New Animation Brings to Life a Lost 1974 Interview with Leonard Cohen, and Cohen Reading His Poem “Two Slept Together”

in Animation, Life, Music, Poetry | November 21st, 2016

Leonard Cohen was graced with a dis­tinc­tive slow burn of a voice, a man­ly purr well suit­ed to the louche mys­ter­ies of his most famous lyrics.

His death prompt­ed a post-elec­tion out­pour­ing from his already crest­fall­en fans, who sought cathar­sis by shar­ing the myr­i­ad ways in which his music had touched their lives.

As Cohen remarked in a 1995 inter­view with the New York Times: 

Music is like bread. It is one of the fun­da­men­tal nour­ish­ments that we have avail­able, and there are many dif­fer­ent vari­eties and degrees and grades. A song that is use­ful, that touch­es some­body, must be mea­sured by that util­i­ty alone. ‘Cheap music’ is an unchar­i­ta­ble descrip­tion. If it touch­es you, it’s not cheap. From a cer­tain point of view, all our emo­tions are cheap, but those are the only ones we’ve got. It’s lone­li­ness and long­ing and desire and cel­e­bra­tion.

Rolling Stone dubbed Cohen the Poet Lau­re­ate Of Out­rage And Roman­tic Despair. It’s far from his only nick­name, but it man­ages to encom­pass most of the oth­er 325 that super fan Allan Showal­ter col­lect­ed for his Cohen­cen­tric site.

Have you used Cohen’s music to “illu­mi­nate or dig­ni­fy your court­ing” (to bor­row anoth­er phrase from that Times inter­view)?

If so, you deserve to know that those seduc­tive lyrics aren’t always what they seem.

For one thing, he nev­er got car­nal with Suzanne.

Dit­to the “Sis­ters of Mer­cy.” Turns out they real­ly “weren’t lovers like that.” Cohen var­ied the facts a bit over the years, when called upon to recount this song’s ori­gin sto­ry. The loca­tion of the ini­tial meet­ing was a mov­ing tar­get, and ear­ly on, van­i­ty, or per­haps a rep­u­ta­tion to uphold, caused him to omit a cer­tain crit­i­cal detail regard­ing the night spent with two young women he bumped into in snowy Edmon­ton.

The 1974 radio inter­view with Kath­leen Kendel, above—straight from the horse’s mouth, and fresh­ly ani­mat­ed for PBS’ Blank on Blank series—brings to mind that pil­lar of young male sex com­e­dy, the close-but-no-cig­ar erot­ic encounter.

PBS’ Blank on Blank ani­ma­tor, Patrick Smith, wise­ly employs a light­ly humor­ous touch in depict­ing Cohen’s wild imag­in­ing of the delights Bar­bara and Lor­raine had in store for him. Whether or not they looked like the Dou­blemint Twins is a ques­tion for the ages.

The ani­ma­tion kicks off with a read­ing of his 1964 poem, “Two Went to Sleep,” an ellip­ti­cal jour­ney into the realm of the uncon­scious, a set­ting that pre­oc­cu­pied Cohen the poet. (See the far less pla­ton­ic-seem­ing “My Lady Can Sleep” and “Now of Sleep­ing” for starters…)

You can hear the inter­view Blank on Blank excerpt­ed for the above ani­ma­tion in its entire­ty here.

Relat­ed Con­tent:

Hear Leonard Cohen’s Final Inter­view: Record­ed by David Rem­nick of The New York­er

How Leonard Cohen’s Stint As a Bud­dhist Monk Can Help You Live an Enlight­ened Life

Ani­mat­ed Video: John­ny Cash Explains Why Music Became a Reli­gious Call­ing

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er, Leonard Cohen fan and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

by | Permalink | Make a Comment ( None ) |

Iconic Footage of Jimi Hendrix Playing “Hey Joe” Rendered in the Style of Moebius, with the Help of Neural Network Technology

in Animation, Music, Technology | November 17th, 2016

We are less than a year into neur­al net­work tech­nol­o­gy, and Google’s Deep Dream soft­ware is already yield­ing impres­sive results beyond the dog-slugs of its first videos. YouTu­ber Lulu xXX has been play­ing around with blend­ing art with music videos, and is onto some­thing with this clip that mesh­es icon­ic live footage of the Jimi Hen­drix Expe­ri­ence (fea­tured below) with the art of Jean Giraud aka Moe­bius.

