Ira Glass Makes Balloon Animals and Gives NSFW Advice to Teens — At the Same Time!!

Pri­or to pub­lic radio super­star­dom, Ira Glass enjoyed mod­est suc­cess as an ama­teur teenage magi­cian with a side in bal­loon ani­mals. At the behest of Rook­ie, an online mag­a­zine by and for teen girls, Glass shared some trade secrets gleaned from the 1974 pam­phlet, Roger’s Rub­ber Ark, Vol­ume II. Ignore the dia­bol­i­cal squeak­ing, and you’ll come out of this video know­ing every step that goes into a seat­ed Snoopy and a sur­pris­ing­ly ele­gant French poo­dle.

Even bet­ter than the bal­loon how-tos are Glass’ straight­for­ward respons­es to Rook­ie read­ers’ ques­tions, a chal­lenge pre­vi­ous­ly faced by Jon Hamm and Paul Rudd.

He applauds the courage of “Anony­mous,” who revealed her true feel­ings to a crush via text mes­sage. But, when pre­sent­ed with the facts, Glass con­cludes unequiv­o­cal­ly that her sen­ti­ment is not shared. (It’s not.)

The entire­ty of wom­ankind will embrace him for what he has to say to nerdy girls and those with short hair­dos.

And when the top­ic turns to con­dom eti­quette and fel­la­tio, well, let’s just say that the teenagers of the world could use more sex edu­ca­tors like Ira Glass.

Relat­ed Con­tent:

Ira Glass on the Art of Sto­ry­telling

Filming a Sprinting Cheetah at 1,200 Frames Per Second

Chee­tahs are the fastest land ani­mals on Earth, able to reach speeds of up to 70 miles per hour.

Ear­li­er this year, the team at Nation­al Geo­graph­ic vis­it­ed the Cincin­nati Zoo and filmed chee­tahs run­ning at full sprint, as seen in the majes­tic video above. The Nation­al Geo­graph­ic team used a Phan­tom cam­era film­ing at 1,200 frames per sec­ond to cap­ture every nuance in the chee­tah’s gal­lop. The film­ing took three days and, so as not to bur­den the ani­mals, five dif­fer­ent chee­tahs were filmed.

You can read more about this ini­tia­tive here. Also be sure to check out the accom­pa­ny­ing Nation­al Geo­graph­ic arti­cle, â€śChee­tahs on the Edge.”

Eugene Buchko is a blog­ger and pho­tog­ra­ph­er liv­ing in Atlanta, GA. He main­tains a pho­to­blog, Eru­dite Expres­sions, and writes about what he reads on his read­ing blog.

15,000 Balloons Promote TEDxAmsterdam (Watch It Live on November 30)

So what is human nature? Who are we, how do we think, feel and act? What are our lim­i­ta­tions, and how can we over­come them? What do we share, how we are dif­fer­ent, how we can be fooled and how lucky are we to be alive?

Those are the ques­tions at the heart of the 2012 edi­tion of TEDx­Am­s­ter­dam, and you can watch it live online, in HD, start­ing tomor­row morn­ing at 9am Ams­ter­dam time. (The video will stream from the TEDx­Am­s­ter­dam home­page here.)

If you check out the pro­gram, you’ll see that Dan Ariely will be among the speak­ers. He’s the Duke prof who will teach â€śA Beginner’s Guide to Irra­tional Behav­ior,” a Mas­sive Open Online Course (MOOC) start­ing next year. (It’s in our col­lec­tion of Free Online Cer­tifi­cate Cours­es & MOOCs from Great Uni­ver­si­ties.)

In antic­i­pa­tion of the event, artist Gui­do Ver­hoef blew up 15,000 bal­loons to reveal the true face of human nature. You can see what it looks like above.

