New Robert Rauschenberg Digital Collection Lets You Download Free High-Res Images of the Artist’s Work

MotherofGod

After the wan­ing of abstract expres­sion­ism, Robert Rauschenberg’s exu­ber­ant prints, paint­ings, sculp­tures, and three-dimen­sion­al col­lages he called “Com­bines” reju­ve­nat­ed the New York art world and helped bring pop art to promi­nence, antic­i­pat­ing Warhol’s exper­i­ments. And now stu­dents of twen­ti­eth-cen­tu­ry Amer­i­can art can con­nect with all of the artist’s work in the San Fran­cis­co Muse­um of Mod­ern Art’s per­ma­nent col­lec­tion with­out set­ting foot in the Bay area, thanks to SFMOMA’s Rauschen­berg Research Project, which allows users to down­load high res images of the muse­um’s Rauschen­bergs. Research materials—including com­men­tary, inter­views, essays, and more—accompany each image. Click­ing on the main link for each image will send you to a page with a lengthy descrip­tion. Scrolling down to the bot­tom of the page, you’ll find indi­vid­ual links for each of the asso­ci­at­ed files and an omnibus link for all of them at once.


It’s cer­tain­ly not a sub­sti­tute for see­ing the work up close in all its onto­log­i­cal mate­ri­al­i­ty, but it’s still quite a won­der­ful resource for researchers, art his­to­ri­ans, and even gen­er­al enthu­si­asts of Rauschen­berg, par­tic­u­lar­ly since many of the works in SFMOMA’s data­base are not cur­rent­ly on dis­play (and the muse­um is tem­porar­i­ly closed dur­ing an expan­sion). A paint­ing you can’t see in per­son is the dense col­lage Moth­er of God (at top), one of Rauschenberg’s ear­li­est sur­viv­ing paint­ings from a peri­od in the 50s when the artist explored sev­er­al reli­gious themes. The painting’s brown back­ground is com­posed of lay­ers of maps of Amer­i­can locales, and the site allows you to zoom in and exam­ine each one in fine detail. In the video above—one of the dig­i­tal project’s col­lec­tion of artifacts—see Rauschen­berg dis­cuss the paint­ing with cura­tor Wal­ter Hopps and SFMOMA Direc­tor David A. Ross in a 1999 inter­view.

via Metafil­ter

Relat­ed Con­tent:

Rauschen­berg Eras­es De Koon­ing

The Rijksmu­se­um Puts 125,000 Dutch Mas­ter­pieces Online, and Lets You Remix Its Art

LA Coun­ty Muse­um Makes 20,000 Artis­tic Images Avail­able for Free Down­load

The Nation­al Gallery Makes 25,000 Images of Art­work Freely Avail­able Online

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

Alfred Hitchcock Explains the Plot Device He Called the ‘MacGuffin’

Alfred Hitch­cock liked to call it the “MacGuf­fin” — the mys­te­ri­ous object in a spy thriller that sets the whole chain of events into motion.

But despite the sup­posed cen­tral­i­ty of the MacGuf­fin, a Hitch­cock movie is always about some­thing else. In The 39 Steps, for exam­ple, the MacGuf­fin turns out to be the cov­et­ed plans for an advanced air­plane engine, stored in the mind of a vaude­ville per­former named “Mr. Mem­o­ry.” But real­ly the film is about a wrong­ful­ly accused man’s des­per­ate strug­gle to solve a mys­tery so he can clear his name and live to see anoth­er day.

The MacGuf­fin is always par­tic­u­lar — often to the point of absur­di­ty — while the hero’s moti­va­tion is uni­ver­sal. Some of the char­ac­ters may care about the MacGuf­fin, but the audi­ence cer­tain­ly does not. In his 1962 inter­view with François Truf­faut, Hitch­cock explains:

The main thing I’ve learned over the years is that the MacGuf­fin is noth­ing. I’m con­vinced of this, but I find it very dif­fi­cult to prove it to oth­ers. My best MacGuf­fin, and by that I mean the emp­ti­est, the most nonex­is­tent, and the most absurd, is the one we used in North by North­west. The pic­ture is about espi­onage, and the only ques­tion that’s raised in the sto­ry is to find out what the spies are after. Well, dur­ing the scene at the Chica­go air­port, the Cen­tral Intel­li­gence man explains the whole sit­u­a­tion to Cary Grant, and Grant, refer­ring to the James Mason char­ac­ter, asks, “What does he do?”  The coun­ter­in­tel­li­gence man replies, “Let’s just say that he’s an importer and exporter.” “But what does he sell?” “Oh, just gov­ern­ment secrets!” is the answer. Here, you see, the MacGuf­fin has been boiled down to its purest expres­sion: noth­ing at all!

