Watch Noam Chomsky & Lawrence Krauss Talk About Education, Political Activism, Technology & More Before a Sold-Out Crowd

Found­ed and direct­ed by physi­cist Lawrence Krauss, Ari­zona State’s Ori­gins Project has for sev­er­al years brought togeth­er some of the biggest minds in the sci­ences and human­i­ties for friend­ly debates and con­ver­sa­tions about “the 21st Century’s great­est chal­lenges.” Pre­vi­ous all-star pan­els have includ­ed Krauss, Neil DeGrasse Tyson, Bill Nye, Bri­an Greene, and Richard Dawkins. Stephen Hawk­ing has graced the ASU Ori­gins Project stage, as has actor and sci­ence com­mu­ni­ca­tor Alan Alda. And this past March, in a sold-out, high­ly-antic­i­pat­ed Ori­gins Project event, Krauss wel­comed Noam Chom­sky to the stage for a lengthy inter­view, which you can watch above.

Although Krauss says he’s wary of hero wor­ship in his lauda­to­ry intro­duc­tion, he nonethe­less finds him­self ask­ing “What Would Noam Chom­sky Do” when faced with a dilem­ma. He also points out that Chom­sky has been “mar­gin­al­ized in U.S. media” for his anti-war, anar­chist polit­i­cal views. Those views, of course, come wide­ly into play dur­ing the con­ver­sa­tion, which ranges from the the­o­ry and pur­pose of education—a sub­ject Chom­sky has expound­ed on a great deal in books and inter­views—to the fate of polit­i­cal dis­si­dents through­out his­to­ry.

Chom­sky also gives us his views on sci­ence and tech­nol­o­gy, par­tic­u­lar­ly in the Q&A por­tion of the talk above, in which he answers ques­tions about arti­fi­cial intel­li­gence—anoth­er sub­ject he’s touched on in the past—and ani­mal exper­i­men­ta­tion, among a great many oth­er top­ics. Krauss most­ly hangs back dur­ing the ini­tial dis­cus­sion but takes a more active role in the ses­sion above, offer­ing views on med­ical and sci­en­tif­ic ethics that will be famil­iar to those who fol­low his athe­ist activism and cham­pi­oning of ratio­nal­i­ty over reli­gious dog­ma.

What you won’t see in the video above is a con­ver­sa­tion Chom­sky and Krauss had with Moth­er­board’s Daniel Ober­haus, who caught up with both thinkers dur­ing the ASU event to get their take on what he calls “anoth­er great space race.” As Ober­haus makes clear, the cur­rent com­pe­ti­tion is not nec­es­sar­i­ly between glob­al super­pow­ers, but—as with so much mod­ern research and development—between pub­lic and pri­vate enti­ties, such as NASA and Space X. As we briefly dis­cussed in a post yes­ter­day on the huge amount of pub­lic domain space pho­tog­ra­phy freely avail­able for use, pri­vate space explo­ration makes research pro­pri­etary, mit­i­gat­ing the poten­tial pub­lic ben­e­fits of gov­ern­ment pro­grams.

As Chom­sky puts it, “the envi­ron­ment, the com­mons… they’re a com­mon pos­ses­sion, but space is even more so. For indi­vid­u­als to allow insti­tu­tions like cor­po­ra­tions to have any con­trol over it is dev­as­tat­ing in its con­se­quences. It will also almost cer­tain­ly under­mine seri­ous research.” He refers to the exam­ple of most mod­ern computing—developed under pub­licly-fund­ed gov­ern­ment pro­grams, then mar­ket­ed and sold back to us by cor­po­ra­tions. Krauss makes a case for unmanned space explo­ration as the cost-effec­tive option, and both thinkers dis­cuss the prob­lem of mil­i­ta­riz­ing space, the ulti­mate goal of Cold War space pro­grams before the fall of the Sovi­et Union. The con­ver­sa­tion is rich and reveal­ing and makes an excel­lent sup­ple­ment to the already rich dis­cus­sion Krauss and Chom­sky have in the videos above.