Relat­ed Con­tent:

1377 TED Talks List­ed in a Neat Spread­sheet

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Watch as Alberto Giacometti Paints and Pursues the Elusive “Apparition” (1965)

The Swiss artist Alber­to Gia­comet­ti is most often remem­bered for his famous­ly thin, elon­gat­ed sculp­tures of the human form. But Gia­comet­ti was a sim­i­lar­ly bril­liant and orig­i­nal draughts­man who main­tained that draw­ing was the cen­tral skill of an artist. “One must stick exclu­sive­ly to draw­ing,” he once said. “If one dom­i­nates draw­ing even a lit­tle bit then every­thing else becomes pos­si­ble.”

Gia­comet­ti the draughts­man had a dis­tinc­tive way of rework­ing a line, of going over it again and again as if he were sculpt­ing in plas­ter. “When I make my draw­ings,” Gia­comet­ti said, “the path traced by my pen­cil on the sheet of paper is, to some extent, anal­o­gous to the ges­ture of a man grop­ing his way in the dark­ness.” The result­ing tan­gle of lines give his draw­ings a spe­cial vibran­cy, a sense of motion and depth on the two-dimen­sion­al plane.

In this excerpt from the 1966 film Alber­to Gia­comet­ti by the Swiss pho­tog­ra­ph­er Ernst Schei­deg­ger, we watch as Gia­comet­ti paints the foun­da­tion­al lines of a por­trait at his stu­dio in Mont­par­nasse. The footage was prob­a­bly shot in 1965, the last year of Gia­comet­ti’s life. The artist report­ed­ly saw the film not long before his death on Jan­u­ary 11, 1966. Watch­ing the film, we get a sense of Gia­comet­ti’s care for geom­e­try as he draws orga­ni­za­tion­al lines to work out the pro­por­tions. Gia­comet­ti would often leave these inter­sect­ing ver­ti­cal, hor­i­zon­tal and diag­o­nal lines–which would emerge organ­i­cal­ly as he went along–in his fin­ished works.

In the Ger­man nar­ra­tion, the speak­er describes Gia­comet­ti’s almost mys­ti­cal sense of the process: A face appears on the can­vas which is his own face but also that of anoth­er, dis­tant per­son who will appear out of the depth if only you reach out for him. But as you do reach out the per­son recedes, remain­ing just beyond your grasp. “The appari­tion,” Gia­comet­ti once said: “Some­times I think I can trap it, but then I lose it again and must begin once more.”

Spe­cial thanks to Matthias Rasch­er for his lin­guis­tic help.

Relat­ed Con­tent:

Vin­tage Footage of Picas­so and Jack­son Pol­lock Paint­ing … Through Glass

Wass­i­ly Kandin­sky Caught in the Act of Cre­ation, 1926

A Poignant, Elegant Tribute to the Mars Rover Curiosity

The Curios­i­ty mis­sion on Mars will soon bring us some big news. We don’t know what it is. We just know, accord­ing to one NASA sci­en­tist, the dis­cov­ery â€śis going to be one for the his­to­ry books.” As we await more infor­ma­tion, we bring you this: a short film by Dan Win­ters and Shervin Shaeri that weaves togeth­er com­men­tary from NASA engi­neers and some arrest­ing pho­tographs. Togeth­er, they remind us of the heart and soul that went into putting a state-of-the-art rover on a red plan­et some 200 mil­lion miles away from our own “pale blue dot,” as Carl Sagan once called it.

Arthur Conan Doyle Discusses Sherlock Holmes and Psychics in a Rare Filmed Interview (1927)

While Scot­tish physi­cian and author Arthur Conan Doyle died in 1930, he seems almost whol­ly of the nine­teenth cen­tu­ry: a trained sci­en­tist who fer­vent­ly believed in “spir­i­tu­al­ism” and fairies, and an accom­plished and pro­lif­ic writer whose most famous character—that most log­i­cal of detectives—had a cocaine addic­tion and more per­son­al quirks than the aver­age neu­rot­ic. Like Joseph Con­rad, Doyle sailed–as a ship’s doctor–to Euro­pean colonies in West Africa and found him­self deeply affect­ed by the bru­tal exploita­tion he encoun­tered. And like Con­rad, he seems to embody a turn-of-the-cen­tu­ry British­ness poised between old and new worlds, when Vic­to­ria gave way to Edward and moder­ni­ty limned the Empire. Although the age of film and of tele­vi­sion have always embraced Sher­lock Holmes, his cre­ator belongs to the age of the nov­el. Nev­er­the­less, he agreed to the 1927 inter­view above, pos­si­bly his only appear­ance on film. In the brief mono­logue, he dis­cuss­es the two ques­tions that he most received from curi­ous fans and jour­nal­ists: how he came to write the Sher­lock Holmes sto­ries and how he came to believe in â€śpsy­chic mat­ters.”

