The Theory of Walter Benjamin, Ludwig Wittgenstein & Sigmund Freud Sung by Kenneth Goldsmith

Goldsmith Benjamin_0

Wal­ter Ben­jamin, Lud­wig Wittgen­stein, and Sig­mund Freud: if these the­o­rists share any qual­i­ty at all, they share a rep­u­ta­tion for not going easy on their read­ers. Each of them wrote in a way that exudes a dif­fer­ent kind of intel­lec­tu­al dif­fi­cul­ty — Ben­jam­in’s sud­den swerves into the zone where high rel­e­vance meets high irrel­e­vance, Wittgen­stein’s aus­tere cer­tain­ty, Freud’s elab­o­rate flights into the near-fan­tas­ti­cal  — but all of their work pos­es a chal­lenge to read­ers approach­ing it for the first time. And so Ken­neth Gold­smith Sings The­o­ry address­es the obvi­ous ques­tion: what if you did­n’t read it, but heard it sung instead?

“What is it about aca­d­e­m­ic the­o­ry that begs to be, well, sung by peo­ple who can’t sing?” asks Gold­smith, poet, prof, UBUweb cre­ator, and WFMU radio host, on the sta­tion’s blog. He cites exam­ples from a punk-rock­i­fied Theodor Adorno to a Finnish eccen­tric’s con­ver­sion of the Trac­ta­tus Logi­co-Philo­soph­i­cus into a song­book, even­tu­al­ly com­ing to his own “adven­tures into the field,” which you can hear in the Pennsound archive. Just above, we have have Gold­smith singing Ben­jam­in’s “Unpack­ing my Library” to music by exper­i­men­tal vio­lin­ist Eyvind Kang [MP3]. “Just as Ben­jamin lists copies of oth­er books and the asso­ci­a­tions they bring,” writes Jacob Edmond at Jacket2, “so Gold­smith copies Ben­jamin, cre­at­ing an idio­syn­crat­ic audio book ver­sion. ”

Wittgen­stein Part 1

Wittgen­stein Part 2

“In his per­for­mance of the text, Gold­smith fus­es pre­cise­ly delin­eat­ed musi­cal sec­tions, or move­ments, with the chaot­ic, shift­ing pitch and tone of his voice, par­al­lel­ing Benjamin’s obser­va­tion in the essay that ‘if there is a coun­ter­part to the con­fu­sion of a library, it is the order of its cat­a­logue.’ ” Can you find sim­i­lar par­al­lels between Gold­smith’s man­ner of singing and the the­o­ry he deliv­ers with it when he per­forms Wittgen­stein’s Philo­soph­i­cal Inves­ti­ga­tions to Igor Stravin­sky [MP3 part one, MP3 part two]? Or below, where he sings Sig­mund Freud’s The Psy­chopathol­o­gy of Every­day Life, start­ing on the pas­sage of the “slips of the tongue” which have pop­u­lar­ly come to bear Freud’s name, to The Who [MP3]? After all, style does­n’t count for much, as such a strik­ing­ly dressed char­ac­ter as Gold­smith knows full well, unless it aligns with sub­stance.

Relat­ed Con­tent:

Wal­ter Benjamin’s Mys­ti­cal Thought Pre­sent­ed by Two Exper­i­men­tal Films

Wal­ter Benjamin’s Radio Plays for Kids (1929–1932)

Wittgenstein’s Mas­ter­piece, the Trac­ta­tus Logi­co-Philo­soph­i­cus, Gets Turned into Beau­ti­ful, Med­i­ta­tive Music

Lud­wig Wittgenstein’s Trac­ta­tus Gets Adapt­ed Into an Avant-Garde Com­ic Opera

Sig­mund Freud Speaks: The Only Known Record­ing of His Voice, 1938

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hours of Edgar Allan Poe Stories Read by Vincent Price & Basil Rathbone

price reads poe
Record label Caed­mon Audio spe­cial­ized in spo­ken-word record­ings, pair­ing great lit­er­ary works with great actors. They got James Mason to read the poet­ry of Robert Brown­ing, mul­ti-Oscar win­ner Wal­ter Bren­nan to read the works of Mark Twain and Sir Lau­rence Olivi­er to read Win­ston Churchill.

