The Origins Project Brings Together Neil DeGrasse Tyson, Richard Dawkins, Lawrence Krauss, Bill Nye, Ira Flatow, and More on One Stage

It often seems, at least to me, that our cul­ture is slow­ly slid­ing back­ward when it comes to sci­ence edu­ca­tion. As a human­i­ties per­son, my obser­va­tions may not count for much, but I do find myself get­ting nos­tal­gic for pop­u­lar sci­ence com­mu­ni­ca­tors like Carl Sagan and Richard Feyn­man; peo­ple who could appear in America’s liv­ing room and enthrall even the most hard­ened and recal­ci­trant of minds. Sagan’s influ­ence peaked at the dawn of the cul­ture wars, and it doesn’t seem like any­one could fill his shoes.

But sev­er­al influ­en­tial sci­ence com­mu­ni­ca­tors have made sig­nif­i­cant strides in bring­ing sci­ence to a pop­u­lar audi­ence in the past few decades. Among them is the very affa­ble astro­physi­cist Neil DeGrasse Tyson, who takes Sagan’s man­tle in the Cos­mos reboot on Fox next year. There are media fig­ures like NPR’s Ira Fla­tow, Bill Nye the Sci­ence Guy, sci-fi author Neal Stephen­son, and Emmy-award-win­ning Tra­cy Day, co-founder of the World Sci­ence Fes­ti­val. Physi­cist and pop­u­lar sci­ence writer Bri­an Greene has done excel­lent work for NOVA, and sci­en­tif­ic heavy­weights Lawrence Krauss and Richard Dawkins reach mil­lions with pop­u­lar books and media appear­ances.

Now imag­ine all these peo­ple on the same stage togeth­er, trad­ing sto­ries, jam­ming, riff­ing like great jazz musi­cians, like some Jus­tice League of 21st cen­tu­ry sci­ence lovers. Well, you don’t have to, because this hap­pened, not on prime­time tele­vi­sion (alas), but at Ari­zona State Uni­ver­si­ty under the aegis of their “Ori­gins Project,” whose mis­sion is to fos­ter inter­dis­ci­pli­nary research, build sci­en­tif­ic part­ner­ships, and “raise the pro­file of ori­gins-relat­ed issues and broad­en sci­en­tif­ic lit­er­a­cy.” Ori­gins Project direc­tor Lawrence Krauss MC’ed the March 30th event, and the pan­el filled a 3,000-seat audi­to­ri­um for a two-hour ses­sion that focus­es on “the sto­ry­telling of sci­ence” (part one at top, part two above).

The event har­ness­es the slick, enter­tain­ing for­mat of TED Talks to demon­strate how cut­ting-edge research can reach a wide audi­ence eager for a fuller under­stand­ing of the phys­i­cal uni­verse. The first video up top opens with a quote from Michael Sher­mer: “Humans are pat­tern-seek­ing sto­ry-telling ani­mals, and we are quite adept at telling sto­ries about pat­terns, whether they exist or not.” The sto­ries that the mem­bers of this excit­ing pan­el dis­cus­sion tell are con­nect­ed to phys­i­cal real­i­ty through sci­en­tif­ic evi­dence that—without art­ful and com­pelling narrative—can seem bewil­der­ing­ly com­plex.

Relat­ed Con­tent:

Neil deGrasse Tyson Unveils a Daz­zling Pre­view of the New Cos­mos

Richard Dawkins Makes the Case for Evo­lu­tion in the 1987 Doc­u­men­tary, The Blind Watch­mak­er

The Unbe­liev­ers, A New Film Star­ring Richard Dawkins, Lawrence Krauss, Wern­er Her­zog, Woody Allen, & Cor­mac McCarthy

Bill Nye, The Sci­ence Guy, Says Cre­ation­ism is Bad for Kids and America’s Future

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

New Archive Reveals How Scientists Finally Solved the Vexing “Longitude Problem” During the 1700s

For cen­turies, sea­far­ing explor­ers and mer­chants reck­oned with the lon­gi­tude prob­lem. It was rel­a­tive­ly easy to fig­ure out a ship’s loca­tion on a north-south axis, but near­ly impos­si­ble to deter­mine how far east or west it was. And the stakes were high. Sail too far astray and your ship (and men) could end up so far afield that get­ting home before the food and water ran out might be impos­si­ble. The sail­ing world need­ed bet­ter tools to deter­mine loca­tion at sea.

