ing of any kind. Yet she end­ed her days on the gov­ern­ment dime. But there are no con­tra­dic­tions for pur­vey­ors of theod­i­cies. Ran­di­ans, or “Objec­tivists,” if they pre­fer, must know that to every­one out­side the cir­cle, the phi­los­o­phy looks like eth­i­cal­ly-bank­rupt cult log­ic, wish­ful think­ing eas­i­ly dis­card­ed when incon­ve­nient. Still, adepts will write to tell us that if we only grasped the gnos­tic rea­son­ing of such-and-such argu­ment, then we too could pierce the veil.

Hitchens dis­pens­es with this pre­tense, not as an anar­cho-com­mu­nist rad­i­cal but as a some­time neo­con­ser­v­a­tive hawk and some­time admir­er of Rand (or at least a knowl­edge­able read­er of her work). “I have some respect for the ‘Virtue of Self­ish­ness,’” he goes on to say in his aside on Rand above—which occurred dur­ing a lec­ture called “The Moral Neces­si­ty of Athe­ism” at Sewa­nee Uni­ver­si­ty in 2004. (In his Van­i­ty Fair essay, Hitchens pro­nounced him­self a “Rand buff.”) And yet, the title of Rand’s col­lec­tion of essays pro­vides him with the rhetor­i­cal essence of his cri­tique, one drawn from a dif­fer­ent strain of virtue—of a reli­gious vari­ety, even. After dis­miss­ing Rand on lit­er­ary grounds, he says:

I don’t think there’s any need to have essays advo­cat­ing self­ish­ness among human beings; I don’t know what your impres­sion has been, but some things require no fur­ther rein­force­ment.

The urbane Hitchens goes on to tell an off-col­or anec­dote about Lil­lian Hell­man with a moral­is­tic under­tone, gets a laugh, and piv­ots to a much old­er the­o­log­i­cal con­flict to bring his point home.

So to have a book stren­u­ous­ly rec­om­mend­ing that peo­ple be more self-cen­tered seems to me, as the Angli­can Church used to say in its cri­tique of Catholi­cism, a work of super-arro­ga­tion. It’s too stren­u­ous.

It’s try­ing too hard, that is, to con­vince us, and itself, per­haps, that its super­sti­tions, self-defens­es, and desires are nat­ur­al law. Rand’s belief sys­tem has so lit­tle intel­lec­tu­al cur­ren­cy among thinkers on the left that few peo­ple spend any time both­er­ing to refute it. But Hitchens did the polit­i­cal cen­ter a ser­vice when he took on defend­ers of Ran­di­an­ism in the media, such as he does in the debate below with David Frum, the now infa­mous neo­con­ser­v­a­tive Cana­di­an speech­writer for George W. Bush. Those who think the health­care debate began with the elec­tion of Barack Oba­ma may be sur­prised to see it con­duct­ed in almost the very same terms in 1996.

Frum defends a ver­sion of the lib­er­tar­i­an view, Hitchens a social demo­c­ra­t­ic per­spec­tive. When Rand’s name inevitably comes up near the end of the dis­cus­sion (4:40), Hitchens artic­u­lates the same views: “I always thought it quaint, and rather touch­ing,” he says with dry irony, “that there is in Amer­i­ca a move­ment that thinks peo­ple are not yet self­ish enough…. It’s some­what refresh­ing to meet peo­ple who man­age to get through their day actu­al­ly believ­ing that.” Like many oth­ers, Hitchens embod­ied a num­ber of con­tra­dic­tions. Among them, per­haps, was his staunch, almost Catholic belief—despite his stren­u­ous objec­tion to religion—that self­ish­ness… too much self­ish­ness, a val­oriza­tion of self­ish­ness, a cult of self­ish­ness… is self-evi­dent­ly a rather sin­ful thing.

Relat­ed Con­tent:

When Ayn Rand Col­lect­ed Social Secu­ri­ty & Medicare, After Years of Oppos­ing Ben­e­fit Pro­grams

Christo­pher Hitchens Cre­ates a Revised List of The 10 Com­mand­ments for the 21st Cen­tu­ry

Flan­nery O’Connor: Friends Don’t Let Friends Read Ayn Rand (1960)

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

What Do Aliens Look Like? Oxford Astrobiologists Draw a Picture, Based on Darwinian Theories of Evolution


When Charles Dar­win laid out his the­o­ry of nat­ur­al selec­tion in 1859, lit­tle could he have imag­ined that, a good 150 years lat­er, this cor­ner­stone of evo­lu­tion­ary the­o­ry might help us form a men­tal pic­ture of what alien life looks like. But that’s pre­cise­ly how a group of researchers from Oxford Uni­ver­si­ty have done: In a research paper called “Dar­win’s Aliens,” they’ve applied Dar­win’s the­o­ry to alien life, posit­ing that aliens–like humans–adapt to their envi­ron­ment, under­go nat­ur­al selec­tion, and move from sim­ple to com­plex life forms. And, by the end, they could plau­si­bly look some­thing like a “colony of Ewoks from Star Wars or the Octomite” pic­tured above.

