Watch Animated Scores to Music by Radiohead, Talking Heads, LCD Soundsystem, Photek & Other Electronic/Post-Punk/Avant-Garde Musicians

A few weeks ago, we told you about Stephen Mali­nows­ki and the Music Ani­ma­tion Machine, a pop­u­lar and pret­ty expan­sive YouTube chan­nel that fea­tures scrolling, col­or-coor­di­nat­ed ani­mat­ed “scores” for clas­si­cal works from Debussy to Bach and Stravin­sky.

But what if there was a ver­sion of this, some­where some­how, for elec­tron­ic music?

Ask the ques­tion of the Inter­net, dear read­er, and the gods will pro­vide. For just over a year motion graph­ics design­er Johannes Lam­pert has been work­ing in a sim­i­lar style to inter­pret the work of elec­tron­ic, post-punk, and mod­ern com­posers like Steve Reich and Arvo Pärt in which every sound is rep­re­sent­ed by a dif­fer­ent ani­mat­ed sym­bol.

In the above video, Lam­pert takes on Talk­ing Heads’ mul­ti­lay­ered, Fela Kuti-inspired “The Great Curve” from Remain in Light. The video gives us jagged lines for Tina Weymouth’s bass, a steady bor­der of dots for Chris Frantz’ propul­sive drum tracks, and sev­er­al gaps into which the three vocal lines of the song—David Byrne’s lead, and Nona Hendryx and the band’s mul­ti­tracked call-and-response back­ing vocals—drop and pulse. Add to that an unbro­ken jagged line that repli­cates Adri­an Belew’s sear­ing and soar­ing solo.

Cur­rent­ly there are 12 tracks avail­able on Anato­my of a Track’s Youtube chan­nel, with a post­ing record that sug­gests Johannes Lam­pert is work­ing on one every two months.

Lam­pert exper­i­ments with the lay­out and graph­ics of his ani­ma­tions, mak­ing their design com­ple­ment the music. Hence “The Great Curve” look­ing like African tex­tiles, Gil-Scott Heron’s “New York Is Killing Me” aping the New York Sub­way map, and Photek’s “The Rain” as a pud­dle filled with puls­ing rain­drops.

Maybe the most com­plex video so far is for Radiohead’s “Bloom,” which is just as chaot­ic as the band’s tum­bling drum machine. But it does uncov­er how steady the bass is in this track while all around the oth­er instru­ments are shim­mer­ing and ethe­re­al. And for just a good time, Justice’s “Phan­tom” is turned into a dynam­ic light show that looks like a night dri­ve down a Japan­ese express­way.

I would put it to you that mod­ern elec­tron­ic artists think about their music much like these ani­ma­tions. I mean, what are music edit­ing pro­grams like Pro­Tools or Log­ic Pro but hor­i­zon­tal scrolls of dots and sound waves?

No doubt Lam­pert has more tricks up his sleeve and more tracks to ani­mate. Stay tuned.

Relat­ed Con­tent:

Watch Clas­si­cal Music Come to Life in Art­ful­ly Ani­mat­ed Scores: Stravin­sky, Debussy, Bach, Beethoven, Mozart & More

Opti­cal Poems by Oskar Fischinger, the Avant-Garde Ani­ma­tor Hat­ed by Hitler, Dissed by Dis­ney

Watch Clas­si­cal Music Get Per­fect­ly Visu­al­ized as an Emo­tion­al Roller Coast­er Ride

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Celebrate the Women’s March with 24 Goddess GIFs Created by Animator Nina Paley: They’re Free to Download and Remix

As mil­lions of women, men, and friends beyond the bina­ry gear up for Wom­en’s March events around the world this week­end, we can’t help but draw strength from the Venus of Wil­len­dorf in Graph­ics Inter­change For­mat, above.

Like the pussy hats that became the most vis­i­ble sym­bol of last year’s march, there’s a strong ele­ment of humor at play here.

Also respect for the female form.