Relat­ed Con­tent:

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

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

Noam Chom­sky Explains Where Arti­fi­cial Intel­li­gence Went Wrong

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

Bob Dylan Appears in Rare TV Ad: Watch IBM’s Super Computer Offer a Literary Analysis of His Songs

To my knowl­edge, Bob Dylan has only appeared in a hand­ful of TV com­mer­cials over the decades, includ­ing most notably a bizarre ad for Vic­to­ri­a’s Secret back in 2004. Now you can add anoth­er to the small list. Last night, IBM debuted a new ad with the icon­ic singer-song­writer. And this time around, Dylan isn’t ped­dling bras. Rather, it’s IBM’s cog­ni­tive sys­tem called “Wat­son,” which promis­es to ana­lyze data for cor­po­ra­tions in all kinds of inter­est­ing ways. Says IBM:

Humans cre­ate a stag­ger­ing amount of infor­ma­tion. Poet­ry, equa­tions, films, self­ies, diag­noses, dis­cov­er­ies. Data pours from our mobile devices, social net­works, from every dig­i­tized and con­nect­ed sys­tem we use. 80% of this data is vir­tu­al­ly invis­i­ble to computers—including near­ly all the infor­ma­tion cap­tured in lan­guage, sight and sound. Until now.

IBM Wat­son applies its cog­ni­tive tech­nolo­gies to help change how we approach and under­stand all of this infor­ma­tion. Every­thing that is dig­i­tal has the poten­tial to become cog­ni­tive, and, in a sense, be able to “think.”

Wat­son can bring cog­ni­tion to every­thing and every­one. To evolve in this data-dri­ven cul­ture, every busi­ness will need to become a cog­ni­tive busi­ness.

To demon­strate its ana­lyt­i­cal pow­ers, IBM asked Wat­son to ana­lyze Dylan’s lyrics, and it con­clud­ed that the major themes of Dylan’s songs are “time pass­es and love fades”. It’s a con­clu­sion, I’m sure, that nev­er dawned on casu­al or ardent fans of Dylan’s music.

Relat­ed Con­tent:

Bob Dylan’s Con­tro­ver­sial 2004 Victoria’s Secret Ad: His First & Last Appear­ance in a Com­mer­cial

“They Were There” — Errol Mor­ris Final­ly Directs a Film for IBM

Andy Warhol’s ‘Screen Test’ of Bob Dylan: A Clas­sic Meet­ing of Egos

Bob Dylan Reads From T.S. Eliot’s Great Mod­ernist Poem The Waste Land

Bob Dylan and The Grate­ful Dead Rehearse Togeth­er in Sum­mer 1987. Lis­ten to 74 Tracks.

by | Permalink | Make a Comment ( 5 ) |

Discover the Cinematic & Comedic Genius of Charlie Chaplin with 60+ Free Movies Online

“One of the many remark­able things about Char­lie Chap­lin,” wrote Roger Ebert, “is that his films con­tin­ue to hold up, to attract and delight audi­ences.” Richard Brody described Chap­lin as not just “alone among his peers of silent-com­e­dy genius,” but also as a mak­er of “great talk­ing pic­tures.” Jonathan Rosen­baum asked, “Has there ever been anoth­er artist — not just in the his­to­ry of cin­e­ma, but maybe in the his­to­ry of art — who has had more to say, and in such vivid detail, about what it means to be poor?” Andrew Sar­ris called Chap­lin “arguably the sin­gle most impor­tant artist pro­duced by the cin­e­ma, cer­tain­ly its most extra­or­di­nary per­former and prob­a­bly still its most uni­ver­sal icon.” “For me,” wrote Leonard Maltin, “com­e­dy begins with Char­lie Chap­lin.”

And so we see that Chap­lin, near­ly forty decades after his death, main­tains his high crit­i­cal rep­u­ta­tion — while also hav­ing enjoyed the absolute height of movie-star­dom back in the silent era.

Van­ish­ing­ly few artists of any kind man­age to com­bine such block­bust­ing com­mer­cial suc­cess with such fly­ing-col­ors crit­i­cal suc­cess. That alone might give you good enough rea­son to plunge into Chap­lin’s fil­mog­ra­phy, but know that you can begin that cin­e­mat­ic adven­ture for free right here on Open Cul­ture in our archive of more than 60 Char­lie Chap­lin films on the web.

There you’ll find short come­dies like 1914’s Kids Auto Race at Venice, which intro­duced his famous pen­ni­less pro­tag­o­nist “The Tramp”; the fol­low­ing year’s The Tramp, which made it into a phe­nom­e­non; 1919’s Sun­ny­sidein which we find out what hap­pens when Chap­lin’s grace­ful­ly hap­less comedic per­sona winds up on the farm; and 1925’s The Gold Rush, the film Chap­lin most want­ed to be remem­bered for.