The term “MacGuf­fin” was coined by a screen­writer Hitch­cock worked with named Angus MacPhail, accord­ing to Don­ald Spo­to in The Art of Alfred Hitch­cock: Fifty Years of His Motion Pic­tures. But the prin­ci­ple goes back at least as far as Rud­yard Kipling, as Hitch­cock explains in this whim­si­cal lit­tle film by Isaac Nie­mand with audio from Hitch­cock­’s June 8, 1972 appear­ance on the Dick Cavett Show. Per­haps the most impor­tant thing to remem­ber about the MacGuf­fin is that it con­tains the word “guff,” which means a load of non­sense. “There’s a lot to look for in Hitch­cock­’s films,” writes Spo­to, “but watch out for the MacGuf­fin. It will lead you nowhere.”

NOTE: The 39 Steps and oth­er Hitch­cock thrillers can be found in our col­lec­tion of 16 Free Hitch­cock Movies Online, not to men­tion our big 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:

Alfred Hitch­cock on the Film­mak­er’s Essen­tial Tool: ‘The Kuleshov Effect’

Hitchcock’s Sev­en-Minute Edit­ing Mas­ter Class

37 Hitch­cock Cameos over 50 Years: All in One Video

Four American Composers: Peter Greenaway on John Cage, Philip Glass, Meredith Monk, and Robert Ashley (1983)

Why would a not­ed British film­mak­er want to take as a sub­ject four Amer­i­can com­posers? Per­haps the ques­tion answers itself, in part, when I tell you the iden­ti­ty of the film­mak­er, Peter Green­away, and the com­posers, Philip Glass, Mered­ith Monk, John Cage, and Robert Ash­ley. No won­der this selec­tion of musi­cal per­son­al­i­ties appealed to the direc­tor of The Draughts­man­’s Con­tract;The Cook, the Thief, His Wife, and Her Lover; and Pros­per­o’s Books, whom crit­ics have labeled, at var­i­ous times, a clas­si­cist, an exper­i­menter, a for­mal­ist, and a weirdo. Alas, Green­away’s fans may not know much about Glass, Monk, Cage, and Ash­ley, just as those com­posers’ adher­ents may nev­er have encoun­tered a movie of Green­away’s. To bridge the gap, we give you the doc­u­men­tary series Four Amer­i­can Com­posers, free to watch online. At the top of this post, you’ll find the first episode, on Cage. The sec­ond, below, cov­ers Glass. The third and fourth take on Monk and Ash­ley, respec­tive­ly.

Green­away die-hards such as myself may, watch­ing these doc­u­men­taries the film­mak­er cre­at­ed in 1983, think back to his ear­ly career. At that time, he made pic­tures like The Falls, which rigid­ly fol­lowed the doc­u­men­tary form while com­plete­ly aban­don­ing its aspi­ra­tions to cap­ture the lit­er­al truth. Thor­ough­ly non­fic­tion­al, or at least seem­ing that way, the doc­u­men­taries that make up Four Amer­i­can Com­posers nonethe­less exude the Green­away sen­si­bil­i­ty. “Because he made most­ly mock-doc­u­men­taries in the sev­en­ties,” writes Amy Lawrence in The Films of Peter Green­away, “the ‘real’ doc­u­men­taries are near­ly indis­tin­guish­able from the fakes. Real peo­ple (espe­cial­ly John Cage) tend to become Green­away char­ac­ters.” The project thus slides neat­ly in with his oth­er, more “straight­for­ward” films, all of which take place in a delib­er­ate­ly struc­tured labyrinth of joke and allu­sion peo­pled by archi­tects, inven­tors, aris­to­crats, and artists — obses­sives, all.

You can find two oth­er films by Green­away — Dar­win and Rembrandt’s J’accuse — in our col­lec­tion of 525 Free Movies Online.

