The Battle to Finish a PhD: World War I Soldier Completes His Dissertation in the Trenches (1916)

phd in trenches

Con­nie Ruzich, a WWI poet­ry blog­ger, recent­ly high­light­ed on Twit­ter a his­toric news­pa­per clip­ping that will put the tra­vails of acad­eme into per­spec­tive. Get­ting a Ph.D. is always hard. But hard is rel­a­tive.

Case in point…

100 years ago, Pierre Mau­rice Mas­son, a young schol­ar, found him­self fight­ing in north-east­ern France. Draft­ed in 1914, Mas­son rose through the mil­i­tary ranks, mov­ing from sergeant, to sub-lieu­tenant, to lieu­tenant. Mean­while, in the dis­com­fort of the trench­es, he con­tin­ued work­ing on his doc­tor­al thesis–a long dis­ser­ta­tion on the reli­gious train­ing of Jean-Jacques Rousseau. By the spring of 1916, he had com­plet­ed the text, cor­rect­ed the proofs, and draft­ed an intro­duc­tion (of course, that comes last). Final­ly, he announced to friends, “The mon­ster is ready!” And he sought a leave of absence to return to the Sor­bonne to receive his doc­tor­ate.

Alas, that did­n’t hap­pen. The news­pa­per clip above tells the rest of the poignant sto­ry.

You can read Mas­son’s posthu­mous­ly pub­lished the­sis, La for­ma­tion religieuse de Rousseaufree online.

via Ted Gioia/Con­nie Ruzich

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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 Illus­trat­ed Guide to a Ph.D.

Read John Nash’s Super Short PhD The­sis with 26 Pages & 2 Cita­tions: The Beau­ty of Invent­ing a Field

Ser­i­al Entre­pre­neur Damon Horowitz Says “Quit Your Tech Job and Get a Ph.D. in the Human­i­ties”

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The Opening of King Tut’s Tomb, Shown in Stunning Colorized Photos (1923–5)

Tut Sarcophagus

Inquir­ing minds want to know, imme­di­ate­ly and with­out any egghead qual­i­fi­ca­tions: Does King Tut’s tomb have hid­den rooms or does it not have hid­den rooms? Answer? Well, it depends who you ask….

That’s unsat­is­fy­ing isn’t it? If real life were direct­ed by Spiel­berg, there would be no ques­tion: of course there are hid­den rooms, and they’re filled with inge­nious, dead­ly boo­by traps and price­less mag­i­cal objects.

CNN reports a “90% chance of hid­den cham­bers,” per­haps con­tain­ing the remains of Queen Nefer­ti­ti. But archae­ol­o­gist and for­mer real­i­ty TV star Zahi Hawass—Egypt’s own Indi­ana Jones, as he’s been called—doubts it, as do sev­er­al oth­er archae­o­log­i­cal experts. Bum­mer.

tut-7

If you need some Tomb-Raider-style dra­ma, how­ev­er, you could do worse than to read the orig­i­nal accounts of Howard Carter (above, with anony­mous work­er), the Eng­lish Egyp­tol­o­gist who orig­i­nal­ly opened Tut’s tomb in 1922 after five years of fruit­less search­ing.

Slow­ly, des­per­ate­ly slow­ly it seemed to us as we watched, the remains of pas­sage debris that encum­bered the low­er part of the door­way were removed, until at last we had the whole door clear before us. The deci­sive moment had arrived. With trem­bling hands I made a tiny breach in the upper left hand cor­ner. Dark­ness and blank space… not filled like the pas­sage we had just cleared.… For the moment —an eter­ni­ty it must have seemed to the oth­ers stand­ing by—I was struck dumb with amaze­ment, and when Lord Carnar­von, unable to stand the sus­pense any longer, inquired anx­ious­ly, ‘Can you see any­thing?’ it was all I could do to get out the words, ‘Yes, won­der­ful things.’

Pair this nar­ra­tive with the pho­tographs you see here of the trea­sure horde Carter and his aris­to­crat­ic bene­fac­tors stole, er, dis­cov­ered in the tomb, and you’ve got your­self one heck of a real-life-adven­ture. Tak­en between 1923–25, the pho­tos doc­u­ment many of the 5,298 items that need­ed to be “record­ed, sketched, and in some cas­es doc­u­ment­ed pho­to­graph­i­cal­ly,” the short video below tells us, the first in a 15-part mini video series cre­at­ed for a huge New York exhi­bi­tion, The Dis­cov­ery of King Tut, which just closed on May 15th.

You may have missed the big show—with its life-sized recre­ations of the tomb’s cham­bers— but you can still expe­ri­ence much of the grandeur at its web­site. And Mash­able brings us these pho­tographs, col­orized for the event by a com­pa­ny called Dynamichrome. The pho­tos were tak­en by Met­ro­pol­i­tan Muse­um of Art pho­tog­ra­ph­er Har­ry Bur­ton (aka The Pharao­h’s Pho­tog­a­rpher), the exhi­bi­tion web­site informs us (“Only in Bur­ton’s pho­tographs did the young pharaoh achieve true immor­tal­i­ty”!), and the sto­ry of their cre­ation is inte­gral to the opu­lent tomb’s exca­va­tion.

tut-2

Act­ing as “Carter’s eyes and mem­o­ry,” Bur­ton “trekked between the dis­cov­ery site, his lab­o­ra­to­ry (which he had set up in the tomb of King Seti II) and impro­vised dark­room in the neigh­bor­ing tomb KV 55.”

The results of Burton’s labors are 2,800 large-for­mat glass neg­a­tives, which doc­u­ment all of the finds, their loca­tion in the tomb and every sin­gle step of the exca­va­tors’ work with the utmost pre­ci­sion. Carter patient­ly and uncon­di­tion­al­ly encour­aged him like no oth­er mem­ber of his team and, thanks to his pho­tos, Bur­ton was the first and only archae­o­log­i­cal pho­tog­ra­ph­er to achieve world­wide fame.