But there were a cou­ple releas­es, lat­er com­piled into one glo­ri­ous CD set, that is so head-slap­ping­ly per­fect that it requires spe­cial atten­tion: Basil Rath­bone and Vin­cent Price read the works of Edgar Allan Poe over the course of 5 hours. Rath­bone was, of course, a South African-born Shake­speare­an actor who is most famous for play­ing Sher­lock Holmes in a string of films (watch one here) and radio plays, though he was also a vet­er­an star of low-bud­get hor­ror films like The Black Sheep and Tales of Ter­ror. Vin­cent Price was, well, Vin­cent Price – the icon­ic cack­ling vil­lain in dozens of hor­ror flicks includ­ing Roger Corman’s campy cin­e­mat­ic adap­ta­tions of Poe – The House of Ush­er, The Raven and The Masque of the Red Death.

The Caed­mon record­ings, which are now avail­able on Spo­ti­fy (down­load the soft­ware here) and can be heard below, are pret­ty much Poe’s great­est hits – from “The Tell-Tale Heart” to “The Pit and Pen­du­lum.” Poe’s goth­ic gloomi­ness pairs bril­liant­ly with Rath­bone and Price’s sin­is­ter bari­tone.

So get into your favorite smok­ing jack­et, get a fire start­ed, pour your­self a stiff glass of absinthe, set aside a good block of time, and have a lis­ten.

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:

Edgar Allan Poe’s “The Raven,” Read by Christo­pher Walken, Vin­cent Price, and Christo­pher Lee

Watch the 1953 Ani­ma­tion of Edgar Allan Poe’s “The Tell-Tale Heart,” Nar­rat­ed by James Mason

Edgar Allan Poe Ani­mat­ed: Watch Four Ani­ma­tions of Clas­sic Poe Sto­ries

Down­load The Com­plete Works of Edgar Allan Poe on His Birth­day

1,000 Free Audio Books: Down­load Great Books for Free

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Pipes with Cannabis Traces Found in Shakespeare’s Garden, Suggesting the Bard Enjoyed a “Noted Weed”

William-Shakespeare-68 Hours

Not more than 10 days ago, Jonathan Crow high­light­ed for you Adam Bertocci’s Two Gen­tle­men of Lebows­ki, a book that asks you to sus­pend dis­be­lief and imag­ine, What if…William Shake­speare had writ­ten The Big Lebows­ki?

Now comes news that makes the col­li­sion of the Bard’s and Lebowski’s worlds some­what more plau­si­ble. Accord­ing to The Tele­graph, “South African sci­en­tists have dis­cov­ered that 400-year-old tobac­co pipes exca­vat­ed from the gar­den of William Shake­speare con­tained cannabis, sug­gest­ing the play­wright might have writ­ten some of his famous works while high.” Lebows­ki could relate.

If you want to get into the specifics, you can read the pré­cis pub­lished in The South African Jour­nal of Sci­ence called “Shake­speare, plants, and chem­i­cal analy­sis of ear­ly
17th cen­tu­ry clay ‘tobac­co’ pipes from Europe.” It details how a team, led by anthro­pol­o­gist Fran­cis Thack­er­ay at the Uni­ver­si­ty of the Wit­wa­ter­srand in Johan­nes­burg, used a “sophis­ti­cat­ed tech­nique called gas chro­matog­ra­phy mass spec­trom­e­try (GCMS)” to ana­lyze “pipes [that] had been exca­vat­ed from the gar­den of William Shake­speare.” The results of their study? They “indi­cat­ed Cannabis in eight sam­ples, nico­tine (from tobac­co leaves of the kind asso­ci­at­ed with Raleigh) in at least one sam­ple, and (in two sam­ples) def­i­nite evi­dence for Peru­vian cocaine from coca leaves of the kind which Thack­er­ay et al. asso­ci­at­ed with Drake who had him­self been to Peru before 1597.”