You can read “Dar­win’s Aliens” in the Inter­na­tion­al Jour­nal of Astro­bi­ol­o­gy. It’s pub­lished on the Cam­bridge Core web­site.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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!

via The Guardian

Relat­ed Con­tent:

Carl Sagan Sent Music & Pho­tos Into Space So That Aliens Could Under­stand Human Civ­i­liza­tion (Even After We’re Gone)

Free NASA eBook The­o­rizes How We Will Com­mu­ni­cate with Aliens

The CIA Puts Hun­dreds of Declas­si­fied Doc­u­ments About UFO Sight­ings Online, Plus 10 Tips for Inves­ti­gat­ing Fly­ing Saucers

Carl Jung’s Fas­ci­nat­ing 1957 Let­ter on UFOs

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Hear the Highest Note Sung in the 137-Year History of the Metropolitan Opera

You may have heard an A above high C the last time you acci­den­tal­ly stepped on your cat’s tail, but it takes a com­bi­na­tion of rig­or­ous train­ing, genet­ic luck, and sheer grit for a human to pro­duce this note on cue.

Accord­ing to all known records, the col­oratu­ra sopra­no, Audrey Luna, is the first such being in the Met­ro­pol­i­tan Opera’s 137-year his­to­ry to do so on its stage, an achieve­ment that has all the opera dogs bark­ing. Hear it in the NPR clip below.

Some purists view the rare note as a dis­taste­ful stunt on the part of com­pos­er Thomas Adès. The score of his new opera, The Exter­mi­nat­ing Angel, based on the Luis Buñuel film, also calls for minia­ture 1/32-size vio­lins, a pair of rocks, a wood­en sal­ad bowl, a door, and an ondes Martenot—an elec­tron­ic instru­ment from 1928.

Oth­ers are bedaz­zled by Luna’s his­to­ry-mak­ing pipes. She makes her entrance on that high A, and hits it again short­ly there­after, as Leti­cia, a diva who rolls up to a din­ner par­ty fol­low­ing a per­for­mance of Donizetti’s Lucia di Lam­mer­moor. (The title role of that one—a part Luna has played, natch—is anoth­er that demands stratos­pher­ic notes of its per­form­ers, set­ting records at opera hous­es around the world.)

See below for more of Luna’s dizzy­ing highs, includ­ing her some­what NSFW per­for­mance as Olympia, the mechan­i­cal doll in Offenbach’s Les Con­tes d’Hoffmann

If you’re mad enough to try it your­self, please let us know how high you get in the com­ments below.

via NYTimes

Relat­ed Con­tent:

The Enchant­i­ng Opera Per­for­mances of Klaus Nomi

How to Sing Two Notes At Once (aka Poly­phon­ic Over­tone Singing): Lessons from Singer Anna-Maria Hefele

Alan Tur­ing Gets Chan­neled in a New Opera: Hear Audio from The Life And Death(S) Of Alan Tur­ing

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

Why Did Leonardo da Vinci Write Backwards? A Look Into the Ultimate Renaissance Man’s “Mirror Writing”

As the stand­out exam­ple of the “Renais­sance Man” ide­al, Leonar­do da Vin­ci racked up no small num­ber of accom­plish­ments in his life. He also had his eccen­tric­i­ties, and tried his hand at a num­ber of exper­i­ments that might look a bit odd even to his admir­ers today. In the case of one prac­tice he even­tu­al­ly mas­tered and with which he stuck, he tried his hand in a more lit­er­al sense than usu­al: Leonar­do, the evi­dence clear­ly shows, had a habit of writ­ing back­wards, start­ing at the right side of the page and mov­ing to the left.

“Only when he was writ­ing some­thing intend­ed for oth­er peo­ple did he write in the nor­mal direc­tion,” says the Muse­um of Sci­ence. Why did he write back­wards? That remains one of the host of so far unan­swer­able ques­tions about Leonar­do’s remark­able life, but “one idea is that it may have kept his hands clean. Peo­ple who were con­tem­po­raries of Leonar­do left records that they saw him write and paint left hand­ed. He also made sketch­es show­ing his own left hand at work. As a lefty, this mir­rored writ­ing style would have pre­vent­ed him from smudg­ing his ink as he wrote.”