The entire process of remov­ing the ancient trea­sures from Tut’s tomb took ten years, part­ly due to the dif­fi­cul­ty of pre­serv­ing organ­ic arti­facts like tex­tiles, frag­ile wood fur­ni­ture, and footwear.

tut-6

Thank­ful­ly for us muse­um­go­ers and lovers of ancient his­to­ry, the tomb’s dis­cov­er­ers treat­ed the arti­facts with great care. This has not always been the case. Through­out the nine­teenth and twen­ti­eth cen­turies, actu­al tomb raiders, whose motives were less noble, took what­ev­er they could find from ancient bur­ial sites in order to make a quick sale, with­out regard for the care­ful cat­a­logu­ing and con­ser­va­tion efforts Carter and his team observed. Theft and traf­fick­ing of arti­facts is still ram­pant today.

tut-5

In an inter­view with U.S. News & World Report, Hawass describes not only how the rav­ages of time and neglect have dam­aged some of Egyp­t’s pre­cious history—including Tut’s bur­ial mask—but also how “near­ly two thirds of Egypt­ian antiq­ui­ties were smug­gled abroad in 2011, 2012, and 2013.” Such traf­fick­ing, he says, “is ongo­ing, but to a less­er degree.” Much of it was the result of “muse­um-loot­ing” dur­ing the rev­o­lu­tion. Hawass also dis­putes the hid­den cham­bers the­o­ry, con­tend­ing that “Nefer­ti­ti could not have been buried in the Val­ley of the Kings, as she used to wor­ship King Tut. The High Priests of Amun would not have allowed it.”

tut-1

Unfor­tu­nate­ly, says Hawass, the only way to know for sure is to “dig through the north­ern wall” of the tomb, caus­ing it to col­lapse. But we should not give up hope yet of Tut’s tomb yield­ing more secrets. Archae­ol­o­gist Nicholas Reeves, who pub­lished a paper in 2015 on the exis­tence of hid­den cham­bers, has fur­ther val­i­dat­ed his con­clu­sions with scans that sug­gest met­al and organ­ic mate­ri­als beyond the tomb’s north wall. Maybe Hawass is wrong, and we’ll soon be post­ing pic­tures of the trea­sures gath­ered from Nefer­ti­ti’s tomb. See many more of the col­orized Tut pho­tos at Mash­able.

via Mash­able

Relat­ed Con­tent:

The Met Dig­i­tal­ly Restores the Col­ors of an Ancient Egypt­ian Tem­ple, Using Pro­jec­tion Map­ping Tech­nol­o­gy

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

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

Brian Eno Answers Deep Questions from Music Journalist Dick Flash: The Best Eno Interview You’ll See

Sure­ly you’re famil­iar with the work of Dick Flash, the tire­less writer for Pork mag­a­zine who asks the most bril­liant minds in music today the deep­est, most seri­ous, most prob­ing ques­tions. Take, for instance, his inter­view of artist/pro­duc­er/am­bi­ent-music-inven­tor Bri­an Eno. “I was going to ask you whether you thought tech­nol­o­gy had affect­ed music very deeply,” Flash begins, “but then I thought, ‘Well, that’s a bloody stu­pid ques­tion to ask Bri­an Eno. I know you’ll agree that you just can’t imag­ine rock music with­out all the tech­nol­o­gy which goes into mak­ing it and get­ting it heard. How do you think that process has affect­ed what you’re doing?”

“Well —”

“I mean, when you’re mak­ing music, what even­tu­al­ly comes out has almost noth­ing to do with per­for­mance at all. I mean, I won­der if you some­times feel more like a painter than a com­pos­er.”

“The thing about this new record —”

“Because after all, your music is basi­cal­ly scenic. It’s not only that you make it more like a painter than a com­pos­er, but also, it does­n’t have a nar­ra­tive. There’s no sort of tele­o­log­i­cal struc­ture to it. It’s not goal-direct­ed. Instead it’s a bit like a sort of emo­tion­al micro­cli­mate, a place more than an event. Does that make any sense to you?”

“Yeah, well, I —”

“I mean, I’m not try­ing to put words into your mouth, but the real ques­tion is, should this stuff be called music at all, or is it a new art form? Do you think that this and oth­er media suf­fer from the car­ry­over of their orig­i­nal names, when in fact they’ve changed into some­thing com­plete­ly dif­fer­ent.”

“Well, I like paint­ing, yeah. I real­ly like it. Um…”

The inter­view, con­duct­ed at the time of the release of Eno’s album Small Craft on a Milk Sea (which Flash calls Milk Crate on a Small Sea) con­sti­tutes a true meet­ing of the minds. The con­ver­sa­tion cov­ers all the sub­jects that mat­ter: ecol­o­gy, film scores, the 1956 Copy­right Act, the human need for sur­ren­der, “the inter­net and all that,” the Edge’s hat, and why Eno does so much col­lab­o­ra­tion in the stu­dio. As to that last, the inter­view­er has a the­o­ry: “You love play­ing with what some­body else is play­ing as much as you enjoy play­ing with your­self.”

But wait — you say you’ve nev­er heard of Dick Flash? Watch the inter­view again: does­n’t he sound and look, behind that hip hair and spec­ta­cles, at least a lit­tle bit famil­iar? And does­n’t Eno him­self, con­fus­ing Mal­colm McLaren with Mar­shall McLuhan and going on about Annie Lennox’s neck, seem unchar­ac­ter­is­ti­cal­ly inar­tic­u­late, almost as if he’s pok­ing fun at him­self? (And who’s that in the pic­ture on his com­put­er desk­top, any­way?) Like all the finest inter­views through­out the his­to­ry of jour­nal­ism, this one leaves us with more ques­tions than answers.

Relat­ed Con­tent:

Bri­an Eno on Why Do We Make Art & What’s It Good For?: Down­load His 2015 John Peel Lec­ture

The Genius of Bri­an Eno On Dis­play in 80 Minute Q&A: Talks Art, iPad Apps, ABBA, & More

Jump Start Your Cre­ative Process with Bri­an Eno’s “Oblique Strate­gies”

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

David Bowie & Bri­an Eno’s Col­lab­o­ra­tion on “Warsza­wa” Reimag­ined in Com­ic Ani­ma­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. 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.