Thack­er­ay also finds lit­er­ary sup­port for the idea that Shake­speare had a taste for Cannabis, not­ing that in “Son­net 76 Shake­speare writes about ‘inven­tion in a not­ed weed’. This can be inter­pret­ed to mean that Shake­speare was will­ing to use ‘weed’ … for cre­ative writ­ing (‘inven­tion’).” The pré­cis goes on to add: “In the same son­net it appears that [Shake­speare] would pre­fer not to be asso­ci­at­ed with ‘com­pounds strange’, which can be inter­pret­ed, at least poten­tial­ly, to mean ’strange drugs’ (pos­si­bly cocaine).” You can read Son­net 76 in full here:

Why is my verse so bar­ren of new pride,
So far from vari­a­tion or quick change?
Why with the time do I not glance aside
To new-found meth­ods and to com­pounds strange?
Why write I still all one, ever the same,
And keep inven­tion in a not­ed weed,
That every word doth almost tell my name,
Show­ing their birth and where they did pro­ceed?
O, know, sweet love, I always write of you,
And you and love are still my argu­ment;
So all my best is dress­ing old words new,
Spend­ing again what is already spent:
For as the sun is dai­ly new and old,
So is my love still telling what is told.

Relat­ed Con­tent:

Free Online Shake­speare Cours­es: Primers on the Bard from Oxford, Har­vard, Berke­ley & More

Read All of Shakespeare’s Plays Free Online, Cour­tesy of the Fol­ger Shake­speare Library

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Take a Vir­tu­al Tour of Shakespeare’s Globe The­atre

by | Permalink | Make a Comment ( 3 ) |

Read Arthur C. Clarke’s Super Short, 31-Word Sci-Fi Story, “siseneG”

clarke 31 word story

As brevi­ty in fic­tion goes, who can top “For sale: baby shoes, nev­er worn”? That much-ref­er­enced six-word sto­ry, often attrib­uted to Ernest Hem­ing­way, cer­tain­ly packs an impres­sive amount of human dra­ma into its short length. But what about oth­er gen­res? What would a six-word sci­ence- fic­tion sto­ry look like? i09 crowd­sourced count­less such works in 2014: respons­es, which tend­ed toward the escha­to­log­i­cal, includ­ed “The Uni­verse died. He did not,” “New world. Cryo­genic fail­ure. Seeds dead,” and “Final­ly sen­tient, it switched itself off.”

Not bad, but what would we get if we went to the pro­fes­sion­als? Alas, Sir Arthur C. Clarke, pro­lif­ic author of such respect­ed sci-fi nov­els as 2001: A Space Odyssey and Ren­dezvous with Rama, passed away just five years before i09 issued its chal­lenge. Still, we have an idea of the direc­tion his entry might have gone in from of “siseneG,” a sto­ry sto­ry — a very short sto­ry indeed — Clarke sent in to Ana­log mag­a­zine in 1984:

And God said: DELETE lines One to Aleph. LOAD. RUN.
And the Uni­verse ceased to exist.

Then he pon­dered for a few aeons, sighed, and added: ERASE.
It nev­er had exist­ed.