Or Leonar­do could have devel­oped his “mir­ror writ­ing” out of fear, a hypoth­e­sis acknowl­edged even by books for young read­ers: “Through­out his life, he was wor­ried about the pos­si­bil­i­ty of oth­ers steal­ing his ideas,” writes Rachel A. Koestler-Grack in Leonar­do Da Vin­ci: Artist, Inven­tor, and Renais­sance Man“The obser­va­tions in his note­books were writ­ten in such a way that they could be read only by hold­ing the books up to a mir­ror.” The blog Walk­er’s Chap­ters makes a rep­re­sen­ta­tive coun­ter­ar­gu­ment: “Do you real­ly think that a man as clever as Leonar­do thought it was a good way to pre­vent peo­ple from read­ing his notes? This man, this genius, if he tru­ly want­ed to make his notes read­able only to him­self, he would’ve invent­ed an entire­ly new lan­guage for this pur­pose. We’re talk­ing about a dude who con­cep­tu­al­ized para­chutes even before heli­copters were a thing.”

Per­haps the most wide­ly seen piece of Leonar­do’s mir­ror writ­ing is his notes on Vit­ru­vian Man (a piece of which appears at the top of the post), his enor­mous­ly famous draw­ing that fits the pro­por­tions of the human body into the geom­e­try of both a cir­cle and a square (and whose ele­gant math­e­mat­ics we fea­tured last week). Many exam­ples of mir­ror writ­ing exist after Leonar­do, from his coun­try­man Mat­teo Zac­col­in­i’s 17th-cen­tu­ry trea­tise on col­or to the 18th- and 19th-cen­tu­ry cal­lig­ra­phy of the Ottoman Empire to the front of ambu­lances today. Each of those has its func­tion, but one won­ders whether as curi­ous a mind as Leonar­do’s would want to write back­wards sim­ply for the joy of mas­ter­ing and using a skill, any skill, how­ev­er much it might baf­fle oth­ers — or indeed, because it might baf­fle them.

If you’re inter­est­ed in all things da Vin­ci, make sure you check out the new best­selling biog­ra­phy, Leonar­do da Vin­ci, by Wal­ter Isaac­son.

Relat­ed Con­tent:

The Ele­gant Math­e­mat­ics of Vit­ru­vian Man, Leonar­do da Vinci’s Most Famous Draw­ing: An Ani­mat­ed Intro­duc­tion

Down­load the Sub­lime Anato­my Draw­ings of Leonar­do da Vin­ci: Avail­able Online, or in a Great iPad App

Leonar­do da Vinci’s Bizarre Car­i­ca­tures & Mon­ster Draw­ings

Leonar­do da Vinci’s Vision­ary Note­books Now Online: Browse 570 Dig­i­tized Pages

Leonar­do da Vinci’s Hand­writ­ten Resume (1482)

Leonar­do Da Vinci’s To Do List (Cir­ca 1490) Is Much Cool­er Than Yours

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

Filmmaker Creates a Luxury-Style Car Commercial to Sell a 21-Year-Old Used Honda Accord

This is not your aver­age car com­mer­cial. It has the look and feel of the lux­u­ry car com­mer­cials you’ve seen so many times. And yet it fea­tures a car with 141,095 miles on it. Film­mak­er Max Lan­man cre­at­ed the ad to help his girl­friend sell her used 1996 Hon­da Accord. For rea­sons you’ll quick­ly under­stand, the video went viral, clocked more than 5 mil­lion views this past week, and when the car was list­ed on eBay, bids soared to $150,000–before eBay appar­ent­ly pulled the plug “due to con­cerns around ille­git­i­mate bid­ding.” Enjoy the ad. And remem­ber, “Lux­u­ry is a state of mind.”

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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:

178,000 Images Doc­u­ment­ing the His­to­ry of the Car Now Avail­able on a New Stan­ford Web Site

Hunter S. Thompson’s Edgy 1990s Com­mer­cial for Apple’s Mac­in­tosh Com­put­er: A Med­i­ta­tion on Pow­er

Jim Henson’s Com­mer­cials for Wilkins Cof­fee: 15 Twist­ed Min­utes of Mup­pet Cof­fee Ads (1957–1961)

 

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What the Future Sounded Like: Documentary Tells the Forgotten 1960s History of Britain’s Avant-Garde Electronic Musicians

It real­ly is impos­si­ble to over­state the fact that most of the music around us sounds the way it does today because of an elec­tron­ic rev­o­lu­tion that hap­pened pri­mar­i­ly in the 1960s and 70s (with roots stretch­ing back to the turn of the cen­tu­ry). While folk and rock and roll solid­i­fied the sound of the present on home hi-fis and cof­fee shop and fes­ti­val stages, the sound of the future was craft­ed behind stu­dio doors and in sci­en­tif­ic lab­o­ra­to­ries. What the Future Sound­ed Like, the short doc­u­men­tary above, trans­ports us back to that time, specif­i­cal­ly in Britain, where some of the finest record­ing tech­nol­o­gy devel­oped to meet the increas­ing demands of bands like the Bea­t­les and Pink Floyd.