The French car­toon­ist and illus­tra­tor was a big fan of Hen­drix. He designed the cov­ers of a French com­pi­la­tion LP of Hendrix’s first two albums, and includ­ed him in sev­er­al art prints, where the musi­cian is a cool, often angel­ic pres­ence.

So Lulu xXX right­ly chose Moe­bius’ par­tic­u­lar style through which to process this icon­ic “Hey Joe” footage record­ed in 1967. As you see, when the neur­al net­work is fed more line-based work, it tru­ly does get close to “Moe­bius ani­mates Hen­drix.” Watch the side-by-side ver­sion below and let us know what you thinks works best.

In a few more years, this video may seem charm­ing­ly naive as neur­al net­work­ing improves. Think how Pixar evolved, or how video games devel­oped. The results may be so good that we won’t know if we’re see­ing some­thing hand­made or a per­fect sim­u­la­tion. We might have to lean over and ask our Jimi Hen­drix holo­gram to tell us the truth.

via Laugh­ing Squid

Relat­ed con­tent:

Moe­bius Gives 18 Wis­dom-Filled Tips to Aspir­ing Artists (1996)

Moe­bius’ Sto­ry­boards & Con­cept Art for Jodorowsky’s Dune

Jimi Hen­drix Wreaks Hav­oc on the Lulu Show, Gets Banned From BBC (1969)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

by | Permalink | Make a Comment ( 2 ) |

Watch Moebius and Miyazaki, Two of the Most Imaginative Artists, in Conversation (2004)

in Animation, Art, Film | November 11th, 2016

The worlds so thor­ough­ly imag­ined by the French com­ic artist Jean Giraud, bet­ter known as Moe­bius, and the Japan­ese ani­ma­tor Hayao Miyaza­ki, imme­di­ate­ly rec­og­nized the world over by his fam­i­ly name alone, could have arisen from no oth­er artis­tic minds. It stands to rea­son not only that appre­ci­a­tors of one would appre­ci­ate the oth­er, but that the two men would hold each oth­er’s work in high regard. “Japan­ese ani­ma­tion is impres­sive,” Moe­bius once said to Miyaza­ki as the two expressed their mutu­al appre­ci­a­tion. “I real­ly think it is the best in the world, and Miyaza­k­i’s work is top in Japan.”

“Moe­bius first dis­cov­ered Miyaza­k­i’s work in 1986, when his son Julien (then a school­boy) showed him a pirate copy of a video con­tain­ing a title­less, author­less, and undubbed ani­mat­ed fea­ture,” writes Dani Cav­al­laro in The Ani­me Art of Hayao Miyaza­ki. “The French artist was instant­ly seduced by the film’s graph­ic vig­or and tech­ni­cal inven­tive­ness but took it to be the one-off accom­plish­ment of an unfamed ani­ma­tor. When he even­tu­al­ly dis­cov­ered that the film’s name was Nau­si­caä of the Val­ley of the Wind and that its cre­ator’s name was Hayao Miyaza­ki, Moe­bius endeav­ored to delve deep­er into the Japan­ese ani­ma­tor’s oeu­vre and to pub­licly voice his admi­ra­tion.”

And Miyaza­ki turns out to have drawn inspi­ra­tion from Moe­bius when he focused on ani­ma­tion. Miyaza­ki, who began as a com­ic artist him­self, remem­bers dis­cov­er­ing Moe­bius through Arzach, his series of word­less visu­al sto­ries of a hero who rides a ptero­dactyl through oth­er­word­ly and for­bid­ding­ly sub­lime land­scapes. “It was a big shock,” says Miyaza­ki. “Not only for me. All man­ga authors were shak­en by this work. Unfor­tu­nate­ly when I dis­cov­ered it, I already had a con­sol­i­dat­ed style. So I could­n’t use his influ­ence to enrich my draw­ing. Though, even today, I think he has an awe­some sense of space. I direct­ed Nau­si­caä under Moe­bius’ influ­ence.”