“This is the only short sto­ry I’ve writ­ten in ten years or so,” Clarke wrote in the accom­pa­ny­ing note. “I think you’ll agree that they don’t come much short­er.” We now know that they can come some­what short­er, at least 25 words short­er than “siseneG,” but sure­ly we can all agree that Clarke set a high stan­dard for sci­en­tif­ic (or per­haps tech­no­log­i­cal-exis­ten­tial) flash fic­tion decades before the coinage of the term. But then, we always knew the man had a knack for look­ing ahead.

via Let­ters of Note

Relat­ed Con­tent:

In 1964, Arthur C. Clarke Pre­dicts the Inter­net, 3D Print­ers and Trained Mon­key Ser­vants

Arthur C. Clarke Pre­dicts in 2001 What the World Will Look By Decem­ber 31, 2100

Arthur C. Clarke Nar­rates Film on Mandelbrot’s Frac­tals; David Gilmour Pro­vides the Sound­track

Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Sarcasm Can Boost Creativity According to Research From Harvard & Columbia Business Schools

bill murray sarcasm

Under­ly­ing image by Gage Skid­more.

Echo­ing Bill Mur­ray, the Urban Dic­tio­nary defines sar­casm as “your body’s nat­ur­al defense against stu­pid,” not­ing that it’s “the high­est form of wit” in coun­tries like the UK, but the low­est in Amer­i­ca, owing to the population’s inabil­i­ty to detect whether or not one is being sar­cas­tic.

Exam­ple:
Idiot: I beat up a ten-year-old today.

You: (with a hint of sar­casm) That’s impres­sive!

Idiot: I know, right!

A new study by Francesca GinoAdam Galin­sky, and Li Huang, of Har­vard, Colum­bia and INSEAD busi­ness schools, respec­tive­ly, sug­gests that the use of sar­casm pro­motes cre­ativ­i­ty for those on the giv­ing and receiv­ing end of sar­cas­tic exchanges.

Gino told the Har­vard Gazette, “To cre­ate or decode sar­casm, both the expressers and recip­i­ents of sar­casm need to over­come the con­tra­dic­tion (i.e., psy­cho­log­i­cal dis­tance) between the lit­er­al and actu­al mean­ings of the sar­cas­tic expres­sions. This is a process that acti­vates and is facil­i­tat­ed by abstrac­tion, which in turn pro­motes cre­ative think­ing.”

Galin­sky added, the givers and receivers in sar­cas­tic exchanges “sub­se­quent­ly per­formed bet­ter on cre­ativ­i­ty tasks than those in the sin­cere con­di­tions or the con­trol con­di­tion. This sug­gests that sar­casm has the poten­tial to cat­alyze cre­ativ­i­ty in every­one.” “That being said, although not the focus of our research, it is pos­si­ble that nat­u­ral­ly cre­ative peo­ple are also more like­ly to use sar­casm, mak­ing it an out­come instead of [a] cause in this rela­tion­ship.”

The evi­dence cer­tain­ly seems sol­id in the hands of mas­ter prac­ti­tion­ers such as Louis CK, Sarah Sil­ver­man, and the staff of The Onion, not to men­tion new­com­er Shirley Jester, an ani­mat­ed Sar­cas­tic Foul-Mouthed Teenage Come­di­an Girl from the Renais­sance.

Things get a bit murki­er when ama­teurs attempt to adopt their idols’ caus­tic pos­es. Tone and intent are eas­i­ly mis­con­strued. Feel­ings get hurt.

Is sar­casm best left to the pro­fes­sion­als?

Not nec­es­sar­i­ly. Gino and Galinksy found that the degree of trust between express­er and recip­i­ent deter­mines how sar­casm is received. In oth­er words, know your audi­ence.

Even at its mean­est, sarcasm—from the Greek and Latin for “to tear flesh”—involves abstrac­tion, a hall­mark of cre­ative think­ing.

Mean­while, you can review Clin­i­cal Psy­chol­o­gist Chris Ful­ton’s “Try that again method,” below, one of many strate­gies for han­dling “sar­cas­tic and sassy teenagers.” Cre­ativ­i­ty be squelched.