But though Chap­lin’s oeu­vre could­n’t be eas­i­er to start watch­ing and laugh­ing at, com­ing to appre­ci­ate the full scope of his craft — in the way that the crit­ics quot­ed above have spent careers doing — may take time. After all, the man made 80 movies over his 75-year enter­tain­ment career, a kind of pro­duc­tiv­i­ty that, even leav­ing the con­sid­er­able artistry aside, cin­e­ma may nev­er see again. You can dive into our col­lec­tion of Chap­lin films here.

Relat­ed Con­tent:

101 Free Silent Films: The Great Clas­sics

Col­orized Pho­tos Bring Walt Whit­man, Char­lie Chap­lin, Helen Keller & Mark Twain Back to Life

Char­lie Chap­lin Does Cocaine and Saves the Day in Mod­ern Times (1936)

Watch Char­lie Chap­lin Demand 342 Takes of One Scene from City Lights; And Then Watch 65 Free Chap­lin Films Online

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Stream 100+ Free Movies from Paramount Pictures on YouTube: Hamlet, Ironweed & More

We got a nice tip from one of our read­ers, and want­ed to pass it along. Para­mount Pic­tures has launched an offi­cial, ver­i­fied YouTube chan­nel — called The Para­mount Vault — where you can watch full length films for free [update: if you’re based in the US]. You won’t find Para­moun­t’s best-known films in The Vault, but nonethe­less there are some qual­i­ty, if not enter­tain­ing, picks among the 150 films.

The movies are grouped into the fol­low­ing playlists: Clas­sics, Com­e­dy, Action/Adventure, Dra­ma, Hor­ror, West­erns, Sci­ence Fic­tion, and Thrillers. And they include motion pic­tures like 1987’s Iron­weed with Jack Nichol­son and Meryl Streep, Ham­let (1990) with Glenn Close and Mel Gib­son, Paris When It Siz­zles (1964) with William Hold­en and Audrey Hep­burn, Elvis in King Cre­ole (1958), Charl­ton Hes­ton in the 1950 noir film Dark City, Gene Wilder in Fun­ny About Love (1990), and Mar­got at the Wed­ding (2007) with Nicole Kid­man, Jack Black and Jen­nifer Jason Leigh.

The Para­mount Vault has been ver­i­fied by YouTube, so it looks like it’s the real deal. There is also an accom­pa­ny­ing ver­i­fied Face­book page.

If you stream the playlist embed­ded at the top, you can watch 43 dra­mas in a row, start­ing with Iron­weed and Ham­let.

The selec­tions above will be added to our list, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More. Enjoy!

Update: it looks like you need to be based in the US to view these films — some­thing that was­n’t appar­ent to me before­hand since I’m based here. My apolo­gies to any­one who’s geoblocked.

h/t David

Relat­ed Con­tent:

101 Free Silent Films: The Great Clas­sics

Colum­bia U. Launch­es a Free Mul­ti­me­dia Glos­sary for Study­ing Cin­e­ma & Film­mak­ing

by | Permalink | Make a Comment ( 13 ) |

Watch Gandhi Talk in His First Filmed Interview (1947)

The Gand­hi of his­to­ry doesn’t line up with the Gand­hi of leg­end, just as the beat­i­fied Moth­er Tere­sa presents a very dif­fer­ent pic­ture in cer­tain astute crit­ics’ esti­ma­tion. But as with most saints, ancient and mod­ern, peo­ple tend to ignore Gandhi’s many con­tra­dic­tions and trou­bling­ly racist and casteist views. He comes to us more as myth and mar­tyr than deeply flawed human indi­vid­ual. An indis­pens­able part of the myth­mak­ing, Richard Attenborough’s 1982 biopic, Gand­hi, may be “over-san­i­tized,” as The Guardian writes, but Ben Kingsley’s per­for­mance as the anti-colo­nial leader is gen­uine­ly “sub­lime” in his evo­ca­tion of Gandhi’s “inten­si­ty… wit and even the dis­tinc­tive, deter­mined walk.” It’s these per­son­al qualities—and of course Gandhi’s defeat of the largest empire on the plan­et with non­vi­o­lent action and a spir­i­tu­al phi­los­o­phy—that con­tin­ue to inspire move­ments for jus­tice and civ­il rights.

