Why is the U.S. F’ed Up? 8 Lectures from Occupy Harvard Teach-In Provide Answers

in Current Affairs, Economics, Harvard | December 12th, 2011

Last Wednes­day, the Occu­py move­ment gained a lit­tle more intel­lec­tu­al momen­tum when eight fac­ul­ty mem­bers from Har­vard, Boston Col­lege, and N.Y.U. gath­ered in Cam­bridge to present a day­long Teach-In. In one talk, Archon Fung (Ford Foun­da­tion Pro­fes­sor of Democ­ra­cy and Cit­i­zen­ship and Co-Direc­tor of Trans­paren­cy Pol­i­cy Project at Har­vard) took a vague the­sis of the Occu­py move­ment — “Shit is Fucked Up and Bull­shit” — and gave it some aca­d­e­m­ic depth in a data-filled talk called “Why Has Inequal­i­ty Grown in Amer­i­ca? And What Should We Do About It?” The oth­er talks are avail­able on YouTube (see links below) or via audio stream:

Het­ero­dox Eco­nom­ics: Alter­na­tives to Manki­w’s Ide­ol­o­gy - Stephen Mar­glin, Wal­ter Bark­er Pro­fes­sor of Eco­nom­ics, Fac­ul­ty of Arts and Sci­ences, Har­vard Uni­ver­si­ty

Wall Street’s Role in the Euro­pean Finan­cial Cri­sis - Richard Park­er, Lec­tur­er in Pub­lic Pol­i­cy and Senior Fel­low at the Shoren­stein Cen­ter, Kennedy School of Gov­ern­ment, Har­vard Uni­ver­si­ty

The Occu­py Move­ment and Stu­dent Debt Refusal — Andrew Ross, Pro­fes­sor of Social and Cul­tur­al Analy­sis, New York Uni­ver­si­ty

Eco­nom­ics for the 99% — Juli­et Schor, Pro­fes­sor of Soci­ol­o­gy, Boston Col­lege

Booms and Busts: The Legal Dynam­ics of Mod­ern Mon­ey — Chris­tine Desan, Pro­fes­sor of Law, Har­vard Law School, Har­vard Uni­ver­si­ty

Fear and Pow­er — Brad Epps, Pro­fes­sor of Romance Lan­guages & Lit­er­a­tures and Depart­ment Chair for Stud­ies in Women, Gen­der, and Sex­u­al­i­ty, Fac­ul­ty of Arts and Sci­ences, Har­vard Uni­ver­si­ty

Vig­i­lance, Inquiry, Alien­ation & Hope at Har­vard and in the USA - John Wom­ack, Robert Woods Bliss Pro­fes­sor of Latin Amer­i­can His­to­ry and Eco­nom­ics, Fac­ul­ty of Arts and Sci­ences, Har­vard Uni­ver­si­ty

Relat­ed Con­tent:

Noam Chom­sky at Occu­py Boston

Har­vard Thinks Big, a TED-Esque Event

The Dark Knight: Anatomy of a Flawed Action Scene

in Film | December 8th, 2011

There are many ways to make a movie, says film crit­ic Jim Emer­son, and many ways to make a mess.

The truck chase scene from Christo­pher Nolan’s 2008 film The Dark Knight is frankly a mess, as Emer­son demon­strates in a fas­ci­nat­ing video essay (above) pro­duced as the first in a three-part series on the lan­guage of action sequences for the Indiewire blog Press Play. “We notice laps­es in visu­al log­ic whether our brains reg­is­ter them con­scious­ly or not,” writes Emer­son. “I found this scene utter­ly baf­fling the first time I saw it, and every sub­se­quent time. At last, I now know exact­ly why.”

After study­ing the sequence shot by shot he real­ized that Nolan had vio­lat­ed fun­da­men­tal rules of film gram­mar. You can fol­low along as Emer­son, a Seat­tle-based crit­ic who writes the Scan­ners film blog for the Chica­go Sun-Times, sorts out the con­fu­sion. (There is an accom­pa­ny­ing anno­tat­ed tran­script on Scan­ners.) And be sure to watch Emer­son­’s fol­low-up essays (below) which offer shot-by-shot analy­ses of action scenes that are clear­ly intel­li­gi­ble.