Go Inside the First 30 Minutes of Kubrick’s The Shining with This 360º Virtual Reality Video

Apolo­gies to Stephen King, but when I think of The Shin­ing, I think of Stan­ley Kubrick’s 1980 film. While King has long and vig­or­ous­ly object­ed to Kubrick’s lib­er­ties in adapt­ing the sto­ry, I’d argue it’s one of those oft-lis­ti­cled cas­es where the film is bet­ter than the book. Grant­ed, the hor­ror writer has made sev­er­al jus­ti­fied crit­i­cisms of the film’s misog­y­nis­tic por­tray­al of Shelly Duvall’s char­ac­ter, but he has also con­fessed to a total indif­fer­ence to movies, telling Rolling Stone, “I see [film] as a less­er medi­um than fic­tion, than lit­er­a­ture, and a more ephemer­al medi­um.” In this instance, at least, he’s dead wrong. Movie lovers have been obsess­ing over every blessed detail of Kubrick’s The Shin­ing for 36 years and show no signs of stop­ping.

Part of the rea­son the sto­ry works bet­ter on film than on the page is that The Shin­ing is what one might call an archi­tec­tur­al horror—its mon­ster is a build­ing, the Over­look Hotel, and Kubrick wise­ly exploit­ed the idea to its max­i­mum poten­tial, adding an addi­tion­al struc­ture, the top­i­ary maze, as a fur­ther instan­ti­a­tion of the story’s themes of iso­la­tion, entrap­ment, and exis­ten­tial dead ends. Video game designers—many the same age as the film’s young pro­tag­o­nist Dan­ny when the movie came out—surely paid atten­tion. The long takes of Danny’s explo­ration of the omi­nous, emp­ty moun­tain lodge now, in hind­sight, resem­ble any num­ber of vir­tu­al con­sole and PC worlds in many a first-per­son game.

Now join­ing the archi­tec­tural­ly-obsessed reimag­in­ings of The Shin­ing is “Shin­ing 360,” a project by dig­i­tal artist Claire Hentschk­er. She describes it as:

a 30-minute audio-visu­al exper­i­ment for VR derived from the phys­i­cal space with­in Stan­ley Kubrick’s film ‘The Shin­ing.’ Using pho­togram­me­try, 3D ele­ments are extract­ed and extrud­ed from the orig­i­nal film stills, and the sub­se­quent frag­ments are stitched togeth­er and viewed along the orig­i­nal cam­era path.

In oth­er words, the project allows view­ers to move around, using 360-degree Youtube video, in a dig­i­tal­ly frag­ment­ed space built out of the first 30 min­utes of the film. Be aware that there are brows­er restric­tions, but if you open the video in Chrome, Fire­fox, Inter­net Explor­er, or Opera, you’ll be able to nav­i­gate through the space using your mouse or the WASD keys.

It’s a very weird expe­ri­ence. The Overlook’s inte­ri­or exists in con­tigu­ous 3D pho­to­graph­ic blobs sus­pend­ed in black nothingness—giving one the feel­ing of reach­ing the edge of some pre­vi­ous­ly-believ­able video game world and find­ing out there’s noth­ing beyond it. And it’s made all the creepi­er by the near-exclu­sion of the very few peo­ple the hotel does contain—with the excep­tion of a kind of residue of par­tial bodies—and by a dron­ing, one-note ambi­ent syn­the­siz­er score. This isn’t the first time Hentschk­er has used the film’s spa­tial unique­ness as com­put­er art. In the short stu­dent video above from 2015, she intro­duces a wonky tech­ni­cal pre­cur­sor to “Shin­ing 360” that also the­mat­i­cal­ly address­es the movie’s misog­y­ny: “Map­ping the Female Gaze in Hor­ror Movies.”

via Metafil­ter

Relat­ed Con­tent:

Down­load & Play The Shin­ing Board Game

Stan­ley Kubrick’s The Shin­ing Reimag­ined as Wes Ander­son and David Lynch Movies

Watch a Shot-by-Shot Remake of Kubrick’s The Shin­ing, a 48-Minute Music Video Accom­pa­ny­ing the New Album by Aesop Rock

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

Live Stream the World Science Festival, Starting (Now) with This Tribute to Oliver Sacks

A quick heads up: The World Sci­ence Fes­ti­val is get­ting under­way today in New York City. Through­out the week (June 1–5), the fes­ti­val will stage 50 live pro­grams that bring togeth­er great minds in sci­ence and the arts. A num­ber of them you can stream free online, includ­ing “Awak­en­ing the Mind: A Cel­e­bra­tion of the Life and Work of Oliv­er Sacks.” Watch it now (5pm CA time) right above. For a com­plete list of stream­able events, click here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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!

Free: Download 5.3 Million Images from Books Published Over Last 500 Years

Dance Records of the Month 1917

Back in 2014, we brought to your atten­tion an image archive rival­ing the largest of its kind on the web: the Inter­net Archive Book Images col­lec­tion at Flickr. There, you’ll find mil­lions of “pub­lic domain images, all extract­ed from books, mag­a­zines and news­pa­pers pub­lished over a 500 year peri­od.”

At the time, the col­lec­tion con­tained 2.6 mil­lion pub­lic domain images, but “even­tu­al­ly,” we not­ed in a pre­vi­ous post, “this archive will grow to 14.6 mil­lion images.” Well, it has almost dou­bled in size since our first post, and it now fea­tures over 5.3 mil­lion images, thanks again to Kalev Lee­taru, who head­ed the dig­i­ti­za­tion project while on a Yahoo-spon­sored fel­low­ship at George­town Uni­ver­si­ty.