We see a lit­tle of that deter­mined walk in the short news­reel inter­view above, the very first “talk­ing pic­ture” made of Gand­hi, and we also hear his inten­si­ty and wit, though much sub­dued by his phys­i­cal frailty after years of fast­ing. Tak­en in 1947 by Fox Movi­etone News, the film marks a piv­otal peri­od in the Indi­an leader’s life. Very short­ly after this Par­lia­ment passed the Indi­an Inde­pen­dence Act. That year also marked the start of a bloody new strug­gle, insti­gat­ed by anoth­er colo­nial inter­ven­tion, as the British par­ti­tioned India into two war­ring coun­tries, an act so poignant­ly dra­ma­tized in Salmon Rushdie’s Midnight’s Chil­dren.

This year of tur­moil was also Gandhi’s last; he was assas­si­nat­ed in 1948 by a Hin­du nation­al­ist who accused him of sid­ing with Pak­istan. In the inter­view, we hear what we might think of as some of Gandhi’s final pub­lic pro­nounce­ments on such sub­jects as child mar­riage, pro­hi­bi­tion, his deeply held con­vic­tions about an authen­tic Indi­an cul­tur­al iden­ti­ty, and the lengths that he would go for his country’s inde­pen­dence. At the end of the short inter­view, the Amer­i­can reporter asks Gand­hi, pre­scient­ly, “would you be pre­pared to die in the cause of India’s Inde­pen­dence?” to which Gand­hi replies, “this is a bad ques­tion.”

Relat­ed Con­tent:

Tol­stoy and Gand­hi Exchange Let­ters: Two Thinkers’ Quest for Gen­tle­ness, Humil­i­ty & Love (1909)

Albert Ein­stein Express­es His Admi­ra­tion for Mahat­ma Gand­hi, in Let­ter and Audio

Hear Gandhi’s Famous Speech on the Exis­tence of God (1931)

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

20 New Lines from The Epic of Gilgamesh Discovered in Iraq, Adding New Details to the Story

The Epic of Gil­gamesh, one of the old­est nar­ra­tives in the world, got a sur­prise update last month when the Sulay­maniyah Muse­um in the Kur­dis­tan region of Iraq announced that it had dis­cov­ered 20 new lines of the Baby­lon­ian-Era poem of gods, mor­tals, and mon­sters. Since the poem has exist­ed in frag­ments since the 18th cen­tu­ry BC, there has always been the pos­si­bil­i­ty that more would turn up. And yet the ver­sion we’re famil­iar with — the one dis­cov­ered in 1853 in Nin­eveh — has­n’t changed very much over recent decades. The text remained fair­ly fixed — that is, until the fall of Bagh­dad in 2003 and the intense loot­ing that fol­lowed yield­ed some­thing new.

Since that time, the His­to­ry Blog notes:

the [Sulay­maniyah] muse­um has a mat­ter of pol­i­cy paid smug­glers to keep arti­facts from leav­ing the coun­try, no ques­tions asked. The tablet was acquired by the muse­um in late 2011 as part of a col­lec­tion of 80–90 tablets sold by an unnamed shady char­ac­ter. Pro­fes­sor Farouk Al-Rawi exam­ined the col­lec­tion while the sell­er hag­gled with muse­um offi­cial Abdul­lah Hashim. When Al-Rawi saw this tablet, he told Hashim to pay what­ev­er the sell­er want­ed: $800.

That’s a pret­ty good deal for these extra lines that not only add to the poem’s length, but have now cleared up some of the mys­ter­ies in the oth­er chap­ters. These lines come from Chap­ter Five of the epic and cast the main char­ac­ters in a new light. Gil­gamesh and his com­pan­ion Enkidu are shown to feel guilt over killing Hum­ba­ba, the guardian of the cedar for­est, who is now seen as less a mon­ster and more a king. Just like a good director’s cut, these extra scenes clear up some mud­dy char­ac­ter moti­va­tion, and add an envi­ron­men­tal moral to the tale.

new lines of gilgamesh

The His­to­ry Blog arti­cle has an in depth descrip­tion of the trans­la­tion, with links to a schol­ar­ly paper on this very impor­tant find, and prompts the ques­tion, how much more is there to be dis­cov­ered?