As Dr. Bryan Zyg­mont notes in his Khan Acad­e­my essay on the Venus of Wil­len­dorf, her exis­tence is evi­dence that “nomadic peo­ple liv­ing almost 25,000 years ago cared about mak­ing objects beau­ti­ful. And … that these Pale­olith­ic peo­ple had an aware­ness of the impor­tance of the women.”

Ani­ma­tor Nina Paley has tak­en up our Pale­olith­ic ances­tors’ baton by cre­at­ing two dozen ear­ly god­dess GIFs, includ­ing the Venus.

As fur­ther proof that sis­ter­hood is pow­er­ful, Paley is shar­ing her unashamed­ly boun­cy pan­theon with the pub­lic. Vis­it her blog to down­load all 24 indi­vid­ual god­dess GIFs. Dis­sem­i­nate them wide­ly. Use them for good! No per­mis­sion need­ed.

Paley is no stranger to god­dess­es, hav­ing pre­vi­ous­ly placed the divine hero­ine of the Ramayana front and cen­ter in her semi-auto­bi­o­graph­i­cal fea­ture length ani­ma­tion, Sita Sings the Blues.

She’s also incred­i­bly famil­iar with rights issues, fol­low­ing mas­sive com­pli­ca­tions with some vin­tage record­ings her Bet­ty Boop-ish Sita lip-synchs in the film. (She had pre­vi­ous­ly believed them to be in the pub­lic domain.) Unable to pay the huge sum the copy­right hold­ers demand­ed to license the tunes, Paley ulti­mate­ly decid­ed to relin­quish all legal claims to her own film, plac­ing Sita Sings the Blues in the pub­lic domain, to be freely shared, exhib­it­ed, or even remixed.

If Paley’s the poster child for copy­right issues she’s also a shin­ing exam­ple of deriv­ing pow­er from unlike­ly sources.

As she wrote on her web­site near­ly ten years ago:

My per­son­al expe­ri­ence con­firms audi­ences are gen­er­ous and want to sup­port artists. Sure­ly there’s a way for this to hap­pen with­out cen­tral­ly con­trol­ling every trans­ac­tion. The old busi­ness mod­el of coer­cion and extor­tion is fail­ing. New mod­els are emerg­ing, and I’m hap­py to be part of that. But we’re still mak­ing this up as we go along. You are free to make mon­ey with the free con­tent of Sita Sings the Blues, and you are free to share mon­ey with me. Peo­ple have been mak­ing mon­ey in Free Soft­ware for years; it’s time for Free Cul­ture to fol­low. I look for­ward to your inno­va­tions.

As for Paley’s own plans for her god­dess­es, they’ll be a part of her upcom­ing ani­mat­ed musi­cal, Seder-Masochism, not­ing that “all ear­ly peo­ples con­ceived the divine as female.”

Down­load Nina Paley’s God­dess GIFs here. Watch Sita Sings the Blues here. March ever onward!

Relat­ed Con­tent:

3D Scans of 7,500 Famous Sculp­tures, Stat­ues & Art­works: Down­load & 3D Print Rodin’s Thinker, Michelangelo’s David & More

How Ancient Greek Stat­ues Real­ly Looked: Research Reveals their Bold, Bright Col­ors and Pat­terns

The God­dess: A Clas­sic from the Gold­en Age of Chi­nese Cin­e­ma, Star­ring the Silent Film Icon Ruan Lingyu (1934)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Join her on Feb­ru­ary 8 for Necro­mancers of the Pub­lic Domain, when a host of New York City-based per­form­ers and musi­cians will res­ur­rect  a long for­got­ten work from 1911 as a low bud­get, vari­ety show. Fol­low her @AyunHalliday.

The History of the World in One Video: Every Year from 200,000 BCE to Today

“Where are you from?” a char­ac­ter at one point asks Babe, the hap­less pro­tag­o­nist of the Fire­sign The­atre’s clas­sic com­e­dy album How Can You Be in Two Places at Once When You’re Not Any­where at All. “Nairo­bi, ma’am,” Babe replies. “Isn’t every­body?” Like most of that psy­che­del­ic radio troupe’s pieces of appar­ent non­sense, that mem­o­rable line con­tains a truth: trace human his­to­ry back far enough and you inevitably end up in east Africa, a point illus­trat­ed in reverse by the video above, “A His­to­ry of the World: Every Year,” which traces the march of human­i­ty between 200,000 BCE and the mod­ern day.