Records of Big Game 1910

Rather than using opti­cal char­ac­ter recog­ni­tion (OCR), as most dig­i­ti­za­tion soft­ware does to scan only the text of books, Leetaru’s code reversed the process, extract­ing the images the Inter­net Archive’s OCR typ­i­cal­ly ignores. Thou­sands of graph­ic illus­tra­tions and pho­tographs await your dis­cov­ery in the search­able data­base. Type in “records,” for exam­ple, and you’ll run into the 1917 ad in “Colom­bia Records for June” (top) or the creepy 1910 pho­to­graph above from “Records of big game: with their dis­tri­b­u­tion, char­ac­ter­is­tics, dimen­sions, weights, and horn & tusk mea­sure­ments.” Two of many gems amidst util­i­tar­i­an images from dull cor­po­rate and gov­ern­ment record books.

1912 Book of Home Building

Search “library” and you’ll arrive at a fas­ci­nat­ing assem­blage, from the fash­ion­able room above from 1912’s “Book of Home Build­ing and Dec­o­ra­tion,” to the rotund, mourn­ful, soon-to-be carved pig below from 1882’s “The Amer­i­can Farmer: A Com­plete Agri­cul­tur­al Library,” to the nifty Nau­tilus draw­ing fur­ther down from an 1869 British Muse­um of Nat­ur­al His­to­ry pub­li­ca­tion. To see more images from any of the sources, sim­ply click on the title of the book that appears in the search results. The orga­ni­za­tion of the archive could use some improve­ment: as yet mil­lions of images have not been orga­nized into the­mat­ic albums, which would great­ly stream­line brows­ing through them. But it’s a minor gripe giv­en the num­ber and vari­ety of free, pub­lic domain images avail­able for any kind of use.

American Farmer Library 1882

More­over, Lee­taru has planned to offer his code to insti­tu­tions, telling the BBC, “Any library could repeat this process. That’s actu­al­ly my hope, that libraries around the world run this same process of their dig­i­tized books to con­stant­ly expand this uni­verse of images.” Schol­ars and archivists of book and art his­to­ry and visu­al cul­ture will find such a “uni­verse of images” invalu­able, as will edi­tors of Wikipedia. “What I want to see,” Lee­taru also said, “is… Wikipedia have a nation­al day of going through this [col­lec­tion] to illus­trate Wikipedia arti­cles.”

Museum of Natural History 1869

Short of that, indi­vid­ual edi­tors and users can sort through images of all kinds when they can’t find freely avail­able pic­tures of their sub­ject. And, of course, sites like Open Culture—which rely main­ly on pub­lic domain and cre­ative com­mons images—benefit great­ly as well. So, thanks, Inter­net Archive Book Images Col­lec­tion! We’ll check back lat­er and let you know when they’ve grown even more.

Relat­ed Con­tent:

Down­load for Free 2.6 Mil­lion Images from Books Pub­lished Over Last 500 Years on Flickr

Old Book Illus­tra­tions: Free Archive Lets You Down­load Beau­ti­ful Images From the Gold­en Age of Book Illus­tra­tion

The British Library Puts 1,000,000 Images into the Pub­lic Domain, Mak­ing Them Free to Reuse & Remix

The Get­ty Adds Anoth­er 77,000 Images to its Open Con­tent Archive

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

The British Library Digitizes 300 Literary Treasures from 20th Century Authors: Virginia Woolf, T.S. Eliot, James Joyce & More

First Edition Ulysses

As a young col­lege stu­dent, I spent hours wan­der­ing through my university’s library, look­ing in a state of awe at the num­ber of books con­tained there­in by writ­ers whose names I knew or who seemed vague­ly famil­iar, and by hun­dreds, thou­sands, more I’d nev­er heard of. Always con­tent to immerse myself in seclud­ed cor­ners for days on end with a good book, I could­n’t have felt more at home.

The inter­net was in its infan­cy, and my online life at the time con­sist­ed of awk­ward, plain-text emails sent once or twice a week and the occa­sion­al clunky, slow-load­ing web­site, promis­ing much but deliv­er­ing lit­tle. Excitable futur­ists made extrav­a­gant pre­dic­tions about how hyper­text and inter­ac­tiv­i­ty would rev­o­lu­tion­ize the book. These seemed like intrigu­ing but unnec­es­sary solu­tions in search of a prob­lem.

To the book­ish, the book is a per­fect­ed tech­nol­o­gy that can­not be improved upon except by the pub­lish­ing of more books. While inter­ac­tive texts—with linked anno­ta­tions, biogra­phies, his­tor­i­cal pre­cis, crit­i­cal essays, and the like—have much enhanced life for stu­dents, they have not in any way improved upon the sim­ple act of read­ing for plea­sure and edification—an activ­i­ty, wrote Vir­ginia Woolf, requir­ing noth­ing more than “the rarest qual­i­ties of imag­i­na­tion, insight, and judg­ment.”

Though Woolf would like­ly have been unim­pressed with all that talk of hyper­tex­tu­al inno­va­tion, I imag­ine she would have mar­veled at the online world for offer­ing some­thing to the read­er we have nev­er had until the past cou­ple decades: free and instant access to thou­sands of books, from lit­er­ary clas­sics to biogra­phies to his­to­ries to poetry—all gen­res upon which Woolf offered advice about how to read on their own terms. With­out the anx­ious admis­sions process and cost­ly tuition, any­one with a com­put­er now has access to a sig­nif­i­cant por­tion of the aver­age col­lege library.

And now any­one with a com­put­er has access to a sig­nif­i­cant por­tion of the British Library’s rare col­lec­tions as well, thanks to the ven­er­a­ble institution’s new online col­lec­tion: “Dis­cov­er­ing Lit­er­a­ture: 20th Cen­tu­ry.”

orwell rejection

Read­ers of our site will know of Open Culture’s affin­i­ty for 20th cen­tu­ry mod­ernist lit­er­a­ture, like that of Vir­ginia Woolf, and for the dystopi­an fic­tion of George Orwell. These authors and greats of more recent vin­tage are all well-rep­re­sent­ed in the British Library col­lec­tion. You’ll find such trea­sures as a scanned first edi­tion of James Joyce’s Ulysses, first Amer­i­can edi­tion of Antho­ny Burgess’ A Clock­work Orange, and first edi­tion of Woolf’s A Room of One’s Own. These are just a few of the clas­sic nov­els avail­able in the “over 300 trea­sures” of the col­lec­tion, writes the British Library.

woolf cover

The online library offers a par­adise for read­ers, cer­tain­ly. And also a heav­en for schol­ars. Includ­ed among the rare first edi­tions and crit­i­cal essays and inter­views on the site’s main page are “online for the first time… lit­er­ary drafts… note­books, let­ters, diaries, news­pa­pers and pho­tographs from Vir­ginia Woolf, Ted Hugh­es, Angela Carter and Hanif Kureishi among oth­ers.”