In 1714 the British gov­ern­ment estab­lished the Board of Lon­gi­tude, offer­ing a cash prize to any­one who could fig­ure out how to detect how far east or west a ship was at sea. The Board was abol­ished in 1828, but only after fos­ter­ing inno­v­a­tive tech­niques that would for­ev­er change the nature of marine nav­i­ga­tion.

Cam­bridge Uni­ver­si­ty and the Nation­al Mar­itime Muse­um at Green­wich recent­ly released an archive mak­ing all of the let­ters, objects, and doc­u­ments relat­ed to the Board’s work avail­able, along with a spiffy set of videos that brings the Board’s his­to­ry and achieve­ments to life.

Dur­ing the Board’s tenure, clock­mak­er John Har­ri­son fig­ured out that sailors could find out their loca­tion if they knew local time at sea and com­pared that to the time at a com­mon ref­er­ence point. The moon was seen as a giant clock, and its posi­tion rel­a­tive to stars was record­ed in the Nau­ti­cal Almanac, giv­ing sailors the data to com­pare against the time at sea. One of the inno­va­tions vet­ted by the Board of Lon­gi­tude is John Harrison’s Sea Clock. Also dur­ing that time, Green­wich became the prime merid­i­an.

All of this work led to more accu­rate maps. The Board spon­sored jour­neys, includ­ing some aboard Cap­tain Cook’s ships with portable obser­va­to­ries for map­mak­ers to sketch and use tri­an­gu­la­tion to deter­mine accu­rate loca­tion on voy­ages, includ­ing one to the North­west­ern Unit­ed States.

You can start rum­mag­ing through the fas­ci­nat­ing archive here.

Relat­ed Con­tent:

Caught Map­ping: A Cin­e­mat­ic Ride Through the Nit­ty Grit­ty World of Vin­tage Car­tog­ra­phy

Play Cae­sar: Trav­el Ancient Rome with Stanford’s Inter­ac­tive Map

Cut­ting-Edge Tech­nol­o­gy Recon­structs the Bat­tle of Get­tys­burg 150 Years Lat­er

Kate Rix writes about edu­ca­tion and dig­i­tal media. Fol­low her on Twit­ter @mskaterix or vis­it her on the web at .

Nobel Laureates Draw Playful Pictures of Their Discoveries

nobel soccer 3

As an arty, unath­let­ic only child in the 70s, I refused to buy into the idea that sci­ence could be fun. This despite a wealth of zip­py edu­ca­tion­al pro­gram­ming, and the efforts of at least two cute young teach­ers whose hands-on approach includ­ed throw­ing eggs off of a rail­road tres­tle, demol­ish­ing tooth­pick bridges and dip­ping things into liq­uid nitro­gen for the sheer plea­sure of see­ing them explode when they hit the wall. Nice try. As far as I was con­cerned, those dullsville black-and-white films from the ’50s embod­ied the sub­jec­t’s gen­er­al vibe far more hon­est­ly than any attempt to force it down our throats with a fash­ion­able Hon­ey­comb Kids-style spin.

Hav­ing by now met dozens of sci­en­tists and sci­ence enthu­si­asts who are left cold by the arts, I’m not ashamed to be plain­spo­ken here.  I cer­tain­ly don’t begrudge them their pas­sion, and appre­ci­ate it when they don’t belit­tle mine. Dif­fer­ent strokes, you know?

Still, it’s nice to stum­ble across com­mon ground and for me, pho­tog­ra­ph­er Volk­er Ste­gerfor’s Nobel lau­re­ate por­traits pro­vides acreage on the order of Jim Otta­viani and Leland Myrick­’s graph­ic biog­ra­phy of Richard Feyn­man. I may be hard pressed to artic­u­late what the peo­ple in the por­traits are famous for, but I appre­ci­ate their will­ing­ness to be a play by the artist’s rules. (By his esti­mate, the decline rate is some­where around 4. 29%)

Ste­gerfor’s method for cap­tur­ing big brained inno­va­tors in a light frame of mind resem­bles a well run exper­i­ment. His unsus­pect­ing spec­i­mens were appre­hend­ed at Ger­many’s annu­al Lin­dau Nobel Lau­re­ate Meet­ing. Thus secured, they were led one at a time into a tem­po­rary stu­dio where each was invit­ed to draw what­ev­er it was that had earned him or her the Nobel prize. The results weren’t much as art, but they’re unmis­tak­ably play­ful, bristling with arrows, excla­ma­tion points, smi­ley faces, and word bub­bles. The pho­tog­ra­ph­er let his sub­jects pick the pose, at which points things did become art.