Cue a mil­lion teenage eye rolls, and check out Gino and Galinksy’s find­ings here.

via the Har­vard Gazette

Relat­ed Con­tent:

John Cleese’s Phi­los­o­phy of Cre­ativ­i­ty: Cre­at­ing Oases for Child­like Play

The Psy­chol­o­gy of Messi­ness & Cre­ativ­i­ty: Research Shows How a Messy Desk and Cre­ative Work Go Hand in Hand

The Most “Intel­lec­tu­al Jokes”: Our Favorite Open Cul­ture Read­er Sub­mis­sions

Hear Mahler’s 9th Played in 6 Minutes on the Squeezebox by “The Greatest Accordionist in the World”

Theater of the Accordion- William Schimmel

NPR called William Schim­mel “the great­est accor­dion­ist in the world,” and thanks to NPR you can hear Schim­mel at work, tak­ing Gus­tav Mahler’s sprawl­ing Ninth Sym­pho­ny and “squeez­ing this immense musi­cal can­vas down to just 6 1/2 min­utes.” That’s a feat in itself.

Trum­peter Wyn­ton Marsalis makes an appear­ance on the track, which comes from the new­ly-released album, The­ater of the Accor­dion: William Schim­mel. Enjoy.

 

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and share intel­li­gent media with your friends. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

by | Permalink | Make a Comment ( 1 ) |

Audrey Hepburn’s Moving Screen Test for Roman Holiday (1953)

When you think of Audrey Hep­burn, you think of Roman Hol­i­day, the 1953 film that launched her career. How can you for­get Hep­burn as Princess Anne? Orig­i­nal­ly, the part was writ­ten for Eliz­a­beth Tay­lor, then a major star. But some­thing hap­pened dur­ing the cast­ing that changed all of that. In his biog­ra­phy of Ms. Hep­burn, the author Bar­ry Paris writes:

Her Roman Hol­i­day test took place at Pinewood Stu­dio in Lon­don, Sep­tem­ber 18, 1951, under [Thorold] Dick­in­son’s direc­tion. “We did some scenes out of the script,” he said, but “Para­mount also want­ed to see what Audrey was actu­al­ly like not act­ing a part, so I did an inter­view with her. We loaded a thou­sand feet of film into a cam­era and every foot of it went on this con­ver­sa­tion. She talked about her expe­ri­ences in the war, the Allied raid on Arn­hem, and hid­ing out in a cel­lar. A deeply mov­ing thing.”

Lat­er, so the sto­ry goes, the direc­tor William Wyler watched the footage (shown above) in Rome and found it irre­sistible. He claimed: “She had every­thing I was look­ing for: charm, inno­cence and tal­ent. She also was very fun­ny. She was absolute­ly enchant­i­ng, and we said, ‘That’s the girl!’ ”

In watch­ing the footage, one thing will leap out. Hep­burn’s ado­les­cence was hard­ly suit­ed for a princess. Liv­ing in the Dutch town of Arn­hem dur­ing World War II, she expe­ri­enced the harsh Ger­man occu­pa­tion first­hand and suf­fered from mal­nu­tri­tion, acute ane­mia, res­pi­ra­to­ry prob­lems, and ede­ma by the war’s end. It was a for­ma­tive expe­ri­ence that lat­er made her a devot­ed activist for children’s rights.

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and share intel­li­gent media with your friends. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

Relat­ed Con­tent:

Mar­lene Dietrich’s Tem­pera­men­tal Screen Test for The Blue Angel (1929)

Mar­lon Bran­do Screen Tests for Rebel With­out A Cause (1947)