Much less well-known are enti­ties like the BBC’s Radio­phon­ic Work­shop, whose crew of engi­neers and audio sci­en­tists made what sound­ed like mag­ic to the ears of radio and tele­vi­sion audi­ences. “Think of a sound, now make it,” says Peter Zinovi­eff “any sound is now pos­si­ble, any com­bi­na­tion of sounds is now pos­si­ble.” Zinovi­eff, Lon­don-born son of an émi­gré Russ­ian princess and inven­tor of the huge­ly influ­en­tial VCS3 syn­the­siz­er in 1969, opens the documentary—fittingly, since his tech­nol­o­gy helped pow­er the futur­is­tic sound of pro­gres­sive rock, and since, togeth­er with the Radio­phon­ic Workshop’s Delia Der­byshire and Bri­an Hodg­son, he ran Unit Delta Plus, a stu­dio group that cre­at­ed and pro­mot­ed elec­tron­ic music.

Also appear­ing in the doc­u­men­tary is Tris­tram Cary, who, with Zinovi­eff, found­ed Elec­tron­ic Music Stu­dios, one of four mak­ers of com­mer­cial syn­the­siz­ers in the late six­ties, along with ARP, Buch­la, and Moog. Zinovi­eff and Carey are not house­hold names in part because they didn’t par­tic­u­lar­ly strive to be, pre­fer­ring to work behind the scenes on exper­i­men­tal forms and eschew­ing pop­u­lar music even as their tech­nol­o­gy gave birth to so much of it. The aris­to­crat­ic Zinovi­eff and pipe-smok­ing, pro­fes­so­r­i­al Carey hard­ly fit in with the crowd of rock and pop stars they inspired.

In hind­sight, how­ev­er, Zinovi­eff desires more recog­ni­tion for their work. “One thing which is odd, is that there’s a miss­ing chap­ter, which is EMS, in all the books about elec­tron­ic music. Peo­ple do not know what incred­i­ble mechan­i­cal adven­tures we were up to.” Those adven­tures includ­ed not only cre­at­ing new tech­nol­o­gy, but com­pos­ing nev­er-before-heard music. Both Zinovi­eff and Carey con­tin­ue to cre­ate elec­tron­ic scores, and Carey hap­pens to be one of the first adopters in Britain of musique con­crète, the pro­to-elec­tron­ic music pio­neered in the 1940s using tape machines, micro­phones, fil­ters, and oth­er record­ing devices, along with found sounds, field record­ings, and ad hoc instru­ments made from non-instru­ment objects. (See exam­ples of these tech­niques in the clip above from the 1979 BBC doc­u­men­tary The New Sound of Music.)

Many of the sounds that emerged from Britain’s elec­tron­ic music founders came out of the detri­tus of World War II. Carey’s first seri­ous stu­dio design, he says, “coin­cid­ed with the post-war appear­ance of an enor­mous amount of junk from the army, navy, and air force. For some­one who knew what to do, and could han­dle a sol­der­ing iron, and could design audio equip­ment, even if you only had 30 shillings in your pock­et, you could get some­thing.” With their knowl­edge of elec­tron­ics and hodge-podge of tech­nol­o­gy, Carey and his com­pa­tri­ots were design­ing an avant-garde elec­tron­ic “high moder­ni­ty,” author Trevor Pinch declares. “I think you can think of peo­ple like Tris­tan Carey as dream­ing of a future sound­scape of Lon­don.” Nowa­days, those sounds are as famil­iar to us as the music piped over the speak­ers in restau­rants and shops. One won­ders what the future after the future these pio­neers designed will sound like?