In Part II of his series (above), Emer­son breaks down the high­way chase scene from Phillip Noyce’s 2010 film, Salt. The sequence is easy to fol­low because Noyce is care­ful to estab­lish the spa­tial rela­tion­ships between the var­i­ous ele­ments, both with­in the frame and between shots. Writes Emer­son:

There are cer­tain direc­tors I think of as “one-thing-at-a-time” film­mak­ers. That is, they seem to be inca­pable of com­pos­ing shots that have more than one piece of infor­ma­tion in them at a time. This makes for a very flat, rather plod­ding style. You see what the cam­era is point­ed at in each shot, but you get very lit­tle sense of per­spec­tive when it comes to relat­ing it to oth­er ele­ments in the scene. Noyce’s tech­nique is much more flu­id, organ­ic and sophis­ti­cat­ed. He keeps things from one shot vis­i­ble in the next, even when shift­ing perspective–whether it’s only a few feet or clear across sev­er­al lanes of traf­fic.

In Part III (above), Emer­son revis­its clas­sic chase scenes from three films: Don Siegel’s The Line­up (1958), Peter Yates’s Bul­litt (1968) and William Fried­kin’s The French Con­nec­tion (1971). In each case the direc­tor takes you on a chaot­ic, bumpy ride–but nev­er los­es you.

A Day in Venezia

in Art, Life | November 29th, 2011

3,000,000 tourists move through Venice each year. The flood starts dur­ing the spring and peaks in sum­mer, then recedes dur­ing the cool­er months, giv­ing the local res­i­dents a lit­tle peace. True, the city, made up of 124 islands, 183 canals and 438 bridges, is radi­ant dur­ing the sum­mer. (Just watch below.) But the “Queen of the Adri­at­ic” takes on a dif­fer­ent beau­ty in the win­ter, some­thing that a tourist, who sim­ply goes by FKY, cap­tures in an art­ful video above. Enjoy, and if you want to know more about the archi­tec­tur­al won­ders of this 1500-year-old city, don’t miss How Venice Works.

Stanford Launching 14 Free Online Courses in January/February: Enroll Today

in Online Courses, Stanford | November 28th, 2011

Two weeks ago, we men­tioned that Stan­ford will be rolling out sev­en new cours­es in its exper­i­ment with online learn­ing. Fast for­ward to today, and yet anoth­er sev­en cours­es have been added to the win­ter line­up, bring­ing the total to 14.

Imme­di­ate­ly below, you’ll find the lat­est addi­tions. All of these cours­es fea­ture inter­ac­tive video clips; short quizzes that pro­vide instant feed­back; the abil­i­ty to pose high val­ue ques­tions to Stan­ford instruc­tors; and feed­back on your over­all per­for­mance in the class.

Cours­es start in Jan­u­ary and Feb­ru­ary. Enroll today for free. And, if some­thing does­n’t pique your inter­est below, don’t miss our big list of 400 Free Online Cours­es.

New­ly added:

Tech­nol­o­gy Entre­pre­neur­ship
Mak­ing Green Build­ings
Anato­my
Infor­ma­tion The­o­ry
Design and Analy­sis of Algo­rithms I
The Lean Launch­pad
Cryp­tog­ra­phy

Orig­i­nal­ly men­tioned:

Com­put­er Sci­ence 101
Soft­ware Engi­neer­ing for SaaS
Human Com­put­er Intere­ac­tion
Nat­ur­al Lan­guage Pro­cess­ing
Game The­o­ry
Prob­a­bilis­tic Graph­i­cal Mod­els
Machine Learn­ing

More Free Cours­es from Top Uni­ver­si­ties

Yale Rolls Out 10 New Cours­es – All Free

MIT Intro­duces Com­plete Cours­es to Open­Course­Ware Project

Har­vard Presents Free Cours­es with the Open Learn­ing Ini­tia­tive

Iconic Photographer Henri Cartier-Bresson Takes You Inside His Creative World: Watch “The Decisive Moment”

in Art, Photography | November 21st, 2011

The great artists are often the ones who are best at rec­og­niz­ing and exploit­ing the unique char­ac­ter of their medi­um.