Relat­ed Con­tent:

Dar­win: A 1993 Film by Peter Green­away

Peter Green­away Looks at the Day Cin­e­ma Died — and What Comes Next

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Listening to Proust’s Remembrance of Things Past, (Maybe) the Longest Audio Book Ever Made

I’m impressed by the under­tak­ing. Neville Jason and Nax­os Audio Books have com­plet­ed an unabridged audio ver­sion of Proust’s epic, sev­en-part nov­el, Remem­brance of Things Past. Proust pub­lished the first vol­ume, Swan­n’s Way, one hun­dred years ago, in 1913, and com­plet­ed the last vol­ume, Time Regained, four­teen years lat­er, in 1927. By that time, Proust had a mas­ter­piece on his hands — a very long mas­ter­piece. The clas­sic (avail­able in our col­lec­tion of Free eBooks) spans some 3,000 pages and con­tains more than 1.5 mil­lion words. Until now, Remem­brance of Things Past has nev­er been avail­able in an unabridged audio for­mat, per­haps because it would amount to the longest audio book ever made (or some­thing approach­ing that). But Neville Jason has pulled it off, pro­duc­ing a 151-hour record­ing that’s now avail­able on Audible.com. Below, we’ve pro­vid­ed sev­en free audio excerpts (one from each vol­ume), and if you care to sign up for Audi­ble’s 30-Day Free Tri­al, you can down­load any one vol­ume for free. NB: Audi­ble is an Amazon.com sub­sidiary, and we’re a mem­ber of their affil­i­ate pro­gram. If Proust isn’t your cup of tea, you can find many oth­er great works in our col­lec­tion of 630 Free Audio Books.

Swan­n’s Way 

With­in a Bud­ding Grove

The Guer­mantes Way 

Sodom and Gomor­rah

The Cap­tive 

The Fugi­tive 

Time Regained

Relat­ed Con­tent:

Watch Mon­ty Python’s “Sum­ma­rize Proust Com­pe­ti­tion” on the 100th Anniver­sary of Swann’s Way

Arthur Conan Doyle Fills Out the Ques­tion­naire Made Famous By Mar­cel Proust (1899)

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Marvin Gaye’s Classic Vocals on ‘I Heard it Through the Grapevine’: The A Cappella Version

It’s hard to believe, but Mar­vin Gaye’s clas­sic 1967 record­ing of “I Heard it Through the Grapevine” was reject­ed by his record label.

The song, about a man’s grief over hear­ing rumors of his lover’s infi­deli­ty, was writ­ten by the leg­endary Motown Records pro­duc­er Nor­man Whit­field and singer Bar­rett Strong. It was first record­ed in 1966 by Smokey Robin­son and the Mir­a­cles, but that ver­sion was nixed by Motown founder Berry Gordy dur­ing a week­ly qual­i­ty con­trol meet­ing. Whit­field record­ed the song with Gaye in ear­ly 1967, but for some rea­son Gordy did­n’t like that ver­sion either. So Whit­field changed the lyrics a bit and record­ed it with Gladys Knight and the Pips. The fast-tem­po arrange­ment, influ­enced by Aretha Franklin’s “Respect,” was released as a sin­gle in Sep­tem­ber of 1967 and rose to num­ber one on the Bill­board R&B chart.

Gaye’s ver­sion might have been for­got­ten had it not been includ­ed in his 1968 album, In the Groove, where it soon became noticed. “The DJs played it so much off the album,” Gordy said lat­er, “that we had to release it as a sin­gle.” Gaye’s record­ing of the song became a cross-over hit. It rose not only to the top of the R&B charts, but also spent sev­en weeks at the top of the Bill­board Pop Sin­gles chart. It was Motown’s biggest-sell­ing sin­gle up to that time, and the In the Groove album name was changed to I Heard It Through the Grapevine.

Gaye was known for his sweet-sound­ing tenor voice, which he could mod­u­late from a bari­tone to a silky high falset­to. Dur­ing the “Grapevine” ses­sions, the singer report­ed­ly quar­reled with Whit­field over the pro­duc­er’s insis­tence that he sing the song in a high rasp. Whit­field pre­vailed, and Gaye’s per­for­mance is one of the great­est of the Motown era. You can hear his clas­sic vocals “a cap­pel­la” in the video above. And for a reminder of Whit­field­’s clas­sic arrange­ment, with its puls­ing elec­tric piano intro­duc­tion and shim­mer­ing strings, see the video below. The Funk Broth­ers, the leg­endary Motown back­ing group, played on the track, as did the back­ing vocal group The Andantes and the Detroit Sym­pho­ny Orches­tra.

