Eudora Welty’s Handwritten Eggnog Recipe, and Charles Dickens’ Recipe for Holiday Punch

’Tis the sea­son to break out the fam­i­ly recipes of beloved rel­a­tives, though often their prove­nance is not quite what we think.

(Imag­ine the cog­ni­tive dis­so­nance upon dis­cov­er­ing that Moth­er swiped “her” Ital­ian Zuc­chi­ni Cres­cent Pie from Pills­bury Bake-Off win­ner, Mil­li­cent Nathan of Boca Raton, Flori­da…)

When it came to cred­it­ing the eggnog she dubbed “the taste of Christ­mas Day,” above, Pulitzer Prize-win­ning author Eudo­ra Wel­ty shared it out equal­ly between her moth­er and author Charles Dick­ens:

In our house while I was grow­ing up, I don’t remem­ber that hard liquor was served at all except on one day in the year. Ear­ly on Christ­mas morn­ing, we woke up to the sound of the egg­beat­er: Moth­er in the kitchen was whip­ping up eggnog. All in our bathrobes, we began our Christ­mas before break­fast. Through­out the day Moth­er made batch­es afresh. All our callers expect­ed her eggnog.

It was ladled from the punch bowl into punch cups and sil­ver gob­lets, and had to be eat­en with a spoon. It stood up in peaks. It was rich, creamy and strong. Moth­er gave full cred­it for the recipe to Charles Dick­ens.

Nice, but per­haps Dick­ens is unde­serv­ing of this hon­or? The con­tents of his punch­bowl bore lit­tle resem­blance to Moth­er Welty’s, as evi­denced by an 1847 let­ter to his child­hood friend, Amelia Fil­loneau, in which he shared a recipe he promised would make her “a beau­ti­ful Punch­mak­er in more sens­es than one”:

Peel into a very strong com­mon basin (which may be bro­ken, in case of acci­dent, with­out dam­age to the owner’s peace or pock­et) the rinds of three lemons, cut very thin, and with as lit­tle as pos­si­ble of the white coat­ing between the peel and the fruit, attached. Add a dou­ble-hand­full of lump sug­ar (good mea­sure), a pint of good old rum, and a large wine-glass full of brandy — if it not be a large claret-glass, say two. Set this on fire, by fill­ing a warm sil­ver spoon with the spir­it, light­ing the con­tents at a wax taper, and pour­ing them gen­tly in. Let it burn for three or four min­utes at least, stir­ring it from time to Time. Then extin­guish it by cov­er­ing the basin with a tray, which will imme­di­ate­ly put out the flame. Then squeeze in the juice of the three lemons, and add a quart of boil­ing water. Stir the whole well, cov­er it up for five min­utes, and stir again.

This sounds very like the “seething bowls of punch” the jol­ly Ghost of Christ­mas Present shows Ebenez­er Scrooge in A Christ­mas Car­ol, dim­ming the cham­ber with their deli­cious steam.

It’s also veg­an, in con­trast to what you might have been served in the Wel­ty ladies’ home.

Why not serve both? In the words of Tiny Tim, “Here’s to us all!”

Eudo­ra Welty’s Mother’s Eggnog (Attrib­uted, Per­haps Erro­neous­ly, to Charles Dick­ens)

6 egg yolks, well beat­en

Add 3 tbsp. pow­dered sug­ar

Add 1 cup whiskey, added slow­ly, beat­ing all the while

Fold in 1 pint whipped cream

Whip 6 whipped egg whites and add to the mix­ture above.

 

Charles Dick­ens’ Hol­i­day Punch (adapt­ed from Punch by David Won­drich)

3/4 cup sug­ar

3 lemons

2 cups rum

1 1/4 cups cognac

5 cups black tea (or hot water)

Gar­nish: lemon and orange wheels, fresh­ly grat­ed nut­meg

In the basin of an enam­eled cast-iron pot or heat­proof bowl, add sug­ar and the peels of three lemons.

Rub lemons and sug­ar togeth­er to release cit­rus oils. For more greater infu­sion, let sit for 30 min­utes.

Add rum and cognac to the sug­ar and cit­rus.

Light a match, and, using a heat­proof spoon (stain­less steel is best), pick up a spoon­ful of the spir­it mix.

Care­ful­ly bring the match to the spoon to light.