Bruce Lee Audi­tions for The Green Hor­net

by | Permalink | Make a Comment ( 2 ) |

New Study: Immersing Yourself in Art, Music & Nature Might Reduce Inflammation & Increase Life Expectancy

caspar-david-friedrich-wanderer

Of all the philo­soph­i­cal con­cepts Immanuel Kant is known for, the one I’ve had to strug­gle the least to grasp is his descrip­tion of the sub­lime, a state in which we are over­awed by the scale of some great work of man or nature. It’s an expe­ri­ence, in typ­i­cal Kant­ian fash­ion, that he explains as being not about the thing itself, but rather the idea of the thing. Yet the con­cept of the sub­lime isn’t his. Philoso­phers from the Greek teacher Long­i­nus in the 1st cen­tu­ry to Edmund Burke and oth­er Eng­lish Enlight­en­ment thinkers in Kan­t’s own 18th cen­tu­ry have had their take on it. For the clas­si­cal writ­ers, the sub­lime was rhetor­i­cal, for the Brits, it was empir­i­cal. But above all, the sub­lime is peak aesthetics—a supra-ratio­nal expe­ri­ence of art or nature one can­not get one’s head around. To be so ful­ly absorbed, so strick­en with awe, won­der, and, yes, even fear—all of these philoso­phers believed in some fashion—is to have an expe­ri­ence crit­i­cal to tran­scend­ing our lim­i­ta­tions.

We may not, in either com­mon speech or aca­d­e­m­ic phi­los­o­phy, talk much about the sub­lime these days, but what­ev­er we call the feel­ing of being absorbed in art, music, or nature, it turns out to have phys­i­cal ben­e­fits as well as men­tal and emo­tion­al. “There seems to be some­thing about awe,” says pro­fes­sor of psy­chol­o­gy Dacher Kelt­ner. “It seems to have pro­nounced impact on mark­ers relat­ed to inflam­ma­tion.”

In oth­er words, immers­ing your­self in art or nature is good for the joints, and it could pos­si­bly pre­empt var­i­ous dis­eases trig­gered by inflam­ma­tion. Kelt­ner and his fel­low researchers at UC Berke­ley con­duct­ed a study which found that “awe, won­der and beau­ty pro­mote [low­er and over­all] health­i­er lev­els of cytokines”—pro­teins that “sig­nal the immune sys­tem to work hard­er.” He goes on to say that “the things we do to expe­ri­ence these emotions—a walk in nature, los­ing one­self in music, behold­ing art—has [sic] a direct influ­ence upon health and life expectan­cy.”

Nev­er mind that Kant and Burke thought of the sub­lime and the beau­ti­ful as two very dif­fer­ent things. Whether we become total­ly over­whelmed by, or just find deep appre­ci­a­tion in an aes­thet­ic expe­ri­ence, the emo­tions pro­duced “might be just as salu­bri­ous as hit­ting the gym,” writes Hyper­al­ler­gic. That may seem a crude way of think­ing about the spir­i­tu­al and emo­tion­al grandeur of the sub­lime, but it brings our phys­i­cal being into the dis­cus­sion in ways many philoso­phers have neglect­ed. Grant­ed, the researchers them­selves admit the causal link is uncer­tain: it might be bet­ter health that leads to more expe­ri­ences of awe, and not the oth­er way around. But cer­tain­ly no harm—and a great deal of good—can come from con­duct­ing the exper­i­ment on your­self. Read an abstract (or pur­chase a copy) of the Berke­ley team’s arti­cle here, and learn more about their work with the Uni­ver­si­ty’s Greater Good Sci­ence Cen­ter, which aims to “spon­sor ground­break­ing sci­en­tif­ic research into social and emo­tion­al well-being.”

via Hyper­al­ler­gic

Relat­ed Con­tent:

This Is Your Brain on Jane Austen: The Neu­ro­science of Read­ing Great Lit­er­a­ture

How Walk­ing Fos­ters Cre­ativ­i­ty: Stan­ford Researchers Con­firm What Philoso­phers and Writ­ers Have Always Known

Free Guid­ed Med­i­ta­tions From UCLA: Boost Your Aware­ness & Ease Your Stress

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

Werner Herzog Narrates the Touching, Existential Journey of a Plastic Bag

It just goes to show that, put in the right hands, you can root, or shed a tear, for any pro­tag­o­nist — even if it’s a plas­tic bag. Shot in 2009 by Ramin Bahrani (who Roger Ebert called the “new great Amer­i­can direc­tor”) this 18-minute film “traces the epic, exis­ten­tial jour­ney of a plas­tic bag search­ing for its lost mak­er, the woman who took it home from the store and even­tu­al­ly dis­card­ed it.” Adding a spe­cial touch, Wern­er Her­zog nar­rates the inner thoughts of the bag as it “encoun­ters strange crea­tures, expe­ri­ences love in the sky, grieves the loss of its beloved mak­er, and tries to grasp its pur­pose in the world.”