In 2004, the exhi­bi­tion Miyazaki/Moebius pre­sent­ed brought them togeth­er in Paris. Cav­al­laro describes it as “a panoram­ic sur­vey of the two artists’ careers through 300 works includ­ing water­col­ors sto­ry­boards, cels and con­cept designs, the­mat­i­cal­ly arranged, drawn from their per­son­al col­lec­tions,” includ­ing a draw­ing of Nau­si­caä by Moe­bius and one of Arzach by Miyaza­ki. They also sat down there for the con­ver­sa­tion record­ed in the video above. “The 21st cen­tu­ry is a tricky time,” says Miyaza­ki. “Our future isn’t clear. We need to re-exam­ine many things we’ve tak­en for grant­ed, whether it’s our com­mon sense or our way of think­ing.” The sheer imag­i­na­tive pow­er of artists like the both of them con­tin­ues to show us the way for­ward.

You can read tran­scripts of their record­ed con­ver­sa­tions here and here.

Relat­ed Con­tent:

In Search of Mœbius: A Doc­u­men­tary Intro­duc­tion to the Inscrutable Imag­i­na­tion of the Late Com­ic Artist Mœbius

French Stu­dent Sets Inter­net on Fire with Ani­ma­tion Inspired by Moe­bius, Syd Mead & Hayao Miyaza­ki

Moe­bius Gives 18 Wis­dom-Filled Tips to Aspir­ing Artists (1996)

Watch Hayao Miyaza­ki Ani­mate the Final Shot of His Final Fea­ture Film, The Wind Ris­es

Watch Ground­break­ing Com­ic Artist Mœbius Draw His Char­ac­ters in Real Time

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.

by | Permalink | Make a Comment ( None ) |

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

in Animation, Art, Dance, Technology | November 3rd, 2016

When I first saw what was then the height of motion cap­ture in 1999—The Matrix’s “bul­let time” and kung fu sequences—I was suit­ably impressed, and yet… the extreme manip­u­la­tion of the real (which couldn’t have hap­pened in a more appro­pri­ate film, grant­ed) also seemed a lit­tle like a cheat. In the days before com­put­ers ren­dered 99% of spe­cial effects, part of the fun of watch­ing an effects film was spot­ting the seams. The short “Kung Fu Visu­al­iza­tion” above, from Ger­man dig­i­tal artist Tobias Gremm­ler, deft­ly com­bines both of these aes­thet­ic inclinations—the love of arti­fice and the awe of liq­uid-smooth dig­i­tal motion—in rustling, swirling, shim­mer­ing ani­mat­ed art that para­dox­i­cal­ly shows us the seams of flu­id move­ment.

Recall­ing Mar­cel Duchamp’s famous nude or the dynam­ic sculp­ture of Umber­to Boc­cioni, Gremm­ler ani­mates these mod­ernist dreams using grace­ful motions cap­tured from two Kung Fu mas­ters. Each sin­u­ous mar­tial arts rou­tine is ren­dered with a dif­fer­ent mate­r­i­al tex­ture, with accom­pa­ny­ing sound effects and dra­mat­ic music. “Visu­al­iz­ing the invis­i­ble is always fas­ci­nat­ing,” writes Gremm­ler, “and motion visu­al­iza­tions have been cre­at­ed even in pre-dig­i­tal times with light, pho­tog­ra­phy, cos­tumes or paint­ings.” (Nor­man McLaren’s 1968 “Pas de deux” offers a strik­ing his­tor­i­cal exam­ple.) Gremm­ler’s stun­ning ani­ma­tion was com­mis­sioned for a Hong Kong Kung Fu exhi­bi­tion and “focus­es on the lega­cy of Hak­ka mar­tial arts in Hong Kong.”