Care­ful­ly bring the lit spoon to the spir­its in the bowl.

Let the spir­its burn for about three min­utes. The fire will melt the sug­ar and extract the oil from the lemon peels.

Extin­guish the bowl by cov­er­ing it with a heat­proof pan or tray.

Skim off the lemon peels (leav­ing them too long in may impart a bit­ter fla­vor).

Squeeze in the juice of the three peeled lemons, and add hot tea or water.

If serv­ing the punch hot, skip to the next step. If serv­ing cold, cool punch in the refrig­er­a­tor and, when cooled, add ice.

Gar­nish with cit­rus wheels and grat­ed nut­meg.

Ladle into indi­vid­ual glass­es.

Learn more about these and oth­er fes­tive hol­i­day drinks in Mas­ter of Wine Eliz­a­beth Gabay’s essay “Cel­e­brat­ing Christ­mas and New Year With Punch.”

Image above via Gar­den and Gun

Relat­ed Con­tent:

Charles Min­gus’ “Top Secret” Eggnog Recipe Con­tains “Enough Alco­hol to Put Down an Ele­phant”

Blue Christ­mas: Feed Your Sea­son­al Depres­sion with Hol­i­day Mas­ter­pieces

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

Will You Really Achieve Happiness If You Finally Win the Rat Race? Don’t Answer the Question Until You’ve Watched Steve Cutts’ New Animation

Illus­tra­tor Steve Cutts sets his lat­est ani­ma­tion, “Hap­pi­ness,” in a teem­ing urban envi­ron­ment, with hun­dreds of near iden­ti­cal car­toon rats stand­ing in for human drudges in an unful­fill­ing, and not unfa­mil­iar race.

Packed sub­way cars, a bom­bard­ment of adver­tis­ing, soul-dead­en­ing office jobs, and Black Fri­day sales are just a few of the indig­ni­ties Cutts’ rodents are sub­ject­ed to, to the tune of Bizet’s “L’amour est un oiseau rebelle.”

Ram­pant over-consumption—a major pre­oc­cu­pa­tion for this artist—offers illu­so­ry relief, and a great deal of fun for view­ers with the time to hit pause, to bet­ter savor the grim details.

The max­i­mal­ist frames read like a grat­i­fy­ing per­ver­sion of Richard Scarry’s relent­less­ly sun­ny Busy­town. As with Cutts’ 80s-throw­back Simpson’s couch gag: pop-cul­ture ref­er­ences and visu­al input whip by at sub­lim­i­nal warp speed. 

They may also serve as an anti­dote to the sort of mes­sag­ing we’re con­stant­ly on the receiv­ing end of, whether we live in city, coun­try or some­where in-between. Check out the scene as Cutts pans up from the sub­way plat­form, 52 sec­onds in:

The panty-clad female mod­el for Blah cologne’s fash­ion­ably black and white ad is ema­ci­at­ed near­ly to the point of death.

“You’re bet­ter than laces” flat­ters the lat­est (lace­less) shoe from a swoosh-bedecked footwear man­u­fac­tur­er, while a radi­a­tor-col­ored bev­er­age floats above the mot­to “Just drink it, morons.”

Krispo Flakes fight depres­sion with “the bits oth­er cere­als don’t want.”

Heav­en help us all, there’s even a poster for TRUMP The Musi­cal.

This freeze-frame scruti­ny could make an excel­lent activ­i­ty for any class where mid­dle and high school­ers are encour­aged to think crit­i­cal­ly about their role as con­sumers.

As Cutts, a one-time employ­ee of the dig­i­tal mar­ket­ing agency, Iso­bar, who con­tributed to cam­paigns for such glob­al giants as Coca-Cola, Google, Reebok, and Toy­ota, told Reverb Press in 2015:

These are things that affect us all on a fun­da­men­tal lev­el so nat­u­ral­ly they’re a main focus for a lot of my work. Human­i­ty has the pow­er to be great in so many ways and yet at the same time we are fun­da­men­tal­ly flawed. I think it’s the con­flict between these two that fas­ci­nates me the most. As a race of beings we’ve made incred­i­ble achieve­ments in such a short space, but at the same time we seem so over­whelm­ing­ly intent on destroy­ing our­selves and every­thing around us. It would be very inter­est­ing to see where we’ll be in a hun­dred years. The term insan­i­ty is intrigu­ing – it’s almost like we’re encour­aged to act in a way that seems gen­uine­ly insane when you look at it objec­tive­ly, but it’s often accept­ed as nor­mal right now. I think we will have to evolve beyond our cur­rent think­ing and way of doing things if we want to sur­vive.