Some incred­i­ble high­lights include:

And as if all this—and so many more 20th cen­tu­ry lit­er­ary treasures—weren’t enough, the col­lec­tion also tucks in some won­der­ful arti­facts from pre­vi­ous eras, such as a col­lec­tion of man­u­script poems by John Keats, includ­ing the Odes and Robert Burton’s ency­clo­pe­dic 1628 study of depres­sion, The Anato­my of Melan­choly.

“Until now,” says Anna Lobben­berg, the Library’s Dig­i­tal Pro­grammes Man­ag­er, “these trea­sures could only be viewed in the British Library Read­ing Rooms or on dis­play in exhibitions—now Dis­cov­ery Lit­er­a­ture: 20th Cen­tu­ry will bring these items to any­one in the world with an inter­net con­nec­tion.” It tru­ly is, for the lover of books, a brave new world (a book whose 1932 orig­i­nal dust jack­et you can see here).

Relat­ed Con­tent:

The British Library Puts Over 1,000,000 Images in the Pub­lic Domain: A Deep­er Dive Into the Col­lec­tion

The British Library’s “Sounds” Archive Presents 80,000 Free Audio Record­ings: World & Clas­si­cal Music, Inter­views, Nature Sounds & More

Vir­ginia Woolf Offers Gen­tle Advice on “How One Should Read a Book”

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

Get a Sneak Peek of Archangel, the New Comic Book by Cyberpunk Author William Gibson

gibson archangel 2

“The world is in ruins. The White House relo­cat­ed to the omi­nous-sound­ing Nation­al Emer­gency Fed­er­al Dis­trict in Mon­tana. They have tech­nol­o­gy that far out­strips our own.” A dystopi­an vision of the dis­tant future? Nope, a dystopi­an vision of Feb­ru­ary 2016 — the Feb­ru­ary 2016 of Archangel, a new com­ic-book series from actor-writer Michael St. John Smith, artist Butch Guice, and none oth­er than nov­el­ist William Gib­son, author of such sui gener­is works of sci­ence fic­tion, pil­lars of cyber­punk, or prophe­cies of the present as Neu­ro­mancer, All Tomor­row’s Par­tiesPat­tern Recog­ni­tion, and most recent­ly The Periph­er­ala pre­de­ces­sor, in a way, of Archangel’s sto­ry that plays out on more than one time­line.

“A father and son occu­py the new White House as Pres­i­dent and Vice Pres­i­dent,” writes Ars Tech­ni­ca’s Jonathan M. Gitlin. The younger over­lord of Amer­i­ca “has been sur­gi­cal­ly altered to resem­ble his grand­fa­ther, because Junior is about trav­el to an alter­nate Earth in 1945 to take grand­pa’s place, with the intent of remak­ing that world more to his lik­ing.” In response, “a pair of tat­tooed Marines go back in time to stop him, but things start to unrav­el when their stealth plane mate­ri­al­izes in a for­ma­tion of B‑17s in the skies above Berlin.” In that alter­nate 1945, “British intel­li­gence offi­cer Nao­mi Givens is tasked with find­ing out what just fell out of the skies of Berlin.” If you feel your curios­i­ty piqued — and how could­n’t you? — you can read through (above) pages of Archangel’s first issue, whose paper ver­sion quick­ly sold out. (You can also pur­chase the dig­i­tal one here.)

As the series goes on, it will sure­ly deliv­er more of the “alter­nate-his­to­ry/cross-worlds sto­ry” that Gib­son describes as “Band Of Broth­ers vs. Black­wa­ter,” not to men­tion plen­ty of hero­ics on the part of anoth­er one of his sig­na­ture pro­tag­o­nists, the “over-the-top female char­ac­ter who just nev­er gets killed.” Enthu­si­asts of both com­ic books and William Gib­son have long and patient­ly wait­ed for those worlds to col­lide, and they’ll pre­sum­ably wait a lit­tle less patient­ly for Archangel’s next issue, since its first one holds out enough promise to make them want to time-trav­el back to an alter­nate 1984, the year of Neu­ro­mancer’s pub­li­ca­tion, and get its author writ­ing comics right away.

via Ars Tech­ni­ca

Relat­ed Con­tent:

William Gib­son Reads Neu­ro­mancer, His Cyber­punk-Defin­ing Nov­el (1994)

Take a Road Trip with Cyber­space Vision­ary William Gib­son, Watch No Maps for These Ter­ri­to­ries (2000)

Tim­o­thy Leary Plans a Neu­ro­mancer Video Game, with Art by Kei­th Har­ing, Music by Devo & Cameos by David Byrne

How Chris Marker’s Rad­i­cal Sci­Fi Film, La Jetée, Changed the Life of Cyber­punk Prophet, William Gib­son

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. 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.

10 Most Popular MOOCs (Massive Open Online Courses) Getting Started in June: Enroll Free Today

june 2016 moocs

Like every­thing else these days, edu­ca­tion has become a 24/7 affair. Yes, things are slow­ing down on col­lege cam­pus­es this sum­mer. But, on the inter­net, it’s full steam ahead. This June alone, over 300 free MOOCs (Mas­sive Open Online Cours­es) are get­ting under­way. They’re all neat­ly cat­a­logued by the edu­ca­tion web site Class Cen­tral, which also tracks the most pop­u­lar MOOCS offered each month. What’s hot in June? Find the top 10 below. And don’t hes­i­tate to enroll in any of the cours­es. They’re all free.