I’m going to award 1996 Chem­istry lau­re­ate Sir Harold Kro­to Best in Show for his well war­rant­ed action pose. Appar­ent­ly, his dis­cov­ery’s mol­e­c­u­lar struc­ture looks like a soc­cer ball.

It’s not exact­ly Break­ing Bad, but it does bring Chem­istry alive for me as a sub­ject oth­ers might find enjoy­able in the empir­i­cal sense.

View a gallery of Volk­er Ste­gerfor’s Sketch­es of Sci­ence. If you’re real­ly into it, the Nobel Muse­um is herald­ing a trav­el­ing exhi­bi­tion of Ste­gerfor’s work with audio record­ings of the sci­en­tists on the sub­ject of their dis­cov­er­ies.

via The Smith­son­ian blog

- Ayun Hal­l­i­day is slat­ed to direct the world’s first bio-his­tor­i­cal musi­cal in Novem­ber. Fol­low her @AyunHalliday

 

Neil deGrasse Tyson Unveils a Dazzling Preview of the New Cosmos

Sci­ence fans this week got their first tan­ta­liz­ing peek at the long-await­ed sequel to Carl Sagan’s clas­sic PBS series Cos­mos. Astro­physi­cist Neil deGrasse Tyson, who takes Sagan’s place in the new series, trav­eled to Com­ic-Con in San Diego last week for the unveil­ing of this new trail­er.

Cos­mos: A Space­time Odyssey will begin air­ing on the Fox tele­vi­sion net­work in the spring of 2014. As with the first Cos­mos, there will be 13 episodes. Accord­ing to the Fox Web site, “Cos­mos: A Space­time Odyssey will invent new modes of sci­en­tif­ic sto­ry­telling to reveal the grandeur of the uni­verse and re-invent cel­e­brat­ed ele­ments of the leg­endary orig­i­nal series, includ­ing the Cos­mic Cal­en­dar and the Ship of the Imag­i­na­tion. The most pro­found sci­en­tif­ic con­cepts will be pre­sent­ed with stun­ning clar­i­ty, unit­ing skep­ti­cism and won­der, and weav­ing rig­or­ous sci­ence with the emo­tion­al and spir­i­tu­al into a tran­scen­dent expe­ri­ence.”

The new Cos­mos is pro­duced by Sagan’s wid­ow Ann Druyan, who co-wrote and pro­duced the orig­i­nal series with her hus­band and Steven Sot­er. “This series is still about that same thing,” Druyan told reporters, “but we’re telling a com­plete­ly dif­fer­ent set of sto­ries, estab­lish­ing the coor­di­nates, but then jump­ing off from there.”

As the new trail­er would sug­gest, the updat­ed series will be rich in spe­cial effects. Accord­ing to a sto­ry this week in Wired, the orig­i­nal series’ use of his­tor­i­cal reen­act­ments by actors will most­ly be replaced with ani­ma­tion in what direc­tor Bran­non Bra­ga called “a sophis­ti­cat­ed graph­ic nov­el-type style.” But the visu­al effects will be there only to serve the nar­ra­tive. “As humans, we like hear­ing sto­ries,” Tyson said in San Diego. “We have what I think is the great­est sto­ry ever told: the sto­ry of the uni­verse, and our place with­in it, and how we came to dis­cov­er our place with­in it. And final­ly, we have the meth­ods and tools to bring that to the screen.”

NOTE: All 13 episodes of the 1980 series Cos­mos: A Per­son­al Voy­age can be seen for free by fol­low­ing this link to Hulu. Alas, free view­ing may not be avail­able in all coun­tries.