See more of Cutts’ ani­mat­ed work here. And while he doesn’t go out of his way to hype his online store, a gallery qual­i­ty print of The Rat Trap would make a fan­tas­tic gift from your cubi­cle mate’s Secret San­ta. (HURRY! TIME IS RUNNING OUT!!!)

Relat­ed Con­tent:

The Employ­ment: A Prize-Win­ning Ani­ma­tion About Why We’re So Dis­en­chant­ed with Work Today

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

Charles Bukows­ki Rails Against 9‑to‑5 Jobs in a Bru­tal­ly Hon­est Let­ter (1986)

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

500,000 Years of Humans Degrading Nature Captured in a Biting Three Minute Animation by Steve Cutts

Eng­lish ani­ma­tor Steve Cutts has a knack for sat­i­riz­ing the excess­es of mod­ern soci­ety. Just watch his 2012 short ani­ma­tion “Man,” and you’ll see what I mean. In three short min­utes, Cutts cov­ers a lot of ground, doc­u­ment­ing the rise of human civ­i­liza­tion and its ever-esca­lat­ing assault on nature and our nat­ur­al resources. It’s fun­ny. It’s bit­ing. And it may give you pause as we gear up for Christ­mas, the apoth­e­o­sis of Amer­i­can mate­ri­al­ism.

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 Employ­ment: A Prize-Win­ning Ani­ma­tion About Why We’re So Dis­en­chant­ed with Work Today

Watch Glass Walls, Paul McCartney’s Case for Going Veg­e­tar­i­an

How Leo Tol­stoy Became a Veg­e­tar­i­an and Jump­start­ed the Veg­e­tar­i­an & Human­i­tar­i­an Move­ments in the 19th Cen­tu­ry

“Try Again. Fail Again. Fail Better”: How Samuel Beckett Created the Unlikely Mantra That Inspires Entrepreneurs Today

Image by the Bib­lio­thèque nationale de France, via Wiki­me­dia Com­mons

To what writer, besides Ayn Rand, do the busi­ness-mind­ed techies and tech-mind­ed busi­ness­men of 21st-cen­tu­ry Sil­i­con Val­ley look for their inspi­ra­tion? The name of Samuel Beck­ett may not, at first, strike you as an obvi­ous answer — unless, of course, you know the ori­gin of the phrase “Fail bet­ter.” It appears five times in Beck­et­t’s 1983 sto­ry “Worstward Ho,” the first of which goes like this: “Ever tried. Ever failed. No mat­ter. Try again. Fail again. Fail bet­ter.” The sen­ti­ment seems to res­onate nat­u­ral­ly with the men­tal­i­ty demand­ed by the world of tech star­tups, where near­ly every ven­ture ends in fail­ure, but fail­ure which may well con­tain the seeds of future suc­cess.

Or rather, the appar­ent sen­ti­ment res­onates. “By itself, you can prob­a­bly under­stand why this phrase has become a mantra of sorts, espe­cial­ly in the glam­or­ized world of over­worked start-up founders hop­ing against pret­ty high odds to make it,” writes Books on the Wall’s Andrea Schlottman.

“We think so, too. That is, until you read the rest of it.” The para­graph imme­di­ate­ly fol­low­ing those much-quot­ed lines runs as fol­lows:

First the body. No. First the place. No. First both. Now either. Now the oth­er. Sick of the either try the oth­er. Sick of it back sick of the either. So on. Some­how on. Till sick of both. Throw up and go. Where nei­ther. Till sick of there. Throw up and back. The body again. Where none. The place again. Where none. Try again. Fail again. Bet­ter again. Or bet­ter worse. Fail worse again. Still worse again. Till sick for good. Throw up for good. Go for good. Where nei­ther for good. Good and all.