Per­son­al Finance Plan­ning
Pur­due Uni­ver­si­ty via edX
Man­age your mon­ey more effec­tive­ly by learn­ing prac­ti­cal solu­tions to key invest­ment, cred­it, insur­ance and retire­ment ques­tions.
Book­mark | Next Ses­sion : 15th Jun, 2016

Nutri­tion and Health: Food Safe­ty
Wagenin­gen Uni­ver­si­ty via edX
Learn about bac­te­ria, pes­ti­cides and health haz­ards present in food.
Book­mark | Next Ses­sion : 1st Jun, 2016

Islam Through Its Scrip­tures
Har­vard Uni­ver­si­ty via edX
Learn about the Quran, the cen­tral sacred text of Islam, through an explo­ration of the rich diver­si­ty of roles and inter­pre­ta­tions in Mus­lim soci­eties.
Book­mark | Next Ses­sion : 1st Jun, 2016

His­to­ry of Graph­ic Design
Cal­i­for­nia Insti­tute of the Arts via Cours­era
This con­densed sur­vey course focus­es on four major areas of design and their his­to­ry: Typog­ra­phy, Image-Mak­ing, Inter­ac­tive Media, and Brand­ing.
Book­mark | Next Ses­sion : 20th Jun, 2016

Big Data: Data Visu­al­i­sa­tion
Queens­land Uni­ver­si­ty of Tech­nol­o­gy via Future­Learn
Data visu­al­i­sa­tion is vital in bridg­ing the gap between data and deci­sions. Dis­cov­er the meth­ods, tools and process­es involved.
Book­mark | Next Ses­sion : 27th Jun, 2016

Micro­eco­nom­ics: When Mar­kets Fail
Uni­ver­si­ty of Penn­syl­va­nia via Cours­era
Per­fect mar­kets achieve effi­cien­cy: max­i­miz­ing total sur­plus gen­er­at­ed. But real mar­kets are imper­fect. This course will explore a set of mar­ket imper­fec­tions to under­stand why they fail and to explore pos­si­ble reme­dies, includ­ing antitrust pol­i­cy, reg­u­la­tion, and gov­ern­ment inter­ven­tion.
Book­mark | Next Ses­sion : 6th Jun, 2016

Sin­gle Page Web Appli­ca­tions with Angu­lar­JS
Johns Hop­kins Uni­ver­si­ty via Cours­era
Do you want to write pow­er­ful, main­tain­able, and testable front end appli­ca­tions faster and with less code? Then con­sid­er join­ing this course to gain skills in one of the most pop­u­lar Sin­gle Page Appli­ca­tion (SPA) frame­works today, Angu­lar­JS
Book­mark | Next Ses­sion : 20th Jun, 2016

Machine Learn­ing: Clus­ter­ing & Retrieval
Uni­ver­si­ty of Wash­ing­ton via Cours­era
A read­er is inter­est­ed in a spe­cif­ic news arti­cle and you want to find sim­i­lar arti­cles to rec­om­mend. What is the right notion of sim­i­lar­i­ty? More­over, what if there are mil­lions of oth­er doc­u­ments?
Book­mark | Next Ses­sion : 15th Jun, 2016

Intro­duc­tion to Engi­neer­ing
Uni­ver­si­ty of Texas at Arling­ton via edX
The appli­ca­tion of knowl­edge to design and build devices, sys­tems, mate­ri­als and process­es in engi­neer­ing.
Book­mark | Next Ses­sion : 8th, Jun, 2016

Social Norms, Social Change
Uni­ver­si­ty of Penn­syl­va­nia via Cours­era
This is a course on social norms, the rules that glue soci­eties togeth­er. It teach­es how to diag­nose social norms, and how to dis­tin­guish them from oth­er social con­structs, like cus­toms or con­ven­tions.
Book­mark | Next Ses­sion : 20th Jun, 2016

For a com­plete list of cours­es start­ing in June, click here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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How to Spot Bullshit: A Primer by Princeton Philosopher Harry Frankfurt

We live in an age of truthi­ness. Come­di­an Stephen Col­bert coined the word to describe the Bush administration’s ten­den­cy to fudge the facts in its favor.

Ten years after the Amer­i­can Dialect Soci­ety named it Word of the Year, for­mer pres­i­dent Bush’s cal­en­dar is packed with such leisure activ­i­ties as golf and paint­ing por­traits of world lead­ers, but “truthi­ness” remains on active duty.

It’s par­tic­u­lar­ly ger­mane in this elec­tion year, though politi­cians are far from its only prac­ti­tion­ers.

Take glob­al warm­ing. NASA makes a pret­ty rock sol­id case for both its exis­tence and our role in it:

97 per­cent or more of active­ly pub­lish­ing cli­mate sci­en­tists agree: Cli­mate-warm­ing trends over the past cen­tu­ry are extreme­ly like­ly due to human activ­i­ties. In addi­tion, most of the lead­ing sci­en­tif­ic orga­ni­za­tions world­wide have issued pub­lic state­ments endors­ing this posi­tion.

In view of such num­bers, its under­stand­able that a sub­ur­ban Joe with a freez­er full of fac­to­ry-farmed beef and mul­ti­ple SUVs in his garage would cling to the posi­tion that glob­al warm­ing is a lie. It’s his last resort, real­ly.

But such self-ratio­nal­iza­tions are not truth. They are truthi­ness.

Or to use the old-fash­ioned word favored by philoso­pher Har­ry Frank­furt, above: bull­shit!

Frank­furt–a philoso­pher at Prince­ton and the author of On Bull­shitallows that bull­shit artists are often charm­ing, or at their very least, col­or­ful. They have to be. Achiev­ing their ends involves engag­ing oth­ers long enough to per­suade them that they know what they’re talk­ing about, when in fact, that’s the oppo­site of the truth.

Speak­ing of oppo­sites, Frank­furt main­tains that bull­shit is a dif­fer­ent beast from an out-and-out lie. The liar makes a spe­cif­ic attempt to con­ceal the truth by swap­ping it out for a lie.