Gremmler’s film may show us process in motion, but he remains coy about his own tech­no­log­i­cal means (unless, pre­sum­ably, you buy his book.) Anoth­er motion cap­ture mas­ter­piece, “Asphyx­ia,” above, uses hum­ble, yet high­ly advanced meth­ods unimag­in­able in 1999, “two inex­pen­sive Xbox One Kinect sen­sors,” writes This is Colos­sal, “to cap­ture the move­ments of dancer Shi­ho Tana­ka.” Film­mak­ers Maria Takeuchi and Fred­eri­co Phillips then “ren­dered the data inside a near pho­to-real­is­tic envi­ron­ment,” mak­ing cre­ative use of low­er-res tics and glitch­es. Com­bined with a love­ly elec­tron­ic score from Takeuchi, the result­ing video’s visu­al poet­ry is impos­si­ble to ade­quate­ly con­vey in words.

What “Asphyx­ia” does show us is a scal­ing back of tech­ni­cal wiz­ardry that reveals a deep lev­el of ges­tur­al sophis­ti­ca­tion under­neath. “The project,” write the film­mak­ers, “is an effort to explore new ways to use and/or com­bine tech­nolo­gies… with­out many of the com­mer­cial lim­i­ta­tions. The per­for­mance is cen­tered in an elo­quent chore­og­ra­phy that stress­es the desire to be expres­sive with­out bounds.” Although “Asphyx­ia” is obvi­ous­ly a lower-quality—digitally speaking—work than Gremmler’s Kung Fu Visu­al­iza­tion, it is none the worse for it. Both use motion cap­ture tech­nol­o­gy in inno­v­a­tive ways that fore­ground the artistry, rather than the mim­ic­ry, of dig­i­tal ani­ma­tion. (Some­what like the much-praised dig­i­tal stop-motion Kubo and the Two Strings.) If you want to see how the mak­ers of “Asphyx­ia” cre­at­ed their exper­i­ment, watch their mak­ing-of film below.

via This is Colos­sal

Relat­ed Con­tent:

Soft­ware Used by Hayao Miyazaki’s Ani­ma­tion Stu­dio Becomes Open Source & Free to Down­load

13 Van Gogh’s Paint­ings Painstak­ing­ly Brought to Life with 3D Ani­ma­tion & Visu­al Map­ping

Take a Free Online Course on Mak­ing Ani­ma­tions from Pixar & Khan Acad­e­my

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

by | Permalink | Make a Comment ( None ) |

Spike Jonze’s Stop Motion Film Hauntingly Animates Paris’ Famed Shakespeare and Company Bookstore

in Animation, Books | October 26th, 2016

Since his break­out ear­ly days direct­ing com­mer­cials and music videos for the likes of Fat­boy Slim, Weez­er, Daft Punk, and the Breed­ers, Spike Jonze has honed a quirky visu­al sen­si­bil­i­ty that trans­lat­ed almost seam­less­ly to fea­ture film. But even at his quirki­est, Jonze hasn’t been about quirk for quirk’s sake. His characters—highly emo­tion­al robots, dog-head­ed men with bro­ken legs, tor­ment­ed pup­peteers, enthu­si­as­tic ama­teur dance troops—are under­dogs, weirdos, fig­ures on the fringes who make us ques­tion what it means to be peo­ple: to be lone­ly, in love, cre­ative­ly obsessed, and emo­tion­al­ly scram­bled.…

There is a para­dox inher­ent in Jonze’s films and videos. Their odd­ball plots and char­ac­ters cut through the cyn­i­cal veneer of cool that keeps us from ask­ing hard ques­tions about our emo­tion­al lives, but they do so in styl­is­tic exer­cis­es that in some cas­es them­selves become emblems of pop-cul­ture cool. Not so the short film “Mourir auprès de toi” (“To Die by Your Side”), which takes its title from one of the most aching­ly heart­break­ing of Smiths’ songs. This is a love sto­ry for the book­ish and the crafty, set in Paris’ famed Shake­speare and Com­pa­ny book­store and fea­tur­ing ani­mat­ed book cov­ers made from embroi­dered felt cutouts.

Co-writ­ten and with a look inspired by design­er Olympia Le-Tan, the short is “an absolute­ly beau­ti­ful stop-motion ani­ma­tion for book-lovers that’s part This Is Where We Live, part Going West, part cre­ative mag­ic only Spike Jonze can bring.” So writes Maria Popo­va at The Atlantic, sum­ma­riz­ing the ups and downs of the plot and allud­ing to a “hap­pi­ly-ever-after end­ing” that “comes only after an appro­pri­ate­ly dark and grim twist.”