“Throw up for good” — a rich image, cer­tain­ly, but per­haps not as like­ly to get you out there dis­rupt­ing com­pla­cent indus­tries as “Fail bet­ter,” which The New Inquiry’s Ned Beau­man describes as “exper­i­men­tal literature’s equiv­a­lent of that famous Che Gue­vara pho­to, flayed com­plete­ly of mean­ing and turned into a suc­cess­ful brand with no par­tic­u­lar own­er. ‘Worstward Ho’ may be a dif­fi­cult work that resists any sta­ble inter­pre­ta­tion, but we can at least be pret­ty sure that Beckett’s mes­sage was a bit dark­er than ‘Just do your best and every­thing is sure to work out ok in the end.’

But if Beck­et­t’s words don’t pro­vide quite the cause for opti­mism we thought they did, the sto­ry of his life actu­al­ly might. “Beck­ett had already expe­ri­enced plen­ty of artis­tic fail­ure by the time he devel­oped it into a poet­ics,” writes Chris Pow­er in The Guardian. “No one was will­ing to pub­lish his first nov­el, Dream of Fair to Mid­dling Women, and the book of short sto­ries he sal­vaged from it, More Pricks Than Kicks (1934), sold dis­as­trous­ly.” And yet today, even those who’ve nev­er read a page of his work — indeed, those who’ve nev­er even read the “Fail bet­ter” quote in full — acknowl­edge him as one of the 20th cen­tu­ry’s great­est lit­er­ary mas­ters. Still, we have good cause to believe that Beck­ett him­self prob­a­bly regard­ed his own work as, to one degree or anoth­er, a fail­ure. Those of us who revere it would do well to remem­ber that, and maybe even to draw some inspi­ra­tion from it.

Relat­ed Con­tent:

Inspi­ra­tion from Charles Bukows­ki: You Might Be Old, Your Life May Be “Crap­py,” But You Can Still Make Good Art

Start Your Day with Wern­er Her­zog Inspi­ra­tional Posters

The Muse­um of Fail­ure: A New Swedish Muse­um Show­cas­es Harley-David­son Per­fume, Col­gate Beef Lasagne, Google Glass & Oth­er Failed Prod­ucts

Why Incom­pe­tent Peo­ple Think They’re Amaz­ing: An Ani­mat­ed Les­son from David Dun­ning (of the Famous “Dun­ning-Kruger Effect”)

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.

The “Humans of New York” Photo Project Becomes a 13-Part Video Documentary Series: Watch It Free Online


New York, New York—there are many ways of assess­ing whether or not you’ve “made” it here—these days it includes an appear­ance on pho­tog­ra­ph­er Bran­don Stan­ton’s wild­ly pop­u­lar blog, Humans of New York, in which a spon­ta­neous street por­trait is anchored by a per­son­al quote or longer anec­dote.

Fol­low­ing sev­er­al books and a UN-spon­sored world tour to doc­u­ment humans in over twen­ty coun­tries, the project has mor­phed into a 13-episode docu-series as part of Facebook’s orig­i­nal video con­tent plat­form.

Aid­ed by cin­e­matog­ra­ph­er Michael Crom­mett, Stan­ton elic­its his cus­tom­ary blend of uni­ver­sal and spe­cif­ic truths from his inter­view sub­jects. Extend­ing the moment into the video realm affords view­ers a larg­er win­dow onto the com­plex­i­ties of each human’s sit­u­a­tion.

Take episode four, “Rela­tion­ships,” above:

An ample, unadorned woman in late-mid­dle age recalls being swept off her feet by a pas­sion that still burns bright…

An NYU grad stares uncom­fort­ably in her pur­ple cap and gown as her divorced par­ents air var­i­ous regrets…

A cou­ple with mis­matched views on mar­riage are upstaged by a spon­ta­neous pro­pos­al unfold­ing a few feet away…

La Vie en Rose holds deep mean­ing for two cou­ples, despite rad­i­cal­ly dif­fer­ent loca­tions, pre­sen­ta­tions, and ori­en­ta­tions.

A lit­tle girl has no prob­lem call­ing the shots around her spe­cial fel­la…

I love you, New York!!!

Oth­er themes include Mon­ey, Time, Pur­pose, and Par­ent­ing.

One of the great plea­sures of both series and blog is Stanton’s open-mind­ed­ness as to what con­sti­tutes New York and New York­ers.

Some inter­views take place near such tourist-friend­ly locales as Bethes­da Foun­tain and the Wash­ing­ton Square Arch, but just as many tran­spire along­side notice­ably Out­er Bor­ough archi­tec­ture or the blast­ed cement heaths apron­ing its less sought after pub­lic schools.