The bull­shit artist’s approach is far more vague. It’s about cre­at­ing a gen­er­al impres­sion.

There are times when I admit to wel­com­ing this sort of manure. As a mak­er of low bud­get the­ater, your hon­est opin­ion of any show I have Lit­tle Red Hen’ed into exis­tence is the last thing I want to hear upon emerg­ing from the cramped dress­ing room, unless you tru­ly loved it.

I’d also encour­age you to choose your words care­ful­ly when dash­ing a child’s dreams.

But when it comes to mat­ters of pub­lic pol­i­cy, and the pub­lic good, yes, trans­paren­cy is best.

It’s inter­est­ing to me that film­mak­ers James Nee and Chris­t­ian Brit­ten trans­formed a por­tion of their learned subject’s thoughts into voiceover nar­ra­tion for a light­ning fast stock footage mon­tage. It’s divert­ing and fun­ny, fea­tur­ing such omi­nous char­ac­ters as Nos­fer­atu, Bill Clin­ton, Char­lie Chaplin’s Great Dic­ta­tor, and Don­ald Trump, but isn’t it also the sort of mis­di­rec­tion sleight of hand at which true bull­shit­ters excel?

Frank­furt expands upon his thoughts on bull­shit in his apt­ly titled best­selling book, On Bull­shit and its fol­lowup On Truth.

Relat­ed Con­tent:

Noam Chom­sky Schools 9/11 Truther; Explains the Sci­ence of Mak­ing Cred­i­ble Claims

Young T.S. Eliot Writes “The Tri­umph of Bullsh*t” and Gives the Eng­lish Lan­guage a New Exple­tive (1910)

Stephen Col­bert Explains How The Col­bert Report Is Made in a New Pod­cast

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

Noam Chomsky on Whether the Rise of Trump Resembles the Rise of Fascism in 1930s Germany

No mat­ter where you are in the world, you must by now be well-acquaint­ed with the polit­i­cal chaos in the Unit­ed States. No one can con­fi­dent­ly pre­dict what’s going to hap­pen next. A cer­tain priv­i­leged few still find the sit­u­a­tion amus­ing; a cer­tain few have found a tremen­dous oppor­tu­ni­ty to increase prof­it and stand­ing, embrac­ing the mad­ness by embrac­ing Don­ald Trump, the celebri­ty real estate mogul some on the right have dubbed their “Great White Hope.”

A col­umn last week by the far-right nation­al­ist Pat Buchanan— whom Trump once denounced as a “Hitler-Lover”—ran with the idea, express­ing the para­noiac fan­tasies of thou­sands of white suprema­cists who have ral­lied behind the Repub­li­can nom­i­nee. Rhetoric like Buchanan’s and David Duke’s—anoth­er sup­port­er Trump once dis­avowed (then famous­ly didn’t, then even­tu­al­ly did again)—has demol­ished the “Over­ton win­dow,” we hear. America’s racist table talk is now a major par­ty plat­form: the prover­bial crank uncle who immis­er­ates Christ­mas din­ner with wild con­spir­a­cy the­o­ries now airs griev­ances 24 hours a day on cable news, unbound by “polit­i­cal cor­rect­ness” or stan­dards of accu­ra­cy of any kind.

Grant­ed, a major­i­ty of the elec­torate is hard­ly thrilled by the like­ly alter­na­tive to Trump, but as even con­ser­v­a­tive author P.J. O’Rourke quipped in his back­hand­ed endorse­ment of Hillary Clin­ton, “She’s wrong about absolute­ly every­thing, but she’s wrong with­in nor­mal para­me­ters.” There’s noth­ing “nor­mal” about Don­ald Trump’s can­di­da­cy. Its freak­ish­ness enthralls his ador­ing fans. But the mil­lions of Amer­i­cans who aren’t among them have legit­i­mate cause for alarm.

Com­par­isons to Hitler and Mus­soli­ni may have worn out their use­ful­ness in elec­tions past—frivolous as they often were—but the Trump campaign’s overt dem­a­goguery, vicious misog­y­ny, racism, vio­lent speech, actu­al vio­lence, com­plete dis­re­gard for truth, threats to free speech, and sim­plis­tic, macho cult of per­son­al­i­ty have prompt­ed plau­si­ble shouts of fas­cism from every cor­ner.

For­mer Repub­li­can Mass­a­chu­setts gov­er­nor (and recent­ly reject­ed Lib­er­tar­i­an vice-pres­i­den­tial can­di­date) William Weld equat­ed Trump’s immi­gra­tion plan with Kristall­nacht, an anal­o­gy, writes Peter Bak­er in The New York Times that is “not a lone­ly one.” (“There is nobody less of a fas­cist than Don­ald Trump,” the can­di­date retort­ed.) Like­wise, con­ser­v­a­tive colum­nist Robert Kagan recent­ly penned a Times op-ed denounc­ing Trump as a fas­cist, a posi­tion, he writes, with­out a “coher­ent ide­ol­o­gy” except its nation­al­ist attacks on racial and reli­gious oth­ers and belief in “the strong­man, the leader (Il Duce, Der Führer), in whom could be entrust­ed the fate of the nation.”

On the lib­er­al left, fig­ures like for­mer labor sec­re­tary Robert Reich and actor and Demo­c­ra­t­ic Par­ty orga­niz­er George Clooney have made the charge, as well as colum­nists in the New Repub­lic and else­where. In the video above from Democ­ra­cy Now, Mex­i­can pres­i­dent Enrique Pena Nieto com­pares Trump to Hitler, and Colum­bia Uni­ver­si­ty’s Robert Pax­ton—who has writ­ten arti­cles and a book on his the­o­ry of fascism—discusses the pos­si­bil­i­ty of Trump-as-fas­cist.

At the top of the post, Noam Chom­sky (MIT pro­fes­sor and author of the new book, Who Rules the World?) weighs in, with his analy­sis of the “gen­er­al­ized rage” of “main­ly work­ing class, mid­dle class, and poor white males” and their “tra­di­tion­al fam­i­lies” coa­lesc­ing around Trump. (Any­one who objects to Chomsky’s char­ac­ter­i­za­tion of Trump as a cir­cus clown should take a moment to revis­it his real­i­ty show career and per­for­mance in the WWE ring, not to men­tion those debates.)