Vi Hart Uses Her Video Magic to Demystify Stravinsky and Schoenberg’s 12-Tone Compositions

Hav­ing one of those morn­ings where you wake up think­ing it’d be “awe­some” if you jazzed up Stravin­sky’s aton­al musi­cal set­ting of Edward Lear’s famous non­sense poem, “The Owl and the Pussy­cat”?

You are? Wow! What luck! Appar­ent­ly Recre­ation­al Math­e­mu­si­cian Vi Hart had the exact same kind of morn­ing recent­ly, and used it as the spring­board for address­ing the 12-Tone Tech­nique orig­i­nal­ly devised by Arnold Schoen­berg. Unini­ti­at­ed philistines may want to dou­ble down on the caf­feinat­ed bev­er­age of their choice, as this stuff is dense, and Hart talks the way a hum­ming­bird flies.

But as she notes at the 15 minute mark, “Cre­ativ­i­ty means fear­less­ly embrac­ing things that seem odd, even ran­dom, know­ing that if you keep your brain open you’ll even­tu­al­ly find the con­nec­tions.”

Ergo, those of us whose ref­er­ence lev­el (or, it must be said, inter­est) is no match for a 30 minute trea­tise on the his­to­ry and log­ic of order­ing the twelve pitch-class­es of the chro­mat­ic scale into numer­i­cal­ly des­ig­nat­ed sets should find some­thing to chew on, too: copy­right and Fair Use Law, for starters; the con­straint-bound exper­i­men­tal fic­tion of French lit­er­ary group Oulipo, not to men­tion Borges’ “Library of Babel” and the orga­nized ran­dom­ness of Rorschach blots and con­stel­la­tions; zom­bies… John Cage…

(Easy to imag­ine the sort of jacked-up, expla­na­tion-crazed, bed-resis­tant child she must have been.)

As ever, her sharpie-on-spi­ral stop-motion visu­als add dimen­sion, espe­cial­ly now that she seems to be exper­i­ment­ing with giv­ing her on-the-fly stick fig­ures a cer­tain Hyper­bole-and-a-Half exu­ber­ance.

For good mea­sure, we’ve added a con­ven­tion­al video primer on the 12 Tone Tech­nique by The New York Times below.

H/T Hannes

Relat­ed Con­tent:

Math­e­mu­si­cian Vi Hart Explains the Space-Time Con­tin­u­um With a Music Box, Bach, and a Möbius Strip

Math Doo­dling

Inter­views with Schoen­berg and Bartók

Ayun Hal­l­i­day would’ve resort­ed to Vi Hart’s snake draw­ing tech­nique had this been a live lec­ture. Fol­low her @AyunHalliday

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

Last week, we point­ed to a Red­dit thread that asked for users’ most “intel­lec­tu­al jokes.” Using that idea as a plat­form, we asked our read­ers to sub­mit their favorites, and we received a healthy num­ber of howlers (and some clunk­ers). We also got a piece of dour crit­i­cism from one read­er, who wrote, “real­ly? intel­li­gent humor means that it’s wit­ty and sub­tle, not that it’s [sic] stan­dard type of joke with ‘smarter’ con­tent..
come on amer­i­cans, you can do bet­ter.”

I can only assume two things here (per­haps mak­ing an an ass of u and me): the writer is not an “amer­i­can” and is some­thing of a con­nois­seur of what he or she calls “intel­li­gent humor.” I am very sym­pa­thet­ic. Whether this per­son has in mind the mor­dant absur­dism of Beck­ett, the tren­chant wit of Swift or Wilde, the sur­re­al­is­tic flights of farce in Von­negut, or the heights of high-toned silli­ness in Mon­ty Python, I can’t say. All of these are excel­lent exam­ples of “intel­li­gent humor.”

But I’m afraid our read­er has mis­read the prompt, which asked specif­i­cal­ly for “intel­lec­tu­al jokes”—like the ani­mat­ed New York­er car­toon above. The for­mu­la for jokes every­one knows: set­up, punch­line. The “intel­lec­tu­al” part relates, I think, express­ly to the “smarter” con­tent, but the judg­ment of such humor is sub­jec­tive, of course, and in the brief selec­tion below of my favorite sub­mis­sions, I will cer­tain­ly admit as much. My sense of humor is nei­ther wit­ty nor sub­tle; I’m par­tial to the puerile—puns, sil­ly rever­sals, broad satire. Of course, the same can be said of all of the writ­ers above to some degree or anoth­er.