Plas­tic Bag was one of 11 films released in the Inter­net Tele­vi­sion Ser­vice’s “Futurestates” film series explor­ing “what life might look like in an Amer­i­ca of the future.” Upon its release, Her­zog told The Guardian, ‘I’m so glad this is not an agen­da movie or I would run like mad and get away from here. I mean, we can talk about sus­tain­abil­i­ty issues, about plas­tic, about the Earth, but the movie’s about some­thing else, some­thing more … it’s about a jour­ney.” An emo­tion­al, exis­ten­tial one, indeed.

You can find Plas­tic Bag in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

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:

Wern­er Her­zog Offers 24 Pieces of Film­mak­ing & Life Advice

Wern­er Her­zog Picks His 5 Top Films

Wern­er Her­zog and Cor­mac McCarthy Talk Sci­ence and Cul­ture

by | Permalink | Make a Comment ( 2 ) |

Watch Nina Paley’s “Embroidermation,” a New, Stunningly Labor-Intensive Form of Animation

If you keep up with the ani­ma­tion we post here at Open Cul­ture, you’ll know we have a strong fas­ci­na­tion with tech­niques that require seem­ing­ly inhu­man lev­els of devo­tion to the craft. Ster­ling ear­li­er exam­ples of that include the pin­screen ani­ma­tion of Alexan­der Alex­eieff and Claire Park­er as used to envi­sion Niko­lai Gogol’s “The Nose” and Mod­est Mus­sorgsky’s “Night on Bald Moun­tain.” More recent prac­ti­tion­ers of such severe­ly labor-inten­sive ani­ma­tion include Nina Paley, the self-taught ani­mat­ed film­mak­er who sin­gle­hand­ed­ly cre­at­ed Sita Sings the Blues, the fea­ture-length jazz-scored adap­ta­tion of clas­sic Indi­an myth we fea­tured in 2009.

Since then, Paley has tak­en her con­sid­er­able skills to a form she calls “embroi­der­ma­tion.” It looks how it sounds: like frame by embroi­dered frame sequenced into life. You can get an idea of the process at Paley’s blog. She’s done this project under the ban­ner of PaleGray Labs, “the tex­tile col­lab­o­ra­tion of Nina Paley and Theodore Gray” (whose slo­gan announces their mis­sion to “put the NERD in quilt­iNg and EmbRoi­Dery”). They used it to make Chad Gadya, a three-minute ren­der­ing of a tra­di­tion­al passover folk song. (Below it, you can also see anoth­er embroi­der­ma­tion made by anoth­er artist for Throne’s song “Thar­sis Sleeps.”) PaleGray Labs bills Chad Gadya as “our most ridicu­lous­ly labor-inten­sive ani­ma­tion ever,” which must also make it the most ridicu­lous­ly labor-inten­sive ani­ma­tion we’ve yet fea­tured on Open Cul­ture. Its cre­ation required not only for­mi­da­ble embroi­dery abil­i­ties, but a deft hand with indus­tri­al-strength num­ber-crunch­ing soft­ware Math­e­mat­i­ca in order to cre­ate the process­es that allowed them to ani­mate the stitched fig­ures smooth­ly. If the results cap­ture your imag­i­na­tion, know that you can pur­chase the orig­i­nal phys­i­cal mate­ri­als: “Each unique, approx­i­mate­ly 16” square, unbleached cot­ton mat­zoh cov­er con­tains 6 frames of ani­ma­tion and is signed by the artists,” PaleGray’s site assures us. Per­haps you’d like to con­sid­er stock­ing up ear­ly on gifts for next Passover?