Relat­ed con­tent:

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

Neil deGrasse Tyson Remem­bers His First Meet­ing with Carl Sagan

Carl Sagan’s Under­grad Read­ing List: 40 Essen­tial Texts for a Well-Round­ed Thinker

Carl Sagan Presents Six Lec­tures on Earth, Mars & Our Solar Sys­tem … For Kids (1977)

Björk and Sir David Attenborough Team Up in a New Documentary About Music and Technology

There’s a long and com­pan­ion­able his­to­ry between music and math­e­mat­ics. While it is often said that every cul­ture has its own form of music, it’s also near­ly just as true that most ancient cul­tures explored the math­e­mat­i­cal prin­ci­ples of sound. Leave it to the Pythagore­ans of Ancient Greece to notice the rela­tion­ship between musi­cal scales and math­e­mat­i­cal ratios.

How music and sci­ence inter­sect is a more mod­ern inquiry. Fields like neu­ro­science and mod­ern med­i­cine and tech­nol­o­gy make both the roots of music and cog­ni­tion, as well as how sci­ence can inspire music, a crack­ling fron­tier.

Chan­nel 4 in Eng­land aired a new doc­u­men­tary When Björk Met Atten­bor­ough on July 27th with—who better?—naturalist David Atten­bor­ough as host. Atten­bor­ough, who was famous­ly grant­ed priv­i­leged access to film Dian Fossey’s research on moun­tain goril­las, teams up with a less elu­sive but fas­ci­nat­ing fig­ure this time around. Atten­bor­ough actu­al­ly co-hosts the pro­gram with Björk.

Björk’s album Bio­phil­ia is the launch­ing-off point for the doc­u­men­tary. It’s an apt choice. Björk has called live per­for­mances of music on the album a “med­i­ta­tion on the rela­tion­ship between music, nature, and tech­nol­o­gy.”

New instru­ments were spe­cial­ly designed for the album and the songs are con­cep­tu­al­ly wed­ded to nat­ur­al phe­nom­e­na. “Moon” fea­tures musi­cal repeat­ing musi­cal cycles; “Thun­der­bolt” includes arpeg­gios inspired by the time between the moment when light­en­ing is seen and thun­der is heard.

In the doc­u­men­tary, Atten­bor­ough explores how music exists in the nat­ur­al world, tak­ing view­ers through the film­ing of the Reed War­bler and Blue Whales. For her part, Björk argues that cut­ting-edge tech­nol­o­gy keeps music intu­itive and acces­si­ble. Fea­tured are the instru­ments Björk devel­oped for Bio­phil­ia: the “pen­du­lum harp,” the “sharp­si­chord” and the “game­leste,” a com­bi­na­tion game­lan and celes­ta pro­grammed to be played remote­ly on an iPad.

You can watch the doc­u­men­tary above.

via io9

Relat­ed Con­tent:

Watch Philip Glass Remix His Own Music—Then Try it Your­self With a New App

Day of Light: A Crowd­sourced Film by Mul­ti­me­dia Genius Bri­an Eno

Kate Rix writes about dig­i­tal media and edu­ca­tion. Fol­low her on Twit­ter @mskaterix and learn more about her work by vis­it­ing .

Noam Chomsky Calls Postmodern Critiques of Science Over-Inflated “Polysyllabic Truisms”

To the delight and sat­is­fac­tion of hun­dreds of our read­ers, we recent­ly fea­tured an inter­view in which Noam Chom­sky slams post­mod­ernist intel­lec­tu­als like Slavoj Zizek and Jacques Lacan as “char­la­tans” and posers. The turn against post­mod­ernism has been long in com­ing, a back­lash the polit­i­cal right has made the­ater of for years, but that thinkers on the polit­i­cal left, like anar­chist Chom­sky, Marx­ist Vivek Chib­ber, and self-described “old left­ist” Alan Sokal have pur­sued with just as much vig­or (and more rig­or). In the inter­view clip above, Chom­sky makes a blan­ket cri­tique of what the inter­view­er calls the “left crit­i­cism of sci­ence” as impe­ri­al­ist, racist, sex­ist, etc. His answers shed quite a bit of light on what Chom­sky per­ceives as the polit­i­cal ram­i­fi­ca­tions of post­mod­ern thought as well as the ori­gins of the dis­course.