So with­out fur­ther going-on about it, here are a few of my favorite Open Cul­ture read­ers’ “intel­lec­tu­al jokes” (with my edi­to­r­i­al intru­sions in brack­ets):

  • Rene Descartes is attend­ing a soiree at the Palais Ver­sailles. A som­me­li­er approach­es and asks, “Mon­sieur Descartes, would you like a glass of wine?” Descartes paus­es and answers, “I think not.” And poof!–he dis­ap­pears.

[This one’s not par­tic­u­lar­ly funny—it’s cute—but I quite like the speci­fici­ty in the set­up and the fun sur­prise of “poof!”]

  •  I used to be a struc­tur­al lin­guist, but now I’m not Saus­sure.

[Told you I like puns]

  • Masochist walks up to a sadist in a bar, says to the sadist “hurt me.” Sadist says “no.”
  • What do you get when you com­bine a joke with a rhetor­i­cal ques­tion?

[So dry and dead­pan, these two. Love it.]

  • What did the indige­nous per­son say to the post­mod­ern anthro­pol­o­gist? “Can we talk about me for a change?”

[A lit­tle crack at navel-gaz­ing po-mo academics—part of a pop­u­lar genre]

  • Blind guy with a see­ing eye dog walks into a depart­ment store. Guy picks up dog by the tail and starts swing­ing him around over his head. Clerk rush­es over and says ner­vous­ly “Can I help you sir?” Guy replies: “No thanks, I’m just look­ing around.”

[I don’t think the con­tent of this one is par­tic­u­lar­ly “intel­lec­tu­al,” but the style is—it’s dark and weird and skirts a line between slap­stick and cru­el­ty, requir­ing a mor­bid and elas­tic imag­i­na­tion.]

  • Q: What does a dyslex­ic, agnos­tic insom­ni­ac do? A: Stays up nights won­der­ing if there’s a dog.
  • JOKE: What do Japan­ese pigeons sing? Answer: High Coos

[More puns, bless ‘em]

  • Argon walks into a bar and orders a drink. The bar­tender says, “sir, we don’t serve noble gasses.”
 There was no reac­tion.

[For you sci­ence types. Anoth­er read­er responds with a pun for bonus points]:

  • Thanks. Now all the good chem­istry jokes Argon.

Good work, read­ers. Keep ‘em com­ing. This was fun. Remem­ber, you can scan through the oth­er sub­mis­sions here.

Relat­ed Con­tent:

What’s the Most Intel­lec­tu­al Joke You Know?: The Best from Red­dit (and You?)

New York­er Car­toon Edi­tor Bob Mankoff Reveals the Secret of a Suc­cess­ful New York­er Car­toon

What’s the Deal with Pop Tarts? Jer­ry Sein­feld Explains How to Write a Joke

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

George Orwell Explains How to Make a Proper Cup of Tea

george-orwells-nice-cup-of-tea1

Next to my bed lies George Orwell’s Essays, the brick­like Every­man’s Library edi­tion of the 1984 author’s thoughts on ide­ol­o­gy, colo­nial­ism, the abuse of lan­guage, crime and pun­ish­ment, and just what con­sti­tutes a nice cup of tea. The astute essay­ist keeps his mind pre­pared to go any­where, and Orwell’s rig­or­ous love of sim­ple Eng­lish plea­sures places him espe­cial­ly well to write on the sub­ject of how best to pre­pare a serv­ing of “one of the main stays of civ­i­liza­tion in this coun­try, as well as in Eire, Aus­tralia and New Zealand.” His essay “A Nice Cup of Tea,” which first ran in the Evening Stan­dard of Jan­u­ary 12, 1946, breaks the process down into eleven points, from “One should use Indi­an or Cey­lonese tea” to “One should take the teapot to the ket­tle and not the oth­er way about” to, final­ly, “Tea — unless one is drink­ing it in the Russ­ian style — should be drunk with­out sug­ar.” These guide­lines may sound to us a tad aus­tere at worst, but Orwell presents some of them as down­right “con­tro­ver­sial.” Dare he so bold­ly insist upon drink­ing only out of a “good break­fast cup,” de-cream­ing milk before pour­ing it into tea, and nev­er, ever using strain­ers nor bags?