Doyle attrib­ut­es the cre­ation of Holmes to his sci­en­tif­ic train­ing, and to a keen irri­ta­tion when read­ing detec­tive sto­ries whose pro­tag­o­nists stum­bled on solu­tions by chance or nar­ra­tive non sequitur. He also describes his admi­ra­tion for a colleague’s impres­sive “deduc­tive” abil­i­ties. What if, Conan Doyle rea­soned, the detec­tives had the pow­ers of a doc­tor? Oh, had he lived to see his premise flipped in House (and sue for roy­al­ties). Doyle also express­es his amuse­ment at the creduli­ty of his read­ing pub­lic, many of whom believed in the real­i­ty of Sher­lock Holmes and Dr. Wat­son and who sent them regards and advice. At this point in the inter­view, Doyle turns to a sub­ject upon which many thought him cred­u­lous: psy­chic and super­nat­ur­al expe­ri­ence. He goes to some lengths to estab­lish his bona fides, say­ing that he stud­ied spir­i­tu­al­ism for forty-one years and did not arrive at his ideas in haste. But Doyle was eas­i­ly tak­en in by sev­er­al hoax­es and insist­ed through­out his life that Har­ry Hou­di­ni pos­sessed psy­chic pow­ers, despite Houdini’s protests to the con­trary. It seems this was one area in which Doyle’s rea­son failed him—in which he resem­bles the mys­ti­cal Yeats more than the skep­ti­cal Wat­son and Holmes.

You can down­load free copies of The Adven­tures of Sher­lock Holmes from our col­lec­tions of Free Audio Books and Free eBooks. You can also find four adap­ta­tions of Sher­lock Holmes in our col­lec­tion of Free Movies Online.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Kurt Vonnegut’s Tips for Teaching at the Iowa Writers’ Workshop (1967)

Few who dip into Kurt Von­negut’s work come away with­out the influ­ence of his voice. If we can judge by his let­ter to Richard Gehman (click here to read it in large for­mat), this will go for his per­son­al cor­re­spon­dence as much as it does for his fic­tion. In addi­tion to such nov­els as Slaugh­ter­house-Five, Cat’s Cra­dle, and Break­fast of Cham­pi­ons, Von­negut left behind a great many let­ters, some of the most inter­est­ing of which have just come togeth­er in a new 464-page col­lec­tion. We pre­vi­ous­ly fea­tured one of Von­negut’s dis­patch­es from the army, writ­ten to his par­ents at age 22. 22 years after that, he wrote the above page to Gehman, him­self a not­ed man of let­ters. It con­tains the one thing for which near­ly ever ded­i­cat­ed read­er of Kurt Von­negut must long: advice from Kurt Von­negut.

“Morn­ings are for writ­ing,” Von­negut tells Gehman, “and so are most of the after­noons.” The recip­i­ent was prepar­ing for a teach­ing stint at the Uni­ver­si­ty of Iowa’s famous Writer’s Work­shop. Von­negut’s own tour of duty there from 1965 to 1967 put him in a posi­tion to offer wise coun­sel. “The class­es don’t mat­ter much,” he writes, a sen­ti­ment that will strike cre­ative writ­ing teach­ers as at once dispir­it­ing and sen­si­ble. “The real busi­ness, head-to-head, is done dur­ing office hours.” He also has much to say about uni­ver­si­ty life and how to cope with the remote­ness of Iowa City. “For­get your lack of cre­den­tials.” “You go to Cedar Rapids for seafood.” “Can­cel class­es when­ev­er you damn please.” “Every so often you will go nuts. All of a sud­den the corn­fields get you.” “Run with the painters. I did.” “Go to all the foot­ball games. They are great.” Beyond these points, the let­ter only gets juici­er — as a true Von­negut fan would expect. Again you can read it in large for­mat here.