In the video above, Hazha Jalal, man­ag­er of the tablet’s sec­tion of the Sulay­maniyah Muse­um talks (in Kur­dish) about the new dis­cov­ery, say­ing (in trans­la­tion): “The tablet dates back to the Neo-Bably­on­ian peri­od, 2000–1500 BCE. It is a part of tablet V of the epic. It was acquired by the Muse­um in the year 2011 and [then] Dr. Farouk Al-Raw translit­er­at­ed it. It was writ­ten as a poem and many new things this ver­sion has added, for exam­ple Gil­gamesh and his friend met a mon­key. We are hon­ored to house this tablet and any­one can vis­it the Muse­um dur­ing its open­ing hours from 8:30 morn­ing to noon. The entry is free for you and your guests. Thank you.”

In the mean­time, if you’ve got a few min­utes to spare, you can click here to Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia.

You can also find the epic in our twin col­lec­tions, 1,000 Free Audio Books: Down­load Great Books for Free and 800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

via The His­to­ry Blog

Relat­ed con­tent:

Hear the World’s Old­est Instru­ment, the “Nean­derthal Flute,” Dat­ing Back Over 43,000 Years

Hear the “Seik­i­los Epi­taph,” the Old­est Com­plete Song in the World: An Inspir­ing Tune from 100 BC

Hear Homer’s Ili­ad Read in the Orig­i­nal Ancient Greek

Down­load 55 Free Online Lit­er­a­ture Cours­es: From Dante and Mil­ton to Ker­ouac and Tolkien

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

8,400 Stunning High-Res Photos From the Apollo Moon Missions Are Now Online

21472223270_710757a21b_z

The Apol­lo pro­gram, launched in 1961 by John F. Kennedy, flew its first manned mis­sion in 1968, and the fol­low­ing sum­mer, Neil Arm­strong, Michael Collins, and Buzz Aldrin met the pro­gram’s man­date, mak­ing their his­toric Apol­lo 11 Moon Land­ing. In the ensu­ing few years, sev­er­al more space­craft and crews either orbit­ed or land­ed on the Moon, and for a brief moment, pop­u­lar mag­a­zines and news­pa­pers reg­u­lar­ly fea­tured pho­tographs of those expe­di­tions on their cov­ers and front pages. Look­ing every bit the authen­tic vin­tage Has­sel­blad pho­tos they are, the images you see here were tak­en by Apol­lo astro­nauts on their var­i­ous mis­sions and sent home in rolls of hun­dreds of sim­i­lar pic­tures.

Earthrise

These astro­nauts snapped pho­tos inside and out­side the space­craft, in orbit and on the moon’s sur­face, and in 2004 NASA began dig­i­tiz­ing the result­ing cache of film. Luck­i­ly for the pub­lic, devot­ed space enthu­si­ast and archivist, Kipp Teague—an IT direc­tor at Lynch­burg Col­lege in Virginia—has post­ed a huge num­ber of these pho­tos (8,400 to be exact) on his Project Apol­lo Archive Flickr account.

Apollo Archive 3

Teague ini­tial­ly began acquir­ing the pho­tos in col­lab­o­ra­tion with Eric Jones’ Apol­lo Lunar Sur­face Jour­nal, “a record of the lunar sur­face oper­a­tions con­duct­ed by the six pairs of astro­nauts who land­ed on the Moon from 1969 to 1972.” Under­stand­ably, so many peo­ple expressed inter­est in the pho­tographs that Teague refor­mat­ted them in high­er res­o­lu­tion and gave them their own home on the web. The Plan­e­tary Soci­ety informs us, “every pho­to tak­en on the lunar sur­face by astro­nauts with their chest-mount­ed Has­sel­blad cam­eras is includ­ed in the col­lec­tion.”

Apollo Archive 1

While Teague and Jones’ oth­er sites use pho­tos that have been processed to increase their clar­i­ty, light­ing, and col­or, the pho­tos on Project Apol­lo Archive remain in their orig­i­nal state. “Brows­ing the entire set,” writes the Plan­e­tary Soci­ety, “takes on the feel­ing of look­ing through an old fam­i­ly pho­to album.” Indeed, espe­cial­ly if you grew up in the late-six­ties/ear­ly-sev­en­ties at the height of the space pro­gram’s pop­u­lar­i­ty.

21943951215_7e855a8d8b_z

A good many of the pho­tos are rather pro­ce­dur­al shots of craters and clouds, espe­cial­ly those from ear­li­er mis­sions. But quite a few frame the breath­tak­ing vis­tas, tech­ni­cal details, and awestruck, if exhaust­ed, faces you see here. So many pho­tos were tak­en and uploaded in suc­ces­sion that click­ing rapid­ly through a pho­to­stream can pro­duce an almost flip­book effect. You can browse the archive by album, each one rep­re­sent­ing a reel from dif­fer­ent Apol­lo missions—including that famous 11th (top, and below)—though Teague has yet to post high res­o­lu­tion images from Apol­lo 8 and 13.