In the ear­ly 20th cen­tu­ry, pho­tog­ra­phy was mired in an inten­tion­al­ly fuzzy Pic­to­ri­al­ism. The pre­vail­ing view was that pho­tog­ra­phy had to imi­tate paint­ing, or it was­n’t “art.” So in the ear­ly 1930s Edward West­on, Ansel Adams and a few oth­ers on the West Coast formed Group f/64 in protest. They embraced their medi­um’s inher­ent strength by plac­ing large for­mat cam­eras on tripods and stop­ping the lens­es way down (all the way to f/64) to cap­ture scenes with a lev­el of detail and clar­i­ty that a painter could only dream of achiev­ing.

Across the Atlantic an even greater rev­o­lu­tion was tak­ing place. With the intro­duc­tion of the 35mm Leica cam­era and fast films, Euro­pean pho­tog­ra­phers in the late 1920s and ear­ly 1930s were begin­ning to explore the medi­um’s aston­ish­ing abil­i­ty to freeze time. Not only could pho­tog­ra­phy ren­der a sta­t­ic scene with more detail than paint­ing, it could iso­late and pre­serve an oth­er­wise tran­si­to­ry moment from the flux of life. No artist seized upon this essen­tial aspect of pho­tog­ra­phy with greater bril­liance and con­sis­ten­cy than the French­man Hen­ri Carti­er-Bres­son.

“In pho­tog­ra­phy,” wrote Carti­er-Bres­son, “there is a new kind of plas­tic­i­ty, the prod­uct of instan­ta­neous lines made by move­ments of the sub­ject. We work in uni­son with move­ment as though it were a pre­sen­ti­ment of the way in which life itself unfolds. But inside move­ment there is one moment at which the ele­ments in motion are in bal­ance. Pho­tog­ra­phy must seize upon this moment and hold immo­bile the equi­lib­ri­um of it.”

Carti­er-Bres­son would often say that his great­est joy was geom­e­try. When he was 20 years old he stud­ied paint­ing under the cubist André Lhote, who adopt­ed for his school the mot­to of Pla­to’s Acad­e­my: “Let no one igno­rant of geom­e­try enter.” Carti­er-Bres­son took an ear­ly inter­est in math­e­mat­i­cal­ly sophis­ti­cat­ed painters. “He loved Pao­lo Uccel­lo and Piero del­la Francesca because they were the painters of divine pro­por­tions,” writes Pierre Assouline in his book, Hen­ri Carti­er-Bres­son: A Biog­ra­phy. “Carti­er-Bres­son was so immersed in their works that his mind filled with pro­trac­tors and plumb lines. Like them, he dreamed of diag­o­nals and pro­por­tions, and became obsessed with the mys­tique of mea­sure­ments, as if the world was sim­ply the prod­uct of numer­i­cal com­bi­na­tions.”

At the same time the young artist fell under the sway of a teacher whose approach was decid­ed­ly less ratio­nal. While still in his teens, Carti­er-Bres­son began sit­ting in on André Bre­ton’s leg­endary Sur­re­al­ist gath­er­ings at the Café de la Place Blanche. He had lit­tle regard for Sur­re­al­ist paint­ing, but was intox­i­cat­ed with the Sur­re­al­ist phi­los­o­phy of life: the empha­sis on chance and intu­ition, the role of spon­ta­neous expres­sion, the all-encom­pass­ing atti­tude of revolt. It made a pro­found impres­sion. In  Hen­ri Carti­er-Bres­son: The Ear­ly Work, Peter Galas­si describes the Sur­re­al­ist approach to life in a way that also neat­ly cap­tures Carti­er-Bres­son’s even­tu­al modus operan­di as a pho­tog­ra­ph­er: “Alone, the Sur­re­al­ist wan­ders the streets with­out des­ti­na­tion but with a pre­med­i­tat­ed alert­ness for the unex­pect­ed detail that will release a mar­velous and com­pelling real­i­ty just beneath the banal sur­face of ordi­nary exis­tence.”

The geo­met­ric for­mal­ism of Renais­sance paint­ing and the serendip­i­ty of Sur­re­al­ism were two key influ­ences on Carti­er-Bres­son’s pho­tog­ra­phy. A third came as an epiphany when he stum­bled upon a repro­duc­tion of Mar­tin Munkác­si’s “Three Boys at Lake Tan­ganyi­ka.” The pic­ture showed a group of African boys frol­ick­ing in the water. If the pho­tog­ra­ph­er had pressed the shut­ter a mil­lisec­ond ear­li­er or lat­er, the beau­ti­ful­ly bal­anced, inter­lock­ing com­po­si­tion would not have exist­ed. “I sud­den­ly under­stood that pho­tog­ra­phy can fix eter­ni­ty in a moment,” Carti­er-Bres­son lat­er said. He gave up paint­ing and bought his first Leica.