via Slate

Relat­ed con­tent:

22-Year-Old P.O.W. Kurt Von­negut Writes Home from World War II: “I’ll Be Damned If It Was Worth It”

Kurt Von­negut Reads from Slaugh­ter­house-Five

Kurt Vonnegut’s Eight Tips on How to Write a Good Short Sto­ry

Kurt Von­negut: “How To Get A Job Like Mine” (2002)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Woody Allen Answers 12 Unconventional Questions He Has Never Been Asked Before

Woody Allen hates per­son­al pub­lic­i­ty. He does­n’t appear on talk shows or attend the Oscars. He rarely gives inter­views, even when he has a new film to pro­mote. But a few years back Allen opened up to film­mak­er Robert B. Wei­de for the mak­ing of Woody Allen: A Doc­u­men­tary, which aired last year in the Amer­i­can Mas­ters series on PBS. “He nev­er refused a request,” Wei­de told PBS, “and he nev­er declined to answer a ques­tion.” At one point Wei­de asked Allen a series of twelve ques­tions that he was rea­son­ably sure Allen had nev­er been asked before. The result­ing inter­view, shown above, is includ­ed as an extra in the DVD ver­sion of the film and offers a fas­ci­nat­ing lit­tle por­tal into the reclu­sive film­mak­er’s per­son­al­i­ty.

Relat­ed Con­tent:

Meetin’ WA: Jean-Luc Godard Meets Woody Allen in 26 Minute Film

How Woody Allen Dis­cov­ered Ing­mar Bergman, and How You Can Too

Neil deGrasse Tyson Answers the Big Enchilada Question, “Does the Universe Have a Purpose?”

Neil deGrasse Tyson was asked by the Tem­ple­ton Foun­da­tion to answer the unan­swer­able ques­tion “Does the Uni­verse Have a Pur­pose?” He read his answer aloud, and Minute Physics helped ani­mate it. If you head to the Tem­ple­ton Foun­da­tion web site, you can find replies by oth­er lead­ing intel­lec­tu­als, includ­ing Lawrence Krauss, Jane Goodall, and Elie Wiesel.

For more pearls of wis­dom from Tyson, check out the fol­low­ing:

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

Neil deGrasse Tyson Deliv­ers the Great­est Sci­ence Ser­mon Ever

Stephen Col­bert Talks Sci­ence with Astro­physi­cist Neil deGrasse Tyson

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Woody Guthrie’s Fan Letter To John Cage and Alan Hovhaness (1947)

I’ve always felt a cer­tain close affin­i­ty with Woody Guthrie. Could be my admi­ra­tion for his unstint­ing working-man’s pol­i­tics or that he hails from my mother’s home state of Okla­homa. Those are strong appeals, and I sup­pose it’s all of that and more: Guthrie could carve out com­pact gran­ite sen­tences even Robert Frost would envy. If the let­ter above doesn’t con­vince you, read the man’s auto­bi­og­ra­phy. In the let­ter, the unapolo­getic work­ing-class folksing­ing Okie who embod­ied depres­sion-era authen­tic­i­ty writes to “Disc Com­pa­ny of Amer­i­ca” to enthuse over John Cage for his “over­haul of the fam­i­ly piano” and his “choked down odd and unusu­al kinds of things.”

Odd and unusu­al are two words that spring to mind when imag­in­ing Guthrie writ­ing a let­ter in praise of Cage. (He also prais­es Armen­ian com­pos­er Alan Hov­haness—Guthrie spells it “Hov­aness”). Writ­ten in 1947, it is the kind of text one wants to quote in its entire­ty. For­tu­nate­ly, we have the repro­duc­tion above, and you can read it for your­self. What isn’t repro­duced is the post­script, in which Guthrie wrote: “I need some­thing like this odd­strik­ing music to match the things I feel in my soul tonight.” He also wrote that that morn­ing, his wife, Mar­jorie, had “giv­en birth to a big 7‑pound boy”—Arlo.