21634076726_e9aa434f3a_z

It seemed after Apollo’s demise in the mid-sev­en­ties that pho­tographs like these doc­u­ment­ed a lost age of NASA explo­ration, and that the once-great gov­ern­ment agency would cede its inno­v­a­tive role to pri­vate com­pa­nies like Elon Musk’s Space X, who have been much less forth­com­ing about releas­ing media to the pub­lic, mak­ing pro­pri­etary claims over their space pho­tog­ra­phy in par­tic­u­lar. But thanks in part to Space X and the coop­er­a­tion of Cana­di­an, Euro­pean, Russ­ian, and Japan­ese space pro­grams, NASA’s Inter­na­tion­al Space Sta­tion has raised the agency’s pub­lic pro­file con­sid­er­ably in the past sev­er­al years. Though still painful­ly under­fund­ed, NASA’s cool again.

Apollo Archive 4

Even more pro­file-rais­ing is the Mars Rover pro­gram, whose recent find­ing of water has refu­eled spec­u­la­tions about life on the Red Plan­et. As films like the recent, astro­naut-approved The Mar­t­ian and a raft of oth­ers show, our col­lec­tive imag­i­na­tion has long bent toward human explo­ration of Mars. Estab­lish­ing a base on Mars, after all, is Space X’s stat­ed mis­sion. Look­ing at these stun­ning vin­tage pho­tos of the Apol­lo Lunar mis­sions makes me long to see what the first astro­nauts to walk on Mars send back. We prob­a­bly won’t have to wait long once they’re up there. We’ll like­ly get Insta­gram uploads, maybe even some with fake vin­tage Has­sel­blad fil­ters. It won’t be quite the same; few cur­rent events can com­pete with nos­tal­gia. But I like to think we can look for­ward in the near future to a renais­sance of manned—and woman-ed—space explo­ration.

Apollo Archive 5

See many hun­dreds more Apol­lo Lunar Mis­sion pho­tos at Project Apol­lo Archive and fol­low the archive on Face­book for updates.

via The Plan­e­tary Soci­ety

Relat­ed Con­tent:

Land­ing on the Moon: July 20, 1969

Mankind’s First Steps on the Moon: The Ultra High Res Pho­tos

Neil Arm­strong, Buzz Aldrin & Michael Collins Go Through Cus­toms and Sign Immi­gra­tion Form After the First Moon Land­ing (1969)

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

Bernie Sanders: I Will Be an Arts President

Art is speech. Art is what life is about. 

A rous­ing sen­ti­ment, and one rarely expressed by those run­ning for the nation’s high­est office.

Once a can­di­date has been safe­ly elect­ed, he may feel com­fort­able betray­ing a deep­er affin­i­ty, or ced­ing to the tastes of an arts-inclined First Lady. Sanders isn’t wait­ing, pledg­ing in the video above, that he will be an Arts Pres­i­dent.

The Amer­i­cans for the Arts Action Fund tracks the can­di­dates’ records with regard to arts advo­ca­cy, and it appears that Sanders has been walk­ing the walk for quite some time.

He filmed a half-hour long doc­u­men­tary about labor leader Eugene Debs.

He record­ed a 1987 folk album with the help of 30 Ver­mont musi­cians, stout­ly pro­nounc­ing the lyrics to “This Land is Your Land” and “Where Have All the Flow­ers Gone” a la Rex Har­ri­son.

Vice’s Paul Best made a com­pelling case for how Bernie Sanders shaped the north­east punk scene.

If Allen Gins­berg could vote from beyond the grave, I’m pret­ty sure I know which lever he’d be pulling…

With regard to liv­ing celebri­ties, it’s no big sur­prise to see that Will Fer­rell, Susan Saran­don, and John C Reil­ly are among the artists sup­port­ing Bernie Sanders. Hol­ly­wood has long embraced lib­er­al can­di­dates. They are joined on the ever grow­ing list of Artists and Cul­tur­al Lead­ers for Bernie Sanders by musi­cians Jel­lo Biafra and The Red Hot Chili Pep­pers, come­di­ans Mar­garet Cho and Sarah Sil­ver­man, and graf­fi­ti artists Ron Eng­lish and Shep­ard Fairey, cre­ator of the Oba­ma Hope poster.