Over the next half cen­tu­ry Carti­er-Bres­son would trav­el the world with a Leica in one hand, the strap twist­ed around his wrist, ready to raise it to his eye and fix eter­ni­ty at any moment. Inward­ly he held onto the spir­it of Sur­re­al­ism while out­ward­ly call­ing him­self a pho­to­jour­nal­ist. As a pho­to­jour­nal­ist he wit­nessed some of the biggest events of the 20th cen­tu­ry. He was with Gand­hi a few min­utes before he was assas­si­nat­ed in 1948. He was in Chi­na when the com­mu­nists took over in 1949. “He was the Tol­stoy of pho­tog­ra­phy,” said Richard Ave­don short­ly after Carti­er-Bres­son’s death in 2004 at the age of 95. “With pro­found human­i­ty, he was the wit­ness of the 20th Cen­tu­ry.”

“To take pho­tographs,” Carti­er-Bres­son once said, “is to hold one’s breath when all fac­ul­ties con­verge in the face of flee­ing real­i­ty. It is at that moment that mas­ter­ing an image becomes a great phys­i­cal and intel­lec­tu­al joy.”

Hen­ri Carti­er-Bres­son: The Deci­sive Moment (above) is an 18-minute film pro­duced in 1973 by Scholas­tic Mag­a­zines, Inc. and the Inter­na­tion­al Cen­ter of Pho­tog­ra­phy. It fea­tures a selec­tion of Carti­er-Bres­son’s icon­ic pho­tographs, along with rare com­men­tary by the pho­tog­ra­ph­er him­self.

Pepper Spraying Peaceful Protestors Continues; This Time at UC Davis

in Current Affairs | November 20th, 2011

It’s becom­ing a trend. Around the coun­try, police­men are pep­per spray­ing peace­ful pro­tes­tors. It start­ed in NYC when Tony Bologna, one of New York’s finest, pep­per sprayed a group of young women already cor­doned off by a police bar­ri­er. Next they man­aged to get an 84 year old woman in Seat­tle. And now Lieu­tenant John Pike gives UC Davis pro­tes­tors a face full of pep­per spray, even though they were peace­ful­ly seat­ed on the ground. To make things worse, “When stu­dents cov­ered their eyes with their cloth­ing, police forced open their mouths and pep­per-sprayed down their throats,” or so claims Nathan Brown, an assis­tant pro­fes­sor in the Eng­lish Depart­ment. (You can read a first-hand stu­dent account here.)

Ini­tial­ly the chan­cel­lor of the uni­ver­si­ty, Lin­da P.B. Kate­hi, appeared to defend the police action. But, as the video above went viral, she began chang­ing her tune and call­ing for an inves­ti­ga­tion into the mat­ter. Noth­ing like a lit­tle trans­paren­cy … and some pub­lic sham­ing (below) … to make peo­ple see the light.

You can read a fuller account of Fri­day’s events in the UC Davis news­pa­per. Also don’t miss the paper’s col­lec­tion of pho­tos on Flickr. And I’d also rec­om­mend the analy­sis by James Fal­lows over at The Atlantic. Here’s the mon­ey quote:

I can’t see any legit­i­mate basis for police action like what is shown here. Watch that first minute and think how we’d react if we saw it com­ing from some riot-con­trol unit in Chi­na, or in Syr­ia. The calm of the offi­cer who walks up and in a leisure­ly way pep­per-sprays unarmed and pas­sive peo­ple right in the face? We’d think: this is what hap­pens when author­i­ty is unac­count­able and has lost any sense of human con­nec­tion to a sub­ject pop­u­la­tion. That’s what I think here.