To a dra­mat­ic sound­track which opens and clos­es with the music of Hans Zim­mer, video cre­ator Ollie Bye charts mankind’s progress out of Africa and, ulti­mate­ly, into every cor­ner of all the con­ti­nents of the world.

Real, doc­u­ment­ed set­tle­ments, cities, empires, and entire civ­i­liza­tions rise and fall as they would in a com­put­er game, with a con­stant­ly updat­ed glob­al pop­u­la­tion count and list of the civ­i­liza­tions active in the cur­rent year as well as occa­sion­al notes about pol­i­tics and diplo­ma­cy, soci­ety and cul­ture, and inven­tions and dis­cov­er­ies.

All that hap­pens in under 20 min­utes, a pret­ty swift clip, though not until the very end does the world take the polit­i­cal shape we know today, includ­ing even the late late­com­er to civ­i­liza­tion that is the Unit­ed States of Amer­i­ca. Bye’s many oth­er videos tend to focus on the his­to­ry of oth­er parts of the world, such as India, the British Isles, and that cra­dle of our species, the African con­ti­nent, all of which we can now devel­op first-hand famil­iar­i­ty with in this age of unprece­dent­ed human mobil­i­ty. Though the con­di­tion itself takes the ques­tion “Where are you from?” to a degree of com­pli­ca­tion unknown not only mil­len­nia but also cen­turies and even decades ago, at least now you have a snap­py answer at the ready.

Relat­ed Con­tent:

The His­to­ry of Civ­i­liza­tion Mapped in 13 Min­utes: 5000 BC to 2014 AD

Take Big His­to­ry: A Free Short Course on 13.8 Bil­lion Years of His­to­ry, Fund­ed by Bill Gates

The His­to­ry of the World in 46 Lec­tures From Colum­bia Uni­ver­si­ty

The His­to­ry of the World in 20 Odd Min­utes

A Crash Course in World His­to­ry

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

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.

Spheres Dance to the Music of Bach, Performed by Glenn Gould: An Animation from 1969

From Nor­man McLaren and RenĂ© Jodoin comes a 1969 short ani­ma­tion called “Spheres.” Here, you can watch “spheres of translu­cent pearl float weight­less­ly in the unlim­it­ed panora­ma of the sky, group­ing, regroup­ing or col­lid­ing like the styl­ized burst of some atom­ic chain reac­tion.” All the while, “the dance is set to the musi­cal cadences of Bach, played by pianist Glenn Gould.” A per­fect com­bi­na­tion.

This film par­tic­i­pates in a long tra­di­tion of ani­ma­tions explor­ing geom­e­try, some of which you can find in the Relat­eds right below.

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:

The First Avant Garde Ani­ma­tion: Watch Wal­ter Ruttmann’s Licht­spiel Opus 1 (1921)

Chuck Jones’ The Dot and the Line Cel­e­brates Geom­e­try & Hard Work: An Oscar-Win­ning Ani­ma­tion (1965)

Jour­ney to the Cen­ter of a Tri­an­gle: Watch the 1977 Dig­i­tal Ani­ma­tion That Demys­ti­fies Geom­e­try

Watch “Geom­e­try of Cir­cles,” the Abstract Sesame Street Ani­ma­tion Scored by Philip Glass (1979)

 

 

The Movements of a Symphony Conductor Get Artistically Visualized in an Avant-Garde Motion Capture Animation

Some clas­si­cal music enthu­si­asts are purists with regard to visu­al effects, lis­ten­ing with eyes firm­ly fixed on lin­er notes or the ceil­ings of grand con­cert halls.

Those open to a more avant-garde ocu­lar expe­ri­ence may enjoy the short motion cap­ture ani­ma­tion above.