In Chomsky’s assess­ment, we need only look to U.S. his­to­ry to find the kind of “strong” racial­ized nativism Trump espous­es, from Ben­jamin Franklin’s aver­sion to Ger­man and Swedish immi­grants, who were “not pure Anglo-Sax­ons like us,” to lat­er par­ties like the 19th cen­tu­ry Know Noth­ings. Per­haps, as John Cas­sidy wrote in The New York­er last year, that’s what Trump rep­re­sents.

The his­to­ry of nativism, Chom­sky goes on, “con­tin­ues into the 20th cen­tu­ry. There’s a myth of Anglo-Sax­on­ism. We’re pure Anglo-Sax­ons. (If you look around, it’s a joke.)” Now, there’s “the pic­ture of us being over­whelmed by Mus­lims and Mex­i­cans and the Chi­nese. Some­how, they’ve tak­en our coun­try away.” This notion (which peo­ple like David Duke call “white geno­cide”) is

Based on some­thing objec­tive. The white pop­u­la­tion is pret­ty soon going to become a minor­i­ty (what­ev­er ‘white’ means)…. The response to this is gen­er­al­ized anger at every­thing. So every time Trump makes a nasty com­ment about who­ev­er, his pop­u­lar­i­ty goes up. Because it’s based on hate, you know. Hate and fear. And it’s unfor­tu­nate­ly kind of rem­i­nis­cent of some­thing unpleas­ant: Ger­many, not many years ago.

Chom­sky dis­cuss­es Germany’s plum­met from its cul­tur­al and polit­i­cal heights in the 20s—when Hitler received 3% of the vote—to the decay of the 30s, when the Nazis rose to pow­er. Though the sit­u­a­tions are “not iden­ti­cal,” they are sim­i­lar enough, he says, to war­rant con­cern. Like­wise, the eco­nom­ic destruc­tion of Greece, says Chom­sky may (and indeed has) lead to the rise of a fas­cist par­ty, a phe­nom­e­non we’ve wit­nessed all over Europe.

The fall of the Weimar Repub­lic has a com­pli­cat­ed his­to­ry whose gen­er­al out­lines most of us know well enough. Ger­many’s defeat in WWI and the puni­tive, post-Treaty of Ver­sailles’ repa­ra­tions that con­tributed to hyper­in­fla­tion and total eco­nom­ic col­lapse do not par­al­lel the cur­rent state of affairs in the U.S.—anxious and agi­tat­ed as the coun­try may be. But Hitler’s rise to pow­er is instruc­tive. Ini­tial­ly dis­missed as a clown, he strug­gled for polit­i­cal pow­er for many years, and his par­ty bare­ly man­aged to hold a major­i­ty in the Reich­stag in the ear­ly 30s. The his­tor­i­cal ques­tion of why few—in Ger­many or in the U.S.—took Hitler seri­ous­ly as a threat has become a com­mon­place. (Part­ly answered by the amount of tac­it sup­port both there and here.)

Hitler’s strug­gle for dom­i­nance tru­ly cat­alyzed when he allied with the coun­try’s con­ser­v­a­tives (and Chris­tians), who made him Chan­cel­lor. Thus began his pro­gram of Gle­ich­schal­tung—“syn­chro­niza­tion” or “bring­ing into line”—during which all for­mer oppo­si­tion was made to ful­ly endorse his plans. In sim­i­lar fash­ion, Trump has fought for polit­i­cal rel­e­vance on the right for years, using xeno­pho­bic big­otry as his pri­ma­ry weapon. It worked. Now that he has tak­en over the Repub­li­can Party—and the reli­gious right—we’ve seen near­ly all of Trump’s oppo­nents on the right, from politi­cians to media fig­ures, com­plete­ly fold under and make fawn­ing shows of sup­port. Even some Bernie Sanders sup­port­ers have found ways to jus­ti­fy sup­port­ing Trump.

But Trump is “not Hitler,” as his wife Mela­nia claimed in his defense after his sup­port­ers swarmed jour­nal­ist Julia Ioffe with grotesque anti-Semit­ic attacks. Although he has an obvi­ous affin­i­ty for white nation­al­ists and neo-Nazis (see his activ­i­ty on social media and else­where) and per­haps a fond­ness for Hitler’s speech­es, the com­par­i­son has seri­ous draw­backs. Trump is some­thing else—something per­haps more far­ci­cal and bum­bling, but maybe just as dan­ger­ous giv­en the forces he has uni­fied and ele­vat­ed domes­ti­cal­ly, and the dan­gers of such an unsta­ble, pet­ty, vin­dic­tive per­son tak­ing over the world’s largest mil­i­tary, and nuclear arse­nal.

Per­haps he’s just a taste­less, cyn­i­cal con-man enter­tain­er using hate as anoth­er means of self-advance­ment. He has non-white and Jew­ish sup­port­ers!, his vot­ers claim. He holds “cor­rupt and lib­er­al New York val­ues”! say con­ser­v­a­tive detrac­tors. These objec­tions ring hol­low giv­en all Trump has said and done in recent years. His cam­paign, and the response it has drawn, looks enough like those of pre­vi­ous far-right racist lead­ers that call­ing Trump a fas­cist doesn’t seem far-fetched at all. That should seri­ous­ly alarm any hon­est per­son who isn’t a far-right xeno­pho­bic nation­al­ist.

Relat­ed Con­tent:

Noam Chom­sky Defines What It Means to Be a Tru­ly Edu­cat­ed Per­son

Noam Chom­sky Slams Žižek and Lacan: Emp­ty ‘Pos­tur­ing’

How to Spot Bull­shit: A Primer by Prince­ton Philoso­pher Har­ry Frank­furt

Rare 1940 Audio: Thomas Mann Explains the Nazis’ Ulte­ri­or Motive for Spread­ing Anti-Semi­tism

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


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