Those who live here will nod with recog­ni­tion at the cher­ry blos­som self­ies, “show­time” in the sub­way, and the Bush­wick vibe of the groom who pro­posed to his bride at Coney Island, under the Nathan’s Famous Hot Dog Eat­ing Con­test Wall of Fame.

Dit­to the appear­ance of such local celebri­ties as Jim­my Webb, emer­i­tus man­ag­er of the punk bou­tique, Trash and Vaude­ville and Black­wolf the Drag­on­mas­ter, the city’s unof­fi­cial wiz­ard.

Below, Stan­ton explains his goal when con­duct­ing inter­views and demon­strates how a non-threat­en­ing approach can soft­en strangers to the point of can­dor.

It’s well know ’round these parts that cer­tain seg­ments of the local pop­u­lace would gnaw off limbs to be immor­tal­ized by Stan­ton, but he cleaves to the pure serendip­i­ty of his selec­tion process. Ask­ing to have your pic­ture tak­en ensures that it won’t be. Luck puts you in front of his lens. Shar­ing your truth is what makes you human.

Watch Humans of New York: The Series here.

Relat­ed Con­tent:

Humans of New York: Street Pho­tog­ra­phy as a Cel­e­bra­tion of Life

Inter­act with The New York Times Four-Part Doc­u­men­tary, “A Short His­to­ry of the High­rise”

New York City: A Social His­to­ry (A Free Online Course from N.Y.U.) 

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

George Orwell Predicted Cameras Would Watch Us in Our Homes; He Never Imagined We’d Gladly Buy and Install Them Ourselves

Normalization—the main­stream­ing of peo­ple and ideas pre­vi­ous­ly ban­ished from pub­lic life for good reason—has become the oper­a­tive descrip­tion of a mas­sive soci­etal shift toward some­thing awful. Whether it’s puff pieces on neo-Nazis in major nation­al news­pa­pers or elect­ed lead­ers who are also doc­u­ment­ed sex­u­al preda­tors, a good deal of work goes into mak­ing the pre­vi­ous­ly unthink­able seem mun­dane or appeal­ing.

I try not to imag­ine too often where these things might lead, but one pre­vi­ous­ly unthink­able sce­nario, the open­ly pub­lic mass sur­veil­lance appa­ra­tus of George Orwell’s 1984 has pret­ty much arrived, and has been thor­ough­ly nor­mal­ized and become both mun­dane and appeal­ing. Net­worked cam­eras and micro­phones are installed through­out mil­lions of homes, and mil­lions of us car­ry them with us wher­ev­er we go. The twist is that we are the ones who installed them.

As com­ic Kei­th Low­ell Jensen remarked on Twit­ter a few years ago, “What Orwell failed to pre­dict is that we’d buy the cam­eras our­selves, and that our biggest fear would be that nobody was watch­ing.” By appeal­ing to our basic human need for con­nec­tion, to van­i­ty, the desire for recog­ni­tion, and the seem­ing­ly instinc­tu­al dri­ve for con­ve­nience, tech­nol­o­gy com­pa­nies have per­suad­ed mil­lions of peo­ple to active­ly sur­veille them­selves and each oth­er. They inces­sant­ly gath­er our data, as Tim Wu shows in The Atten­tion Mer­chants, and as a byprod­uct have pro­vid­ed access to our pri­vate spaces to gov­ern­ment agents and who-knows-who-else.

Com­put­ers, smart­phones, and “smart” devices can near­ly all be hacked or com­man­deered. For­mer direc­tor of nation­al intel­li­gence James Clap­per report­ed as much last year, telling the U.S. Sen­ate that intel­li­gence agen­cies might make extend­ed use of con­sumer devices for gov­ern­ment sur­veil­lance. Web­cams and “oth­er inter­net-con­nect­ed cam­eras,” writes Eric Limer at Pop­u­lar Mechan­ics, “such as secu­ri­ty cams and high-tech baby mon­i­tors, are… noto­ri­ous­ly inse­cure.” James Comey and Mark Zucker­berg both cov­er the cam­eras on their com­put­ers with tape.