Douglas-Adams

He does indeed. His­to­ry has remem­bered Orwell as one of author­i­tar­i­an­is­m’s most out­spo­ken ene­mies, but clear­ly he had moments, espe­cial­ly when it came to his bev­er­age of choice, where he him­self would brook no dis­sent. Decades lat­er, a much more easy­go­ing writer would make his own con­tri­bu­tion to the lit­er­a­ture of Eng­lish tea pro­ce­dure: A short piece by Hitch­hik­er’s Guide to the Galaxy author Dou­glas Adams sug­gests that you “go to Marks and Spencer and buy a pack­et of Earl Grey tea” (this may, depend­ing upon your loca­tion, require an over­seas trip), that “the water has to be boiling (not boiled) when it hits the tea leaves,” and that “it’s prob­a­bly best to put some milk into the bot­tom of the cup before you pour in the tea,” since “if you pour milk into a cup of hot tea you will scald the milk.” Though we here at Open Cul­ture have made no secret of our inter­est in cof­fee, how could we turn down a cup of tea made to the stan­dards of such well-respect­ed men of let­ters?

via Boing­Bo­ing

Relat­ed Con­tent:

10 Gold­en Rules for Mak­ing the Per­fect Cup of Tea (1941)

Epic Tea Time with Alan Rick­man

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

What’s the Most Intellectual Joke You Know?: The Best from Reddit (and You?)

Long before cap­i­tal “A” Acad­e­mia became a pro­fes­sion­al net­work of accred­it­ed schol­ars and fund-grub­bing insti­tu­tions, intel­lec­tu­al dis­course con­sist­ed of near­ly as much humor—bad puns, scat­ol­ogy, innu­en­do, bit­ing caricature—as deep philo­soph­i­cal dia­logue and sparkling eru­di­tion. So-called “wits” gath­ered in cof­fee hous­es to trade barbs and bon mots and to cir­cu­late their favorite lit­er­ary satires from writ­ers like Jonathan Swift, Alexan­der Pope, and John Wilmot, the 2nd Earl of Rochester, whose poet­ic out­put was often equal parts raunchy prosody and thought­ful crit­i­cal inquiry.

In our dig­i­tal times, intel­lec­tu­al humor bub­bles around the mar­gins of high cul­ture, as much as in the oblique car­toons of The New York­er as in forums like Red­dit, where jokes can be crude, hate­ful, and bor­der­line psy­chot­ic, or gen­uine­ly wit­ty and unique. Slate recent­ly picked up on a Red­dit thread that asked users “what’s the most intel­lec­tu­al joke you know?” The authors of the Slate piece com­piled sev­er­al con­tenders (and inane­ly explained each joke with  “why it’s fun­ny” addenda—good humor should­n’t require didac­tic com­men­tary).

Below, find a sam­pling of some of the Red­dit sub­mis­sions. In the com­ments sec­tion, please feel free to sub­mit your own “intel­lec­tu­al jokes” after perus­ing Red­dit to make sure some­one hasn’t beat you to the punch­line.

  • From user Watch_Closely: “It’s hard to explain puns to klep­to­ma­ni­acs because they always take things lit­er­al­ly.”
  • From user Arca­di­an 5656: “A biol­o­gist, a chemist, and a sta­tis­ti­cian are out hunt­ing. The biol­o­gist shoots at a deer and miss­es 5ft to the left, the chemist takes a shot and miss­es 5ft to the right, and the sta­tis­ti­cian yells, ‘We got ‘im!’ ”
  • From user shan­n­man: “Who does Polyphe­mus hate more than Odysseus? Nobody!”

And below, two of the Red­di­tors’ favorites:

  • From user phattmatt: “Jean-Paul Sartre is sit­ting at a French cafe, revis­ing his draft of Being and Noth­ing­ness. He says to the wait­ress, “I’d like a cup of cof­fee, please, with no cream.” The wait­ress replies, “I’m sor­ry, Mon­sieur, but we’re out of cream. How about with no milk?”
  • From user snake­sand­doves: “An Irish­man goes to a build­ing site for his first day of work, and a cou­ple of Eng­lish­men think, ‘Ah, we’ll have some fun with him!’ So they walk up and say, ‘Hey, Pad­dy, as you’re new here make sure you know a joist from a gird­er…’ ‘Ah, sure, I knows’ says Pad­dy, ‘twas Joyce wrote Ulysses and Goethe wrote Faust.’”