What the Future Sound­ed Like will be added to our col­lec­tion of Doc­u­men­taries, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Two Doc­u­men­taries Intro­duce Delia Der­byshire, the Pio­neer in Elec­tron­ic Music

Meet Four Women Who Pio­neered Elec­tron­ic Music: Daphne Oram, Lau­rie Spiegel, Éliane Radigue & Pauline Oliv­eros

The His­to­ry of Elec­tron­ic Music Visu­al­ized on a Cir­cuit Dia­gram of a 1950s Theremin: 200 Inven­tors, Com­posers & Musi­cians

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

Why Babies in Medieval Paintings Look Like Middle-Aged Men: An Investigative Video

How much spe­cial treat­ment should we give chil­dren, and how much should we regard them as small adults? The answer to that ques­tion varies not just between but with­in time peri­ods and soci­eties. The atti­tude in the 21st-cen­tu­ry west can, at times, seem to have erred toward a patron­iz­ing over­pro­tec­tive­ness, but his­to­ry has shown that if the social pen­du­lum swings one way, it’ll prob­a­bly swing the oth­er in due time. We cer­tain­ly find our­selves far from the view of chil­dren tak­en in medieval Europe, of which we catch a glimpse when­ev­er we behold the babies in its paint­ings — babies that invari­ably, accord­ing to a Vox piece by Phil Edwards, “look like ugly old men.”

“Medieval por­traits of chil­dren were usu­al­ly com­mis­sioned by church­es,” writes Edwards, “and that made the range of sub­jects lim­it­ed to Jesus and a few oth­er bib­li­cal babies. Medieval con­cepts of Jesus were deeply influ­enced by the homuncu­lus, which lit­er­al­ly means lit­tle man.” It also goes along with a strange­ness preva­lent in medieval art which, accord­ing to Creighton Uni­ver­si­ty art his­to­ri­an Matthew Averett, “stems from a lack of inter­est in nat­u­ral­ism” and a reliance on “expres­sion­is­tic con­ven­tions.” These con­di­tions changed, as did much else, with the Renais­sance: “a trans­for­ma­tion of the idea of chil­dren was under­way: from tiny adults to unique­ly inno­cent crea­tures” with the cute­ness to match.

You can wit­ness a ver­i­ta­ble parade of odd­ly man­like medieval babies in the short video at the top of the post. “After the Renais­sance, cherubs did­n’t seem out of place, and nei­ther did cuter pic­tures of baby Jesus,” says Edwards, nar­rat­ing. “It’s kind of stayed that way since. We want babies who look like they need their cheeks pinched, not their prostates checked. We want them chub­by and cute, and we want babies that fit our ideals” — ideals that have led from pudgy angels to the Ger­ber Baby to the col­lect­ed work of Anne Ged­des. We prob­a­bly need not fear an aes­thet­ic return to the mid­dle-aged, homuncu­lar babies of yore, but their frowny expres­sions have cer­tain­ly made a come­back in real life: just look at any 21st-cen­tu­ry infant immersed in an iPad.

via Vox

Relat­ed Con­tent:

Hierony­mus Bosch’s Medieval Paint­ing, “The Gar­den of Earth­ly Delights,” Comes to Life in a Gigan­tic, Mod­ern Ani­ma­tion

The Aberdeen Bes­tiary, One of the Great Medieval Illu­mi­nat­ed Man­u­scripts, Now Dig­i­tized in High Res­o­lu­tion & Made Avail­able Online

Leonar­do da Vinci’s Bizarre Car­i­ca­tures & Mon­ster Draw­ings

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

Bob Woodward Is Now Teaching an Online Course on Investigative Journalism–a Course for Our Time

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Bob Wood­ward made his bones as an inves­tiga­tive jour­nal­ist when he and fel­low Wash­ing­ton Post reporter Carl Bern­stein blew open the Water­gate scan­dal in 1972. Their report­ing exposed the “dirty tricks” of Richard Nixon’s re-elec­tion com­mit­tee. Gov­ern­ment inves­ti­ga­tions fol­lowed and the pres­i­dent even­tu­al­ly resigned.

Today we’re liv­ing in anoth­er age when inves­tiga­tive jour­nal­ism is of para­mount impor­tance. Only now it’s under attack. But, take heart, Bob Wood­ward is now teach­ing an online course on inves­tiga­tive jour­nal­ism. In 24 video lessons, he’ll teach you the impor­tance of human sources, how to gath­er infor­ma­tion, how to inter­view peo­ple, estab­lish facts, and build a sto­ry. He reminds us, “This is the time when we’re being test­ed. Let’s tell the truth, let’s not be chick­en­shit.” Amen to that.

You can now enroll in his course, which costs $90. But, for $180, you can get an annu­al pass to every course in the Mas­ter­Class cat­a­logue. Oth­er cours­es in the Mas­ter­class cat­a­logue include:

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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:

How to Down­load Bob Woodward’s Fear: Trump in the White House as a Free Audio­book

Bob Wood­ward: How Inves­tiga­tive Jour­nal­ism Gets Done

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