As Sanders fans wait to see whether Fairey will per­form a sim­i­lar ser­vice for his 2016 pick, Sten­cils for Bernie is tak­ing up the slack with down­load­able images for the DIY-inclined.

I pre­sume that it’s only a mat­ter of time before some young ani­ma­tor puts him or her­self at Sanders’ dis­pos­al, though I kind of hope not. The candidate’s short video is reas­sur­ing­ly devoid of the snap­py visu­als that have become a sta­ple of the form, thanks to such pop­u­lar series as Crash Course, CGP Grey, The School of Life, and TED Ed.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Bernie Sanders Sings “This Land is Your Land” on the Endear­ing­ly Bad Spo­ken Word Album, We Shall Over­come

Allen Ginsberg’s Hand­writ­ten Poem For Bernie Sanders, “Burling­ton Snow” (1986)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, opens in New York City lat­er this month. Fol­low her @AyunHalliday

What “Orwellian” Really Means: An Animated Lesson About the Use & Abuse of the Term

In all of our minds, the word “Orwellian” con­jures up a cer­tain kind of set­ting: a vast, fixed bureau­cra­cy; a dead-eyed pub­lic forced into gray, uni­form liv­ing con­di­tions; the very words we use man­gled in order to bet­ter serve the inter­ests of pow­er. We think, on the whole, of the kind of bleak­ness with which George Orwell sat­u­rat­ed the future Eng­land that pro­vides the set­ting for his famous nov­el Nine­teen Eighty-Four. Almost sev­en­ty years after that book’s pub­li­ca­tion, we now use “Orwellian” to describe the views of the polit­i­cal par­ty oppo­site us, the Depart­ment of Motor Vehi­cles — any­thing, in short, that strikes us as brutish, mono­lith­ic, implaca­ble, delib­er­ate­ly stripped of mean­ing, or in any way author­i­tar­i­an.

We use the word so much, in fact, that it can’t help but have come detached from its orig­i­nal mean­ing. “I can tell you that we live in Orwellian times,” writes the Guardian’s Sam Jordi­son. Or that “Amer­i­ca is wag­ing Orwellian wars, that TV is Orwellian, that the police are Orwellian, that Ama­zon is Orwellian, that pub­lish­ers are Orwellian too, that Ama­zon with­drew copies of Nine­teen Eighty-Four, which was Orwellian (although Orwell wouldn’t like it), that Vladimir Putin, George W. Bush, David Cameron, Ed Mil­liband, Kim Jong-un and all his rel­a­tives are Orwellian, that the TV pro­gramme Big Broth­er is both Orwellian and not as Orwellian as it claims to be, that Oba­ma engages in Oba­ma­think, that cli­mate-change deniers and cli­mate change sci­en­tists are Orwellian, that neo­clas­si­cal eco­nom­ics employs Orwellian lan­guage. That, in fact, every­thing is Orwellian,” Jordi­son con­tin­ues.

Here to restore sense to our usage of the most com­mon word derived from the name of a writer, we have the Ted-Ed video at the top of the post. In it, and in the asso­ci­at­ed les­son on Ted-Ed’s site, Noah Tavlin breaks down the ter­m’s mean­ing, its ori­gin, the fail­ings of our mod­ern inter­pre­ta­tion of it, and how tru­ly Orwellian phe­nom­e­na con­tin­ue to invade our dai­ly life with­out our even real­iz­ing it. “The next time you hear some­one say ‘Orwellian,’ ” says Tavlin, “pay close atten­tion. If they’re talk­ing about the decep­tive and manip­u­la­tive use of lan­guage, they’re on the right track. If they’re talk­ing about mass sur­veil­lance and intru­sive gov­ern­ment, they’re describ­ing some­thing author­i­tar­i­an, but not nec­es­sar­i­ly Orwellian. And if they use it as an all-pur­pose word for any ideas they dis­like, it’s pos­si­ble that their state­ments are more Orwellian than what­ev­er it is they’re crit­i­ciz­ing” — an out­come Orwell him­self might well have fore­seen.