Moti­vat­ed by the Lon­don Sym­pho­ny Orches­tra’s desire for a hip­per iden­ti­ty, the project hinged on recent­ly appoint­ed Musi­cal Direc­tor Sir Simon Rat­tle’s will­ing­ness to con­duct Edward Elgar’s Enig­ma Vari­a­tions with a spe­cial­ly mod­i­fied baton, while 12 top-of-the-range Vicon Van­tage cam­eras not­ed his every move at 120 frames per sec­ond.

Dig­i­tal design­er Tobias Gremm­ler, who’s pre­vi­ous­ly used motion-cap­ture ani­ma­tion as a lens through which to con­sid­er kung fu and Chi­nese Opera, stuck with musi­cal metaphors in ani­mat­ing Sir Simon’s data with Cin­e­ma 4D soft­ware. The move­ments of con­duc­tor and baton morph into a “vor­tex of wood, brass, smoke and strings” and “wires rem­i­nis­cent of the strings of the instru­ments them­selves.” Else­where, he draws on the atmos­phere and archi­tec­ture of clas­sic con­cert halls.

(The unini­ti­at­ed may find them­selves flash­ing on less rar­i­fied sources of inspi­ra­tion, from lava lamps and fire danc­ing to the 80’s‑era dig­i­tal uni­verse of Tron.)

via Atlas Obscu­ra

Relat­ed Con­tent:

The Grace­ful Move­ments of Kung Fu & Mod­ern Dance Revealed in Stun­ning Motion Visu­al­iza­tions

Visu­al­iz­ing WiFi Sig­nals with Light

The Entire Dis­ci­pline of Phi­los­o­phy Visu­al­ized with Map­ping Soft­ware: See All of the Com­plex Net­works

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

Where Are They Now? An Animated Mockumentary Reveals What Happened to Your Favorite 1980s Cartoon Characters After Their Heyday

It’s a cau­tion­ary tale about what hap­pens when the world you pre­pared your­self for changes and leaves you behind. Cold­ly, and some­times with­out warn­ing.

Above, watch Steve Cutts’ 2014 ani­mat­ed mock­u­men­tary, “Where Are They Now?”. Star­ring Roger and Jes­si­ca Rab­bit, and fea­tur­ing cameos by Garfield and The Smurfs, the short film revis­its car­toon char­ac­ters who had it all in the 1980s. Then hit the skids in the ear­ly 90s. Hard. “We had done our jobs,” says an aged Jes­si­ca Rab­bit. “Now we were for­got­ten about. Obso­lete.” It’s a bleak pic­ture that Cutts paints. But, it’s not all bad. He-Man became a wealthy lin­gerie design­er. We could all use a well-thought-out Plan B.

Relat­ed Con­tent:

A Look Inside Mel Blanc’s Throat as He Per­forms the Voic­es of Bugs Bun­ny and Oth­er Car­toon Leg­ends

Chuck Jones’ 9 Rules For Draw­ing Road Run­ner Car­toons, or How to Cre­ate a Min­i­mal­ist Mas­ter­piece

The Long Game of Cre­ativ­i­ty: If You Haven’t Cre­at­ed a Mas­ter­piece at 30, You’re Not a Fail­ure

An Innocent Christmas Typo Causes Sir Patrick Stewart to Star as Satan In This Animated Holiday Short

In cer­tain sec­tors, over-the-top ad agency greet­ings are as much a part of the hol­i­day sea­son as A Christ­mas Car­ol and How the Grinch Stole Christ­mas!.

Anom­aly Lon­don put in their thumb and pulled out a plum when Sir Patrick Stew­art agreed to voice their lat­est effort, above.

And what bet­ter way to top his cel­e­brat­ed turn as Ebe­neez­er Scrooge than by tack­ling the most Christmas‑y role of them all?

San­ta, is that you?

No, dear child, ’tis Satan, sum­moned by an inno­cent mis-spelling on the part of a young girl eager for a Christ­mas pup­py.

When the post office deliv­ers her sim­i­lar­ly mis­ad­dressed enve­lope to hell by Decem­ber 25, the buff and tat­tooed Lord of Dark­ness’ heart grows three sizes. Every­one likes to be told they’re spe­cial.