And per­haps we can add this thought. If you’re the chan­cel­lor, the per­son charged with over­see­ing the edu­ca­tion and wel­fare of stu­dents, you should­n’t rec­og­nize the prob­lem with Fri­day’s events only when the polit­i­cal heat gets turned up. Talk about a lack of human con­nec­tion.…

Updates:

Offi­cers in pep­per spray inci­dent placed on leave

Learn about pep­per spray and the harm it does

Conception to Birth Visualized

in Art, Video - Science | November 17th, 2011

Alexan­der Tsiaras has made a career of using advances in visu­al­iza­tion tech­nol­o­gy to offer vivid tours of the human body. His books have tak­en read­ers inside the human heart, the kid­neys and vas­cu­lar sys­tem, and also human repro­duc­tion. Back in 2002, Tsiaras pub­lished From Con­cep­tion to Birth: A Life Unfolds, a book that offers a “visu­al diary of fetal devel­op­ment.” Now, near­ly a decade lat­er, he brings that visu­al diary to video at a con­fer­ence affil­i­at­ed with TED. The visu­als are impres­sive. There’s no deny­ing that. But what might leave you cold (or not) is his will­ing­ness to talk about human devel­op­ment in terms of “mys­tery, mag­ic, and divin­i­ty” rather than try­ing to grap­ple with any sci­en­tif­ic analy­sis. Is this a nod to “Intel­li­gent Design”? Or an unfor­tu­nate byprod­uct of the short talk for­mat? Who knows.…

Marshall McLuhan on the Stupidest Debate in the History of Debating (1976)

in History, Music, Politics, Television | October 13th, 2011

In Sep­tem­ber 1976, Jim­my Carter and Ger­ald Ford squared off in a pres­i­den­tial debate, and the fol­low­ing day, the leg­endary com­mu­ni­ca­tion the­o­rist Mar­shall McLuhan appeared on the TODAY show, then host­ed by Tom Brokaw, to offer some almost real-time analy­sis of the debate. The first tele­vised pres­i­den­tial debate was famous­ly held in 1960, and it pit­ted John F. Kennedy against Richard Nixon. Six­teen years lat­er, pun­dits and cit­i­zens were still try­ing to make sense of the for­mat. Was the tele­vised debate a new and vital part of Amer­i­can democ­ra­cy? Or was it a care­ful­ly con­trolled act of polit­i­cal per­for­mance? For McLuhan, there was still some ide­al­is­tic sense that tele­vised debates could enhance our democ­ra­cy, assum­ing the mes­sage was suit­ed to the medi­um. But McLuhan came away dis­il­lu­sioned, call­ing the Carter/Ford spec­ta­cle “the most stu­pid arrange­ment of any debate in the his­to­ry of debat­ing” and chalk­ing up tech­ni­cal dif­fi­cul­ties (watch them here) to the medi­um rag­ing against the mes­sage.

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:

Nor­man Mail­er & Mar­shall McLuhan Debate the Elec­tron­ic Age

The Vision­ary Thought of Mar­shall McLuhan, Intro­duced and Demys­ti­fied by Tom Wolfe

Mar­shall McLuhan’s 1969 Deck of Cards, Designed For Out-of-the-Box Think­ing

Noam Chomsky & Michel Foucault Debate Human Nature & Power (1971)

in Philosophy | October 7th, 2011

Once again, we’re head­ing back to 1971. Yes­ter­day we had Dick Cavet­t’s 1971 inter­view with George Har­ri­son. Today, it’s the clash of two intel­lec­tu­al titans, Noam Chom­sky and Michel Fou­cault. In ’71, at the height of the Viet­nam War, the Amer­i­can lin­guist and French historian/social the­o­rist appeared on Dutch TV to debate a fun­da­men­tal ques­tion: Is there such a thing as innate human nature? Or are we shaped by expe­ri­ences and the pow­er of cul­tur­al and social insti­tu­tions around us?

40 years lat­er, you can find the clas­sic debate on YouTube. If you need sub­ti­tles, make sure you turn on the cap­tions func­tion at the bot­tom of the video.