Guthrie’s let­ter ref­er­ences a (now extreme­ly rare) two-disc set enti­tled Piano Com­po­si­tions by Alan Hov­haness and John Cage played by Maro Ajemi­an and Alan Hov­hanes, fea­tur­ing a hand-drawn cov­er by acclaimed jazz-record illus­tra­tor David Stone Mar­tinAccord­ing to LA Times music crit­ic Mark Swed, the Cage com­po­si­tion on Guthrie’s 78-rpm record was the pre­pared piano solos from Cage’s Amores, com­posed in 1943. Below, watch a per­for­mance of the “odd­strik­ing” Amores by Span­ish ensem­ble Neop­er­cusiĂłn.

Thanks to Tris­tan for point­ing us to this let­ter orig­i­nal­ly blogged over at Stool Pigeon.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

The Epistemology of Dr. Seuss & More Philosophy Lessons from Great Children’s Stories

horton-hears-philosophy

Now for a sto­ry which “rais­es ques­tions about the the­o­ry and nature of knowl­edge.” An ele­phant “hears a faint noise com­ing from a small speck of dust; it seems to him like a tiny per­son is call­ing out for help.” He “finds it pecu­liar that a dust speck could speak so he rea­sons that there must be a very small crea­ture on it. With­out being able to see the crea­ture, he seems to know it is there and that it is his duty to save it from harm. The oth­er ani­mals in the jun­gle see him speak to the dust speck and find it impos­si­ble that there could be a crea­ture liv­ing on it.” Met with only dis­be­lief, “he holds tight to what he knows is true and learns from the voice that there exists an entire uni­verse.” At last, the speck­’s res­i­dent tiny towns­peo­ple “come togeth­er and make enough noise for the ani­mals to hear; they have proven their exis­tence and the jun­gle ani­mals are able to know what Hor­ton has known all along.” Most of us have read this clas­sic chil­dren’s book, Hor­ton Hears a Who!  by Dr. Seuss. But how many of us have probed its “ques­tions about the nature of human knowl­edge”?

The last para­graph’s quot­ed text all comes from Teach­ing Chil­dren Phi­los­o­phy’s Hor­ton Hears a Who mod­ule. The project, an out­growth of Mount Holyoke Col­lege pro­fes­sor Tom Warten­berg’s course “Phi­los­o­phy for Chil­dren,” comes premised on the notion not only that young­sters can learn phi­los­o­phy, but that they pos­sess minds par­tic­u­lar­ly well-suit­ed to its study. Teach­ing Chil­dren Phi­los­o­phy draws out the rel­e­vant philo­soph­i­cal issues and ques­tions from the books they’ve been read­ing already, from the epis­te­mol­o­gy of Hor­ton Hears a Who! to the meta­physics of Sylvester and the Mag­ic Peb­ble to phi­los­o­phy of mind in Harold and the Pur­ple Cray­on. Tar­get­ed toward par­ents, edu­ca­tors, and kids them­selves, the site promis­es great solace to any philo­soph­i­cal­ly mind­ed read­er (or read­er-aloud) of chil­dren’s sto­ries who feel they have long since exhaust­ed the depths of these beloved slim vol­umes. “How does Hor­ton know that this voice means there is a per­son on the speck?” “Is the moon that Harold draws the same as the moon we can see in the sky at night?” “If Sylvester is still a don­key because he thinks, what hap­pens when Sylvester is not think­ing?” You sup­ply the chil­dren’s books, and Warten­berg and com­pa­ny sup­ply the phi­los­o­phy.

Relat­ed con­tent:

Free Phi­los­o­phy Cours­es from our Col­lec­tion of 550 Free Online Cours­es from Top Uni­ver­si­ties

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.


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