The prob­lem is far from lim­it­ed to cam­eras. “Any device that can respond to voice com­mands is, by its very nature, lis­ten­ing to you all the time.” Although we are assured that those devices only hear cer­tain trig­ger words “the micro­phone is def­i­nite­ly on regard­less” and “the extent to which this sort of audio is saved or shared is unclear.” (Record­ings on an Ama­zon Echo are pend­ing use as evi­dence in a mur­der tri­al in Arkansas.) Devices like head­phones have even been turned into micro­phones, Limer notes, which means that speak­ers could be as well, and “Lipread­ing soft­ware is only get­ting more and more impres­sive.”

I type these words on a Siri-enabled Mac, an iPad lies near­by and an iPhone in my pock­et… I won’t deny the appeal—or, for  many, the neces­si­ty of con­nec­tiv­i­ty. The always-on vari­ety, with mul­ti­ple devices respon­si­ble for con­trol­ling greater aspects of our lives may not be jus­ti­fi­able. Nonethe­less, 2017 could “final­ly be the year of the smart home.” Sales of the iPhone X may not meet Apple’s expec­ta­tions. But that could have more to do with price or poor reviews than with the creepy new facial recog­ni­tion technology—a fea­ture like­ly to remain part of lat­er designs, and one that makes users much less like­ly to cov­er or oth­er­wise dis­able their cam­eras.

The thing is, we most­ly know this, at least abstract­ly. Bland bul­let­ed how-to guides make the prob­lem seem so ordi­nary that it begins not to seem like a seri­ous prob­lem at all. As an indi­ca­tion of how mun­dane inse­cure net­worked tech­nol­o­gy has become in the con­sumer mar­ket, major pub­li­ca­tions rou­tine­ly run arti­cles offer­ing help­ful tips on how “stop your smart gad­gets from ‘spy­ing’ on you” and “how to keep your smart TV from spy­ing on you.” Your TV may be watch­ing you. Your smart­phone may be watch­ing you. Your refrig­er­a­tor may be watch­ing you. Your ther­mo­stat is most def­i­nite­ly watch­ing you.

Yes, the sit­u­a­tion isn’t strict­ly Orwellian: Oceana’s con­stant­ly sur­veilled cit­i­zens did not com­par­i­son shop, pur­chase, and cus­tomize their own devices vol­un­tar­i­ly. (It’s not strict­ly Fou­cauldian either, but has its close resem­blances.) Yet in prop­er Orwellian dou­ble­s­peak, “spy­ing” might have a very flex­i­ble def­i­n­i­tion depend­ing on who is on the oth­er end. We might stop “spy­ing” by enabling or dis­abling cer­tain fea­tures, but we might not stop “spy­ing,” if you know what I mean.

So who is watch­ing? CIA doc­u­ments released by a cer­tain unsa­vory orga­ni­za­tion show that the Agency might be, as the BBC seg­ment at the top reports. As might any num­ber of oth­er inter­est­ed par­ties from data-hoard­ing cor­po­rate bots to tech-savvy voyeurs look­ing to get off on your can­did moments. We might assume that some­one could have access at any time, even if we use the pri­va­cy con­trols. That so many peo­ple have become depen­dent on their devices, and will increas­ing­ly become so in the future, makes the ques­tion of what to do about it a trick­i­er propo­si­tion.

via Red­dit

Relat­ed Con­tent:

Read the CIA’s Sim­ple Sab­o­tage Field Man­u­al: A Time­less, Kafkaesque Guide to Sub­vert­ing Any Orga­ni­za­tion with “Pur­pose­ful Stu­pid­i­ty” (1944)

The Exis­ten­tial­ism Files: How the FBI Tar­get­ed Camus, and Then Sartre After the JFK Assas­si­na­tion

Lyn­da Bar­ry on How the Smart­phone Is Endan­ger­ing Three Ingre­di­ents of Cre­ativ­i­ty: Lone­li­ness, Uncer­tain­ty & Bore­dom

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

Watch “Alike,” a Poignant Short Animated Film About the Enduring Conflict Between Creativity and Conformity

From Barcelona comes “Alike,” a short ani­mat­ed film by Daniel Martínez Lara and Rafa Cano Mén­dez. Made with Blender, an open-source 3D ren­der­ing pro­gram, “Alike” has won a heap of awards and clocked an impres­sive 10 mil­lion views on Youtube and Vimeo. A labor of love made over four years, the film revolves around this ques­tion: “In a busy life, Copi is a father who tries to teach the right way to his son, Paste. But … What is the cor­rect path?” To find the answer, they have to let a dra­ma play out. Which will pre­vail? Cre­ativ­i­ty? Or con­for­mi­ty? It’s an inter­nal con­flict we’re all famil­iar with. 