A full tran­script of the debate can be read online, or you can pur­chase a copy in book for­mat. Final­ly, a recent BBC pro­gram revis­its  and ana­lyzes the Chom­sky-Fou­cault encounter. H/T Metafil­ter

Relat­ed Con­tent:

Free Online Cours­es in Phi­los­o­phy

Jacques Lacan Speaks; Zizek Pro­vides Free Cliffs Notes

Down­load Free Cours­es from Famous Philoso­phers: From Bertrand Rus­sell to Michel Fou­cault

Noam Chom­sky vs. William F. Buck­ley, 1969

Ali G and Noam Chom­sky Talk Lin­guis­tics

Download Free Courses from Famous Philosophers: From Bertrand Russell to Michel Foucault

in Philosophy | August 29th, 2011

You can down­load hun­dreds of Free Cours­es from Great Uni­ver­si­ties. (Per­haps you already knew that.) And that includes cours­es by some of the biggest minds teach­ing in phi­los­o­phy. (Is that old news too? Or some wel­comed good news?) So we’re start­ing the week by giv­ing you a run­down of some notable men­tions.

John Sear­le began teach­ing phi­los­o­phy at UC-Berke­ley in 1959, and first did impor­tant work on “speech act” the­o­ry. Lat­er he turned to con­scious­ness and arti­fi­cial intel­li­gence, out of which came his famous “Chi­nese room” thought exper­i­ment. You can find a nice trio of class­es online.

• Phi­los­o­phy of Lan­guage — iTunes
• Phi­los­o­phy of Mind — iTunes
• Phi­los­o­phy of Soci­ety — iTunes

Wal­ter Kauf­mann spent 33 years teach­ing phi­los­o­phy at Prince­ton. And more than any­one else, Kauf­mann intro­duced Nietzsche’s phi­los­o­phy to the Eng­lish-speak­ing world and made it pos­si­ble to take Niet­zsche seri­ous­ly as a thinker. Here he deliv­ers three lec­tures on exis­ten­tial­ists.

• Lec­tures on Niet­zsche, Kierkegaard and Sartre — Web Site

Leo Strauss land­ed at The Uni­ver­si­ty of Chica­go in 1949, where he spent decades teach­ing and writ­ing on polit­i­cal phi­los­o­phy, espe­cial­ly the polit­i­cal thought of the Ancients. His intel­lec­tu­al lega­cy is con­tro­ver­sial, but his cours­es valu­able.

• Hegel: The Phi­los­o­phy of His­to­ry - Web Site
• Kant — Web Site
• Niet­zsche, Beyond Good and Evil - Web Site

Find many more Strauss cours­es here.

Bertrand Rus­sell was one of the most impor­tant British philoso­phers of the last cen­tu­ry — a logi­cian, essay­ist and social crit­ic best known for his work in math­e­mat­i­cal log­ic and ana­lyt­ic phi­los­o­phy. When it comes to this lec­ture series, start with the bot­tom lec­ture first and then work your way up.

• Author­i­ty & the Indi­vid­ual: Six BBC Lec­tures — Web Site

Michel Fou­cault taught his­to­ry and phi­los­o­phy at the Col­lège de France and pub­lished influ­en­tial writ­ings on pow­er, knowl­edge, and dis­course.

• Six Lec­tures on Truth & Sub­jec­tiv­i­ty pre­sent­ed on the UC Berke­ley cam­pus (Eng­lish) - YouTube

Find more Fou­cault audio here and here.

Hubert Drey­fus has taught many pop­u­lar exis­ten­tial­ism and phe­nom­e­nol­o­gy cours­es also at UC Berke­ley, some of which laid the foun­da­tion for his new book, All Things Shin­ing: Read­ing the West­ern Clas­sics to Find Mean­ing in a Sec­u­lar Age.

• Exis­ten­tial­ism in Lit­er­a­ture & Film — iTunes
• Hei­deg­ger — iTunes
• Heidegger’s Being & Time — iTunes

Michael Sandel has taught polit­i­cal phi­los­o­phy at Har­vard since 1980. His course on jus­tice (below) has been tak­en by more than 15,000 stu­dents, mak­ing it the most pop­u­lar under­grad­u­ate course at Har­vard. This ver­sion aired on PBS and the web.

• Jus­tice: A Jour­ney in Moral Rea­son­ing - YouTube — Web Site

For all 75 phi­los­o­phy cours­es, please see the Phi­los­o­phy sec­tion of our list of 575 Free Online Cours­es.

Relat­ed Con­tent:

The Har­vard Clas­sics: A Free Dig­i­tal Col­lec­tion

Stephen Fry on Phi­los­o­phy & Unbe­lief

The Exis­ten­tial Star Wars: Sartre Meets Darth Vad­er