Watch “To Die by Your Side” at the top of the post, then, just above, see a short behind-the-scenes teas­er video. “You just start with what the feel­ing is,” Jonze told Now­ness in an inter­view, “Me and Olympia both want­ed to make a love sto­ry.… It evolved nat­u­ral­ly and it all just start­ed with the feel­ing. From there you enter­tain your­self with ideas that excite you.” The quote explains why Jonze’s films and videos—for all their visu­al inven­tive­ness and imag­i­na­tive whimsy—nearly always stay ground­ed in can­did emo­tion­al real­ism. How­ev­er far and wide Jonze’ cin­e­mat­ic and nar­ra­tive  imag­i­na­tion takes us, his films always start with the feel­ing.

“Mourir auprès de toi” (“To Die by Your Side”) first appeared on our site in Octo­ber, 2011.

Relat­ed Con­tent:

Spike Jonze and Beast­ie Boys, Togeth­er Again

Spike Jonze’s Imag­i­na­tive TV Ads

Col­lab­o­ra­tions: Spike Jonze, Yo-Yo Ma, and Lil Buck

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

by | Permalink | Make a Comment ( None ) |

Stephen Fry Narrates 4 Philosophy Animations On the Question: How to Create a Just Society?

in Animation, History, Philosophy | October 25th, 2016

How do we cre­ate a just soci­ety? 50,000 years or so at it and human­i­ty still has a long way to go before fig­ur­ing that out, though not for lack of try­ing. The four ani­mat­ed videos of “What Is Jus­tice?”—a minis­eries with­in BBC Radio 4 and the Open Uni­ver­si­ty’s larg­er project of ani­mat­ing the ideas of philoso­phers through­out his­to­ry and explain­ing them in the voic­es of var­i­ous famous nar­ra­tors—tell us what John Rawls, Hen­ry David Thore­au, and the Bible, among oth­er sources, have to say on the sub­ject of jus­tice. Stephen Fry pro­vides the voice this time as the videos illus­trate the nature of these ideas, as well as their com­pli­ca­tions, before our eyes.

Imag­ine you had to cre­ate a just soci­ety your­self, but “you won’t know what kind of a per­son you’ll be in the soci­ety you design.” This thought exper­i­ment, first described by Rawls in his 1971 book A The­o­ry of Jus­tice as the “veil of igno­rance,” sup­pos­ed­ly encour­ages the cre­ation of “a much fair­er soci­ety than we now have. There would be exten­sive free­dom and equal­i­ty of oppor­tu­ni­ty. But there would­n’t be extremes of high pay, unless it could be shown that the poor­est in soci­ety direct­ly ben­e­fit­ed as a result.” An intrigu­ing idea, but one eas­i­er artic­u­lat­ed than agreed upon, let alone real­ized.

Much ear­li­er in his­to­ry, you find the sim­pler prin­ci­ple of “an eye for an eye and a tooth for a tooth,” an “ancient form of pun­ish­ment known as lex tal­io­n­is, or the law of retal­i­a­tion.” Any read­er of the Bible will have a strong sense of this idea’s impor­tance in the ancient world, though we’d do well to remem­ber that back then, it “was a way of encour­ag­ing a sense of pro­por­tion — not wip­ing out a whole com­mu­ni­ty in retal­i­a­tion for the killing of one man, for exam­ple.” While harsh pun­ish­ment could, in the­o­ry, deter poten­tial crim­i­nals, “severe legal vio­lence can cre­ate mar­tyrs and increase soci­ety’s prob­lems.” The rule of law, nat­u­ral­ly, has every­thing to do with the cre­ation and main­te­nance of a just soci­ety, though not every law fur­thers the cause.