Next thing you know, he’s trad­ed the fiery fur­nace for a gluten-free bak­ery in Shored­itch, where he’s a hap­py team play­er, mak­ing lat­te art and wear­ing a goofy cap.

The end­ing is a sweet mix of “I hate you, you ruined Christ­mas, go to hell!” and “God bless us every­one.” San­ta doesn’t sur­vive, but the child­like capac­i­ty for won­der does.

Those with sen­si­tive stom­achs may want to go easy on the eggnog while watch­ing this soon-to-be-hol­i­day clas­sic. The pro­jec­tile vom­it­ing rivals the Exor­cist’s.

And hap­py hol­i­days from all of us at Open Cul­ture!

Relat­ed Con­tent:

Hear The Cin­na­mon Bear, the Clas­sic Hol­i­day Radio Series That Has Aired Between Thanks­giv­ing and Christ­mas for 80 Years

Hear Paul McCartney’s Exper­i­men­tal Christ­mas Mix­tape: A Rare & For­got­ten Record­ing from 1965

Sir Patrick Stew­art & Sir Ian McK­ellen Play The New­ly­wed Game

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

350 Animated Videos That Will Teach You Philosophy, from Ancient to Post-Modern

Phi­los­o­phy is not an idle pur­suit of leisured gen­tle­men and tenured pro­fes­sors, though the life cir­cum­stances of many a philoso­pher might make us think oth­er­wise. The fore­most exam­ple of a priv­i­leged philoso­pher is Mar­cus Aure­lius, famous expos­i­tor of Sto­icism, and also, inci­den­tal­ly, Emper­or of Rome. Yet we must also bear in mind that Epicte­tus, the oth­er most famous expos­i­tor of Sto­icism, whom Aure­lius quotes repeat­ed­ly in his Med­i­ta­tions, was born a slave.

Against cer­tain ten­den­cies of mod­ern think­ing, we might haz­ard to believe that both men shared enough com­mon human expe­ri­ence to arrive at some uni­ver­sal prin­ci­ples ful­ly applic­a­ble to every­day life. Sto­icism, after all, is noth­ing if not prac­ti­cal. Con­sid­er, for exam­ple, the emperor’s advice below—how chal­leng­ing it might be for any­one, and how ben­e­fi­cial, not only for the indi­vid­ual, but—as Aure­lius makes plain—for every­one.

Begin the morn­ing by say­ing to your­self, I shall meet with the busy­body, the ungrate­ful, arro­gant, deceit­ful, envi­ous, unso­cial. All these things hap­pen to them by rea­son of their igno­rance of what is good and evil. But I who have seen the nature of the good that it is beau­ti­ful, and of the bad that it is ugly, and the nature of him who does wrong, that it is akin to mine, not only of the same blood or seed, but that it par­tic­i­pates in the same intel­li­gence and the same por­tion of divin­i­ty, I can nei­ther be harmed by any of them, nor no one can fix on me what is ugly, nor can I be angry with my broth­er, nor hate him. For we are made for coop­er­a­tion, like feet, like hands, like eye­lids, like the rows of the upper and low­er teeth. To act against one anoth­er then is con­trary to nature; and it is act­ing against one anoth­er to be vexed and to turn away.

Yes, a pas­sage that might have come from the speech­es of Gand­hi, the Dalai Lama, or Mar­tin Luther King, Jr. also belongs to the philo­soph­i­cal tra­di­tions of ancient Rome, though in the mouth of an emper­or it may not sound to us as com­pelling­ly rad­i­cal.

Nowa­days, sev­er­al mil­lion more peo­ple have access to books, lit­er­a­cy, and leisure than in Mar­cus Aure­lius’ era (and one won­ders where even an emper­or found the time), though few of us, it’s true, have access to a nobleman’s edu­ca­tion. While cur­rent­ly under threat, the inter­net still pro­vides us with a wealth of free content—and many of us are much bet­ter posi­tioned than Epicte­tus was to edu­cate our­selves about philo­soph­i­cal tra­di­tions, schools, and ways of think­ing.