Chom­sky char­ac­ter­izes left­ist post­mod­ern aca­d­e­mics as “a cat­e­go­ry of intel­lec­tu­als who are undoubt­ed­ly per­fect­ly sin­cere” (I sus­pect this is a bit of unchar­ac­ter­is­tic politesse on his part). Nonethe­less, in his cri­tique, such thinkers use “poly­syl­lab­ic words and com­pli­cat­ed con­struc­tions” to make claims that are “all very inflat­ed” and which have “a ter­ri­ble effect on the third world.” Chom­sky argues (as does Chib­ber) that “in the third world, pop­u­lar move­ments real­ly need seri­ous intel­lec­tu­als to par­tic­i­pate. If they’re all rant­i­ng post­mod­ernists… well, they’re gone.” His assess­ment of post­mod­ern cri­tiques of sci­ence echoes his crit­i­cism of Zizek and Lacan. (Chom­sky appears to use the words “poly­syl­lab­ic” and “mono­syl­lab­ic” as terms for jar­gon vs. ordi­nary lan­guage.):

It’s con­sid­ered very left wing, very advanced. Some of what appears in it sort of actu­al­ly makes sense, but when you repro­duce it in mono­syl­la­bles, it turns out to be tru­isms. It’s per­fect­ly true that when you look at sci­en­tists in the West, they’re most­ly men, it’s per­fect­ly true that women have had a hard time break­ing into the sci­en­tif­ic fields, and it’s per­fect­ly true that there are insti­tu­tion­al fac­tors deter­min­ing how sci­ence pro­ceeds that reflect pow­er struc­tures. All of this can be described lit­er­al­ly in mono­syl­la­bles, and it turns out to be tru­isms. On the oth­er hand, you don’t get to be a respect­ed intel­lec­tu­al by pre­sent­ing tru­isms in mono­syl­la­bles.

This last point is some­thing Chom­sky elab­o­rates on as the impe­tus for post-struc­tural­ism in the acad­e­my, say­ing “it’s pret­ty easy to fig­ure out what’s going on. Sup­pose you’re a lit­er­ary schol­ar…. If you do your work seri­ous­ly, that’s fine, but you don’t get any prizes for it.” He makes the claim that human­i­ties schol­ars use mys­ti­fy­ing jar­gon and cook up “the­o­ry” in order to com­pete with the­o­ret­i­cal physi­cists and math­e­mati­cians, who get prizes, grants, and pres­tige for advanc­ing incred­i­bly com­pli­cat­ed sci­en­tif­ic work.

Even more than this gen­er­al accu­sa­tion against the­o­rists in the human­i­ties, Chom­sky makes the polit­i­cal point that French intel­lec­tu­als in Paris, “the cen­ter of the rot,” were the last group of left­ists to be ded­i­cat­ed, “flam­ing” Stal­in­ists and Maoists. In order to save face, such peo­ple had to sud­den­ly become “the first peo­ple in the world to have dis­cov­ered the gulags.” It’s a very damn­ing char­ac­ter­i­za­tion, and one he could no doubt sup­port, as he does all of his claims, with a dizzy­ing num­ber of spe­cif­ic exam­ples, though he declines to name names here. He does, how­ev­er, ref­er­ence Alan Sokal and Jean Bricmont’s sad­ly out-of-print  Intel­lec­tu­al Impos­tures, a book that patient­ly expos­es French post-struc­tural­ist thinkers’ abuse of sci­en­tif­ic con­cepts. (Sokal, a physics pro­fes­sor, famous­ly punked a well-regard­ed human­i­ties jour­nal in the mid-nineties with a pho­ny arti­cle).

Chom­sky’s cranky con­trar­i­an­ism is noth­ing new, and some of his polemic recalls the ana­lyt­ic case against “con­ti­nen­tal” phi­los­o­phy or Karl Pop­per’s case against pseu­do-sci­ence, although his invest­ment is polit­i­cal as much as philo­soph­i­cal. The inter­view­er then moves on to reli­gion. Chomsky’s thoughts on that sub­ject are gen­er­al­ly nuanced and fair-mind­ed, but we don’t get to hear them here, alas, though he’s had plen­ty to say else­where.