Relat­ed Con­tent:

Niko­lai Gogol’s Clas­sic Sto­ry, “The Nose,” Ani­mat­ed With the Aston­ish­ing Pin­screen Tech­nique (1963)

Night on Bald Moun­tain: An Eery, Avant-Garde Pin­screen Ani­ma­tion Based on Mussorgsky’s Mas­ter­piece (1933)

Sita Sings the Blues

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Amanda Palmer Animates & Narrates Husband Neil Gaiman’s Unconscious Musings

Accord­ing to singer, song­writer and crowed fun­der extra­or­di­naire, Aman­da Palmer, there’s an “epi­dem­ic of mild-man­nered British men who say weird shit in their sleep.”

Her hus­band, author Neil Gaiman, is no excep­tion.

Neil Gaiman is a total weirdo when he’s half asleep. in a GOOD way, usu­al­ly. you know all that cray shit he’s been writ­ing for the past 30 years? it has to come from *some­where*. the guy is a fleshy repos­i­to­ry of sur­re­al strange­ness, and he’s at his best when he’s in the twi­light zone of half-wake­ful­ness. he’s the strangest sleep­er I’ve ever slept with (let’s not get into who I’ve slept with…different ani­ma­tion) not just because of the bizarro things that come out of his mouth when he’s in the gray area, but because he actu­al­ly seems to take on a total­ly dif­fer­ent per­sona when he’s asleep. and when that dude shows up, the wak­ing Neil Gaiman is impos­si­ble to get back, unless you real­ly shout him awake.

She’s made a habit of jot­ting down her husband’s choic­est som­nam­bu­lis­tic mut­ter­ings. One paper­less night, she repaired to the bath­room to recre­ate his noc­tur­nal state­ments on her iPhone’s voice recorder as best she could remem­ber.

As some­one who’s sore­ly tempt­ed to get incon­tro­vert­ible proof of her bedmate’s errat­ic snor­ing pat­terns, I won­der that Palmer wasn’t tempt­ed to hit record mid-rant, and let him hoist him­self on his own petard. Revenge does not seem to be the motive here, though. Palmer uses the device as more of a diary, rarely revis­it­ing what she’s laid down. It’s more process than prod­uct.

That said, when she redis­cov­ered this track, she felt it deserved to be ani­mat­ed, a la the Blank on Blank series. (Brain­Pick­ing’s Maria Popo­va urged her on too.) The ever-game Gaiman report­ed­ly “laughed his head off” at the prospect of get­ting the Janis Joplin found text treat­ment.

The finan­cial sup­port of some 5,369 fans on the artist-friend­ly crowd fund­ing plat­form, Patre­on, allowed Palmer  to secure the ser­vices of ani­ma­tor Avi Ofer, who reen­vi­sioned the cou­ple as a New York­er car­toon of sorts. He also man­aged to squeeze in a deft Lit­tle Prince ref­er­ence.

Per­haps his ser­vices will be called upon again. Gaiman reports that his very preg­nant bride is also prone to non­sen­si­cal sleep talk. (“I want to go danc­ing and i don’t want them to take the sheep, Don’t let them take the sheep.”) Turn­about is fair play.

Relat­ed Con­tent:

Neil Gaiman’s Free Short Sto­ries

Where Do Great Ideas Come From? Neil Gaiman Explains

Watch Love­birds Aman­da Palmer and Neil Gaiman Sing “Makin’ Whoopee!” Live

Aman­da Palmer’s Tips for Being an Artist in the Rough-and-Tum­ble Dig­i­tal Age

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


  • Great Lectures

  • Sign up for Newsletter

  • About Us

    Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.


    Advertise With Us

  • Archives

  • Search

  • Quantcast