We can learn about the Sto­ics, for example—or get the gist, and hope­ful­ly a taste for more—with Alain de Botton’s video appe­tiz­er at the top, just one of 35 short ani­mat­ed videos on the phi­los­o­phy YouTube chan­nel of his School of Life.

We can cruise through a sum­ma­ry of Aristotle’s views on “flour­ish­ing” in the video above, nar­rat­ed by the always-affa­ble Stephen Fry as part of the BBC’s “His­to­ry of Ideas” series, cur­rent­ly up to 48 unique­ly ani­mat­ed videos fea­tur­ing oth­er smart-sound­ing celebri­ty nar­ra­tors like Har­ry Shear­er and Gillian Ander­son.

The Macat series of phi­los­o­phy explain­er videos (136 in total) may lack celebri­ty cred, but it makes up for it with some very thor­ough short sum­maries of impor­tant works in philosophy—as well as soci­ol­o­gy, psy­chol­o­gy, his­to­ry, pol­i­tics, eco­nom­ics, and lit­er­a­ture. “The essen­tial pur­pose of pol­i­tics is free­dom,” Han­nah Arendt wrote in her 1958 The Human Con­di­tion, we learn above, a work of hers that is not focused on mass mur­der and total­i­tar­i­an­ism. Arendt had much more to say, and in this book, she relies on a clas­si­cal dis­tinc­tion well known to the Greeks and Romans and all who came after them: the con­trast between two kinds of life—the vita acti­va and vita con­tem­pla­ti­va.

While phi­los­o­phy may have become much more acces­si­ble, it has also become less “open access”—in the sense of being a pub­lic affair, tak­ing place in city squares and active­ly encour­aged by states­men and ordi­nary loi­ter­ers alike. For all its possibilities—and we hope they can remain—the inter­net has nev­er been able to recre­ate the Athen­ian ide­al of the philo­soph­i­cal pub­lic square, if such a thing ever real­ly exist­ed. But projects like Wire­less Phi­los­o­phy—spon­sored by Yale, MIT, Duke, and oth­er elite institutions—have sought for years to intro­duce peo­ple from every walk of life to the kinds of ideas that Athe­ni­ans sup­pos­ed­ly threw around like fris­bees in their spare time, includ­ing Plato’s notion (via his mouth­piece, Socrates) of “the good life,” which Uni­ver­si­ty of New Orleans pro­fes­sor Chris Sur­pre­nent, sum­ma­rizes above. See all of Wire­less Phi­los­o­phy’s 130 ani­ma­tions here.

The mate­r­i­al is out there. We’ve high­light­ed 350 philo­soph­i­cal ani­ma­tions above, and also sep­a­rate­ly gath­ered 200+ Free Online Phi­los­o­phy Cours­es. And, if you’re read­ing this, it’s a good bet you’ve prob­a­bly got a lit­tle time to spare. If it’s an old-fash­ioned sales pitch you need to get going, con­sid­er that for just pen­nies, er, min­utes a day, you can become more knowl­edge­able about ancient Greek and Roman thought, Kant­ian ethics, 20th cen­tu­ry Crit­i­cal The­o­ry, Niet­zsche, crit­i­cal think­ing skills, Scholas­tic the­o­log­i­cal thought, Bud­dhism, Wittgen­stein, Sartre, etc., etc, etc., etc. That said, how­ev­er, acquir­ing the con­cen­tra­tion, dis­ci­pline, and will to do your own think­ing about what you’ve learned, and to apply it, has nev­er been so free and easy to come by for any­one at any time in his­to­ry.

Relat­ed Con­tent:

48 Ani­mat­ed Videos Explain the His­to­ry of Ideas: From Aris­to­tle to Sartre

Watch Ani­mat­ed Intro­duc­tions to 25 Philoso­phers by The School of Life: From Pla­to to Kant and Fou­cault

105 Ani­mat­ed Phi­los­o­phy Videos from Wire­less Phi­los­o­phy: A Project Spon­sored by Yale, MIT, Duke & More

135 Free Phi­los­o­phy eBooks 

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

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