Relat­ed Con­tent:

Noam Chom­sky Slams Žižek and Lacan: Emp­ty ‘Pos­tur­ing’

Clash of the Titans: Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er on Dutch TV, 1971

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

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

Rapping About Science: Watch High School Senior Jabari Johnson Talk Physics with Poetic Lyrics

Christo­pher Emdin, an Asso­ciate Pro­fes­sor at Teach­ers Col­lege, Colum­bia Uni­ver­si­ty, loves to rap. And he loves using rap to teach kids all about sci­ence. That’s why he helped put togeth­er B.A.T.T.L.E.S., a New York City-wide com­pe­ti­tion that chal­lenges stu­dents to put sci­en­tif­ic con­cepts into lyri­cal raps. The kids were up to the task and rapped about every­thing from “rock sci­ence, nat­ur­al selec­tion and genet­ics to how mate­ri­als freeze or melt.” And the win­ner — Jabari John­son, a senior from Urban Assem­bly School for the Per­form­ing Arts in Harlem — was named on June 21, after the final com­pe­ti­tion took place on the Colum­bia Uni­ver­si­ty cam­pus. John­son will now have a chance to make a pro­fes­sion­al record­ing of his song about Kinet­ic Ener­gy and post it on the Rap Genius web­site.

via Colum­bia

Relat­ed Con­tent:

The Great­ness of Charles Dar­win Explained with Rap Music

The Large Hadron Col­lid­er Rap, Yo

The Hayek vs. Keynes Rap

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The Relativity Series Features 24 Free Plays About Great Scientists and Scientific Endeavors

RelativitySeries

I grew up lis­ten­ing to radio plays, keep­ing in high rota­tion vin­tage broad­casts of shows like Sus­pense, Amos ‘n Andy, and Drag­net. These stoked in me a fas­ci­na­tion with the medi­um of radio, and they also taught me a thing or two about life in ear­ly 20th-cen­tu­ry Amer­i­ca — most­ly lessons, by way of the com­mer­cials, about its var­i­ous con­sumer prod­ucts (usu­al­ly soaps). With the mod­ern inter­net, kids today can not only lis­ten to their fill of old-time radio pro­grams essen­tial­ly with­out effort — no boot­leg cas­sette tapes for them, like I had to use — but eas­i­ly find new­er, more inno­v­a­tive, and I dare­say more inter­est­ing audio pro­duc­tions as well. Case in point: the Los Ange­les The­atre Works’ Rel­a­tiv­i­ty Series, offer­ing sci­ence-themed plays you can lis­ten to free online, fea­tur­ing per­for­mances by well-known actors like Alfred Moli­na, Jason Rit­ter, and Ed Asner.

But don’t mis­take any of the Rel­a­tiv­i­ty Series’ 24 cur­rent­ly avail­able pro­duc­tions as straight­for­ward­ly “edu­ca­tion­al.” Know­ing that no lis­ten­er, man, woman, or child, wants a sim­ple physics or biol­o­gy les­son tart­ed up with a thin scrim of dra­ma, the pro­duc­ers have instead record­ed new ver­sions of full-fledged works for the stage that hap­pen to have sci­en­tif­ic themes or involve events and play­ers from the his­to­ry of sci­ence. How it delight­ed me to find, for instance, Tom Stop­pard’s Arca­dia in the Rel­a­tiv­i­ty Series. Stop­pard, per­haps the most intel­lec­tu­al­ly omniv­o­rous writer alive, became a fas­ci­na­tion of mine around the same time I delved into old-time radio, and Arca­dia remains the finest play deal­ing with chaos the­o­ry to take place on an Eng­lish coun­try estate in two cen­turies at once. Oth­er pro­duc­tions deal with the lives of sci­en­tists like Alan Tur­ing and Richard Feyn­man as well as events like the Scopes Mon­key Tri­al and the devel­op­ment of the atom­ic bomb. Above, you can lis­ten to a unique per­for­mance where mem­bers of the Star Trek cast recre­ate Orson Welles’ dra­mat­ic 1938 “War of the Worlds” broad­cast.

You can access all 24 plays in the Rel­a­tiv­i­ty Series here.

via Metafliter

Relat­ed Con­tent:

Orson Welles Vin­tage Radio: The War of the Worlds That Pet­ri­fied a Nation

Wern­er Her­zog and Cor­mac McCarthy Talk Sci­ence and Cul­ture

Ira Glass on the Art and Craft of Telling Great Radio Sto­ries

Neil deGrasse Tyson’s StarTalk Radio Show Pod­cast Tack­les the His­to­ry of Video Games

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

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