Some clever humor above, I’d say (and in the ani­mat­ed New York­er car­toon at the top of the post). So, you think you can do bet­ter? Let’s hear your jokes in the com­ments.

via Kot­tke

Relat­ed Con­tent:

New York­er Car­toon Edi­tor Bob Mankoff Reveals the Secret of a Suc­cess­ful New York­er Car­toon

Friedrich Niet­zsche & Exis­ten­tial­ism Explained to Five-Year-Olds (in Com­i­cal Video by Red­dit)

What’s the Deal with Pop Tarts? Jer­ry Sein­feld Explains How to Write a Joke

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

Charles Bukowski Sets His Amusing Conditions for Giving a Poetry Reading (1971)

BukowskiLetter

It takes a spe­cial kind of ded­i­ca­tion for a writer to quit his day job. When notably hard-liv­ing, hard-writ­ing poet Charles Bukows­ki took the plunge in 1969, at the behest of his Black Spar­row Press pub­lish­er John Mar­tin, he did it in the same spir­it of seri­ous­ness he’d reserved for smok­ing, drink­ing, women, and the writ­ten word. “I have one of two choic­es,” he wrote in a let­ter at the time, “stay in the post office and go crazy… or stay out here and play at writer and starve. I have decid­ed to starve.” Lat­er, in 1971, he wrote the let­ter above, a reply to an inquiry about the pos­si­bil­i­ty of his giv­ing a read­ing in Flori­da. His price? Round-trip air­fare from his home in Los Ange­les to Flori­da, rides from and back to the air­port, a place to stay, and $200.

Hav­ing already spent about two years work­ing as a writer and a writer alone (and hav­ing spent the first twen­ty nights of that peri­od furi­ous­ly com­pos­ing his first nov­el, Post Office), Bukows­ki quick­ly devel­oped a head for what he called “the lit­er­ary hus­tle.” He makes a dis­tinc­tive pitch for his poet­ic ser­vices: “Auden gets $2,000 a read­ing, Gins­berg $1,000, so you see I’m cheap. A real whore.” I can eas­i­ly envi­sion Bukows­ki ham­mer­ing out this let­ter at the front win­dow of his now-icon­ic bun­ga­low up on De Long­pre Avenue on anoth­er hot sum­mer 42 years ago, not least because he describes him­self doing it: “They say it’s 101 degrees today. Fine then, I’m drink­ing cof­fee and rolling cig­a­rettes and look­ing out at the hot baked street and a lady just walked by wig­gling it in tight white pants, and we are not dead yet.” If you nev­er had a chance to catch a Bukows­ki read­ing your­self, you can catch his read­ing at City Lights Poets The­ater, record­ed in Sep­tem­ber 1973. It’s just above.

via This Isn’t Hap­pi­ness

Relat­ed Con­tent:

Charles Bukows­ki Reads His Poem “The Secret of My Endurance”

“Don’t Try”: Charles Bukowski’s Con­cise Phi­los­o­phy of Art and Life

Charles Bukows­ki: Depres­sion and Three Days in Bed Can Restore Your Cre­ative Juices (NSFW)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Rapping About Science: Watch High School Senior Jabari Johnson Talk Physics with Poetic Lyrics

Christo­pher Emdin, an Asso­ciate Pro­fes­sor at Teach­ers Col­lege, Colum­bia Uni­ver­si­ty, loves to rap. And he loves using rap to teach kids all about sci­ence. That’s why he helped put togeth­er B.A.T.T.L.E.S., a New York City-wide com­pe­ti­tion that chal­lenges stu­dents to put sci­en­tif­ic con­cepts into lyri­cal raps. The kids were up to the task and rapped about every­thing from “rock sci­ence, nat­ur­al selec­tion and genet­ics to how mate­ri­als freeze or melt.” And the win­ner — Jabari John­son, a senior from Urban Assem­bly School for the Per­form­ing Arts in Harlem — was named on June 21, after the final com­pe­ti­tion took place on the Colum­bia Uni­ver­si­ty cam­pus. John­son will now have a chance to make a pro­fes­sion­al record­ing of his song about Kinet­ic Ener­gy and post it on the Rap Genius web­site.

via Colum­bia

Relat­ed Con­tent:

The Great­ness of Charles Dar­win Explained with Rap Music

The Large Hadron Col­lid­er Rap, Yo

The Hayek vs. Keynes Rap

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