Watch the film when you’re not in a rush, when you have sev­en unbur­dened min­utes to take it in. “Alike” will be added to our list of Free Ani­ma­tions, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & 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 Design Taxi

Relat­ed Con­tent:

The Employ­ment: A Prize-Win­ning Ani­ma­tion About Why We’re So Dis­en­chant­ed with Work Today

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

Charles Bukows­ki Rails Against 9‑to‑5 Jobs in a Bru­tal­ly Hon­est Let­ter (1986)

William Faulkn­er Resigns From His Post Office Job With a Spec­tac­u­lar Let­ter (1924)

Nine Tips from Bill Murray & Cellist Jan Vogler on How to Study Intensely and Optimize Your Learning

Pho­to by Gage Skid­more, via Wiki­me­dia Com­mons

Would you take study tips from Bill Mur­ray? After high school, he did spend some time as a pre-med­ical stu­dent at Reg­is Uni­ver­si­ty in Den­ver — before drop­ping out to return to his home­town of Chica­go and get his start in com­e­dy with the famed improv group Sec­ond City. Still, Reg­is did even­tu­al­ly award him an hon­orary Doc­tor of Human­i­ties a decade ago, and you have to admit that the fame-and-for­tune path worked out for him. In fact, it worked out and then some: see­ing the mas­sive suc­cess of Ghost­busters (and the temp­ta­tions there­of) loom­ing in 1984, Mur­ray decid­ed to make his return to school, this time to study phi­los­o­phy, his­to­ry, and French — and at the Sor­bonne, no less.

The Spo­ti­fy playlist below offers brief selec­tions of spo­ken-word wis­dom relat­ed to study­ing and learn­ing in gen­er­al, part of the fruit of a project by Mur­ray and Ger­man cel­list Jan Vogler. (If you don’t have Spo­ti­fy’s free soft­ware, you can down­load it here.)

They recent­ly made an album togeth­er called New Worlds, where the sounds of Vogler’s clas­si­cal trio accom­pa­ny Mur­ray’s voice, singing and read­ing clas­sic works of Amer­i­can music and lit­er­a­ture from Mark Twain to Van Mor­ri­son. They also record­ed this selec­tion of mem­o­ries, gal­va­niz­ing mes­sages, and “intense study tips” briefly sum­ma­rized as fol­lows: “Don’t cram,” “Con­cen­trate,” “One prob­lem,” “Sleep on it,” “Take a bath,” “Focus on oth­ers,” “More is more,” “Take a break,” and “Build a rou­tine.”

Lis­ten to the playlist and you can hear Mur­ray expand on these sug­ges­tions, some of which will res­onate with mate­r­i­al we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture: the psy­cho­log­i­cal phe­nom­e­non that has us do our best think­ing in the show­er (or indeed the bath), for instance, or the intel­lec­tu­al foun­da­tions of Mur­ray’s comedic per­sona. If you find his advice use­ful, you might also look to the exam­ple he sets with how he runs his career, famous­ly tak­ing risks on untest­ed ideas or col­lab­o­ra­tors (includ­ing a cer­tain Wes Ander­son) and going to great lengths (up to and includ­ing replac­ing his agent with a voice­mail box) to avoid get­ting caught in the gears of his indus­try. Whether study­ing a sub­ject or becom­ing the most beloved com­ic actor of your gen­er­a­tion, in oth­er words, you’ve got to find a path that works for you and you alone. As one track of Mur­ray and Vogler’s help­ful playlist puts it, “Good luck.”

Relat­ed Con­tent:

The Phi­los­o­phy of Bill Mur­ray: The Intel­lec­tu­al Foun­da­tions of His Comedic Per­sona

Lis­ten to Bill Mur­ray Lead a Guid­ed Medi­a­tion on How It Feels to Be Bill Mur­ray

Richard Feynman’s “Note­book Tech­nique” Will Help You Learn Any Subject–at School, at Work, or in Life

Why You Do Your Best Think­ing In The Show­er: Cre­ativ­i­ty & the “Incu­ba­tion Peri­od”

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.

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