But you’ve no doubt heard of one that has: habeas cor­pus, the legal prin­ci­ple man­dat­ing that “no one, not even the pres­i­dent, monarch, or any­one else in pow­er, can detain some­one ille­gal­ly.” Instead, “they need to bring the detainee in ques­tion before a court and allow that court to deter­mine whether or not this per­son can legal­ly be held.” Yet not every author­i­ty has con­sis­tent­ly imple­ment­ed or upheld habeas cor­pus or oth­er jus­tice-ensur­ing laws. At times like those, accord­ing to Thore­au, you must engage in civ­il dis­obe­di­ence: “fol­low your con­science and break the law on moral grounds rather than be a cog in an unjust sys­tem.” It’s a dirty job, cre­at­ing a just soci­ety, and will remain so for the fore­see­able future. And though we may not all have giv­en it as much thought as a Rawls or a Thore­au, we’ve all got a role to play in it.

Relat­ed Con­tent:

A The­o­ry of Jus­tice, the Musi­cal Imag­ines Philoso­pher John Rawls as a Time-Trav­el­ing Adven­tur­er

Jus­tice: Putting a Price Tag on Life & How to Mea­sure Plea­sure

Free: Lis­ten to John Rawls’ Course on “Mod­ern Polit­i­cal Phi­los­o­phy” (Record­ed at Har­vard, 1984)

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

What is the Self? Watch Phi­los­o­phy Ani­ma­tions Nar­rat­ed by Stephen Fry on Sartre, Descartes & More

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.

by | Permalink | Make a Comment ( None ) |

H.P. Lovecraft’s Cthulhu in Anime: A First Glimpse

in Animation, Literature | September 28th, 2016

Mark it on your cal­en­dars. 2018 will bring an ani­me adap­ta­tion of the pop­u­lar card game Force of Will. An omnibus col­lec­tion of six ani­ma­tions, the film will include one short cre­at­ed by Shuhei Mori­ta, whose 2013 ani­ma­tion “Pos­ses­sions” already earned him an Acad­e­my Award nom­i­na­tion. Mori­ta’s next task–to bring to life H.P. Love­craft’s “Cthul­hu.” We’ve pre­vi­ous­ly high­light­ed Love­craft’s 1934 draw­ings of the mon­ster to which he gave lit­er­ary life in 1928. (See “The Call of Cthul­hu.”) Above, catch a very first glimpse of Mori­ta’s take on the gigan­tic octo­pus. Below, in the Relat­eds, find a good deal of mate­r­i­al on Cthulhu–drawings, radio drama­ti­za­tions and much more.

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 Kotaku

Relat­ed Con­tent

H.P. Lovecraft’s Mon­ster Draw­ings: Cthul­hu & Oth­er Crea­tures from the “Bound­less and Hideous Unknown”

H.P. Lovecraft’s Clas­sic Hor­ror Sto­ries Free Online: Down­load Audio Books, eBooks & More

Hear Drama­ti­za­tions of H.P. Lovecraft’s Sto­ries On His Birth­day: “The Call of Cthul­hu,” “The Dun­wich Hor­ror,” & More

Down­load Issues of “Weird Tales” (1923–1954): The Pio­neer­ing Pulp Hor­ror Mag­a­zine Fea­tures Orig­i­nal Sto­ries by Love­craft, Brad­bury & Many More

23 Hours of H.P. Love­craft Sto­ries: Hear Read­ings & Drama­ti­za­tions of “The Call of Cthul­hu,” “The Shad­ow Over Inns­mouth,” & Oth­er Weird Tales

by | Permalink | Make a Comment ( 4 ) |

The Essence of Linear Algebra Explained with Animations

in Animation, Math | September 15th, 2016

Fyi: Grant Sander­son has a knack for math and cod­ing. So he cre­at­ed a tool that has helped him explain “the essence of lin­ear alge­bra” in a “visu­al­ly-dri­ven man­ner.” And he post­ed the result, a series of 13 videos, to YouTube. You can watch the col­lec­tion, called “The Essence of Lin­ear Alge­bra,” above. Top­ics cov­ered include: Vec­tors, what even are they?; Matrix mul­ti­pli­ca­tion as com­po­si­tion; Dot prod­ucts and dual­i­ty; and more.

You can also find com­plete uni­ver­si­ty cours­es on Lin­ear Alge­bra in our col­lec­tion of Free Online Math course, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

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 Metafil­ter

by | Permalink | Make a Comment ( 2 ) |

« Go Back — More in this category... »
Quantcast