Relat­ed Con­tent:

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

George Orwell and Dou­glas Adams Explain How to Make a Prop­er Cup of Tea

For 95 Min­utes, the BBC Brings George Orwell to Life

George Orwell’s Five Great­est Essays (as Select­ed by Pulitzer-Prize Win­ning Colum­nist Michael Hiltzik)

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How a Virus Invades Your Body: An Eye-Popping, Animated Look

It’s get­ting close to that time of the year again, when the flu starts to wreak hav­oc. And so, with the help of NPR’s Robert Krul­wich and med­ical ani­ma­tor David Bolin­sky, we’re tak­ing an ani­mat­ed look at what actu­al­ly hap­pens when a virus invades your body and tricks a sin­gle cell into mak­ing a mil­lion more virus­es, and how your immune sys­tem even­tu­al­ly deals with the whole mess. It’s a nice demys­ti­fi­ca­tion of phe­nom­e­na that affects our every­day lives. If you feel inclined to get a flu shot after watch­ing this clip, I can’t say that I blame you.

Fol­low us on Face­book and Twit­ter and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

Relat­ed Con­tent:

Free Online Biol­o­gy Cours­es

What Makes Us Tick? Free Stan­ford Biol­o­gy Course by Robert Sapol­sky Offers Answers

Carl Sagan Explains Evo­lu­tion in an Eight-Minute Ani­ma­tion

by | Permalink | Make a Comment ( 1 ) |

Akira Kurosawa Painted the Storyboards For Scenes in His Epic Films: Compare Canvas to Celluloid

Kurasawa 1

500full

Appre­ci­a­tors of the finest works in cin­e­ma his­to­ry often liken their images to paint­ings. In the case of Aki­ra Kuro­sawa, mak­er of quite a few entries on that grand list of the finest works in cin­e­ma his­to­ry, that makes pro­fes­sion­al sense: he began as a painter, only lat­er turn­ing film­mak­er. “When I changed careers,” he writes, “I burnt all the pic­tures that I had paint­ed up until then. I intend­ed to for­get paint­ing once and for all. As a well-known Japan­ese proverb says, ‘If you chase two rab­bits, you may not catch even one.’ I did no art work at all once I began to work in cin­e­ma. But since becom­ing a film direc­tor, I have found that draw­ing rough sketch­es was often a use­ful means of explain­ing ideas to my staff.”

Kurasawa 2

Kurasawa 3

That comes quot­ed on “Aki­ra Kuro­sawa: From Art to Film,” a roundup of such paint­ings by the Emper­or (a nick­name Kuro­sawa earned through his on-set man­ner), set beside the result­ing frames from his movies. “As a painter and film­mak­er, Kuro­sawa stuck to his own style,” writes Pop­mat­ters’ Ian Chant in an exam­i­na­tion of this facet of his career, “informed heav­i­ly by tra­di­tion­al Japan­ese paint­ing as well as Euro­pean impres­sion­ists and expres­sion­ists, anoth­er are­na of art where he answered to both east­ern and west­ern influ­ences. These painstak­ing­ly craft­ed paint­ings formed the visu­al back­bone of some of Kurosawa’s most last­ing achieve­ments.”

Kurasawa 4

Kurasawa 5

The most vivid exam­ples of can­vas-turned-cel­lu­loid come from Kuro­sawa’s lat­er works, such as 1980’s Kage­musha, 1985’s Ran, 1990’s Dreams, and 1993’s Mada­dayo, selec­tions from each of which you see in this post. “I can­not help but be fas­ci­nat­ed by the fact that when I tried to paint well, I could only pro­duce mediocre pic­tures,” con­tin­ues the Emper­or him­self. “But when I con­cen­trat­ed on delin­eat­ing the ideas for my films, I uncon­scious­ly pro­duced works that peo­ple find inter­est­ing.” Hold­ing the paint­ed work up against his film work, only the strictest cin­e­ma purist could deny that, ulti­mate­ly, Kuro­sawa caught both rab­bits.

Kurasawa 6

Kurasawa 7

Jux­ta­pose more paint­ed sto­ry­boards and frames from films here.

Relat­ed Con­tent:

The Paint­ings of Aki­ra Kuro­sawa

Aki­ra Kurosawa’s 80-Minute Mas­ter Class on Mak­ing “Beau­ti­ful Movies” (2000)

Aki­ra Kurosawa’s List of His 100 Favorite Movies

Aki­ra Kuro­sawa & Gabriel Gar­cía Márquez Talk About Film­mak­ing (and Nuclear Bombs) in Six Hour Inter­view

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.


  • 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