Stream 58 Hours of Free Classical Music Selected to Help You Study, Work, or Simply Relax

Johann_Sebastian_Bach

We are bom­bard­ed by music, all the time, whether we like it or not. In many cases—such as those almost dai­ly, inescapable trips to the gro­cery store, drug store, pet store, what-have-you store—the musi­cal accom­pa­ni­ment to our jour­ney through life has been cho­sen specif­i­cal­ly for its abil­i­ty to make us buy things: How­ev­er grat­ing we may find the soft rock, lite pop, or easy lis­ten­ing that pumps out of phar­ma­cy speak­er sys­tems, some sin­is­ter cabal of mar­ket­ing researchers deter­mined long ago that schmaltz equals sales. And so we endure yet anoth­er ter­ri­ble pop song while wait­ing in line with our essen­tials. For peo­ple like myself—highly sen­si­tive to sound and unable to tune out bad back­ground music—the expe­ri­ence can be excru­ci­at­ing.

In our own pri­vate spaces—offices, cars, the space between our ears with head­phones on—we become our own sound design­ers. We may pre­fer silence, or we may choose very spe­cif­ic kinds of music to accom­pa­ny our leisure and our work (as we dis­cussed in a few posts on music to write by some years back). These days, we can make our own dig­i­tal playlists, grab­bing music from all over the web, or we can have the algo­rithms of inter­net radio ser­vices like Pan­do­ra or Apple Radio curate our lis­ten­ing for us, a more—or some­times less—satisfying expe­ri­ence. Lovers of clas­si­cal music have a third online option, thanks to an enter­pris­ing dig­i­tal cura­tor who goes by the name of Ulysse­s­tone and who com­piled the Spo­ti­fy playlist below of 58 hours of clas­si­cal music — from Sibelius to Satie, Bach to Debussy. It’s designed for any­one who wants to study, work, or sim­ply relax.

Ulysses has pre­vi­ous­ly brought us a playlist of the endur­ing­ly clas­si­cal music in Stan­ley Kubrick­’s films and all of Mozart in a 127 hour playlist. As one music blog­ger put it, his inter­ven­tions have made Spo­ti­fy’s ser­vice “a whole lot eas­i­er for clas­si­cal lis­ten­ers.” See for your­self at Spo­ti­fy Clas­si­cal Playlists, where you’ll find blog posts on the changes to Spo­ti­fy’s clas­si­cal radio, as well as over 50 playlists ded­i­cat­ed to famous composers—“great start­ing points,” writes Ulysses, “for peo­ple who want to get into clas­si­cal music or explore a bit more.” You can stream the 58-hour playlist of study-enhanc­ing clas­si­cal music (fea­tur­ing 789 free tracks in total) by click­ing this link, or stream­ing the play­er above. To down­load Spo­ti­fy and start a free account, head on over to their site.

Relat­ed Con­tent:

Down­load Free Music from 150+ Clas­si­cal Com­posers, Cour­tesy of Musopen.org

The World Con­cert Hall: Lis­ten To The Best Live Clas­si­cal Music Con­certs for Free

The Clas­si­cal Music in Stan­ley Kubrick’s Films: Lis­ten to a Free, 4 Hour Playlist

Philip K. Dick’s Favorite Clas­si­cal Music: A Free, 11-Hour Playlist

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

Watch Vincent, Tim Burton’s Animated Tribute to Vincent Price & Edgar Allan Poe (1982)

If you put togeth­er a list of the world’s great­est Vin­cent Price fans, you’d have to rank Tim Bur­ton at the top. That goes for “great­est” in the sense of both the fer­ven­cy of the fan’s enthu­si­asm for all things Price, and for the fan’s accom­plish­ments in his own right. Bur­ton’s film­mak­ing craft and his admi­ra­tion for the mid­cen­tu­ry hor­ror-film icon inter­sect­ed ear­ly in his career, when he made the six-minute ani­mat­ed film Vin­cent for Dis­ney in 1982, three years before his fea­ture debut Pee-Wee’s Big Adven­ture.

The short­’s title refers not to Vin­cent Price him­self, but to its sev­en-year-old pro­tag­o­nist, Vin­cent Mal­loy: “He’s always polite and does what he’s told. For a boy his age, he’s con­sid­er­ate and nice. But he wants to be just like Vin­cent Price.” Those words of nar­ra­tion — as if you could­n’t tell after the first one spo­ken — come in the voice of Price him­self. Vin­cent Mal­loy, pale of com­plex­ion and untamed of hair, sure­ly resem­bles Bur­ton’s child­hood self, and in more aspects than appear­ance: the film­mak­er grants the char­ac­ter his own idol­a­try not just of Price but of Edgar Allan Poe, and it’s into their macabre mas­ter­works that his day­dream­ing sends him — just as they pre­sum­ably sent the sev­en-year-old Bur­ton.

Bur­ton and Price’s col­lab­o­ra­tion on Vin­cent marked the begin­ning of a friend­ship that last­ed the rest of Price’s life. The appre­cia­tive actor called the short “the most grat­i­fy­ing thing that ever hap­pened,” and the direc­tor would go on to cast him in Edward Scis­sorhands eight years lat­er. Price died in 1993, the year before the release of Ed Wood, Bur­ton’s dra­ma­tized life of Edward D. Wood Jr. In that film, the rela­tion­ship between semi-retired hor­ror actor Bela Lugosi and the admir­ing schlock auteur Wood par­al­lels, in a way, that of the more endur­ing­ly suc­cess­ful Price and the much more com­pe­tent Bur­ton.

Vin­cent also drops hints of oth­er things to come in the Bur­toni­verse: Night­mare Before Christ­mas fans, for instance, should keep their eyes open for not one but two ear­ly appear­ances of that pic­ture’s bony cen­tral play­er Jack Skelling­ton. This demon­stra­tion of the con­ti­nu­ity of Bur­ton’s imag­i­na­tion under­scores that, as both his biggest fans and biggest crit­ics insist, he’s always lived in a world of his own — prob­a­bly since Vin­cent Mal­loy’s age, when teach­ers and oth­er author­i­ty fig­ures might have described him in exact­ly the same way.

Relat­ed Con­tent:

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

Six Ear­ly Short Films By Tim Bur­ton

Tim Burton’s The World of Stain­boy: Watch the Com­plete Ani­mat­ed Series

How Ger­man Expres­sion­ism Influ­enced Tim Bur­ton: A Video Essay

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

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

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.

How to Bake Ancient Roman Bread Dating Back to 79 AD: A Video Primer

Ecce panis—try your hand at the kind of loaf that Mel Brooks’ 2000-year-old man might have sunk his teeth into. Lit­er­al­ly.

In 1930 a loaf of bread dat­ing to AD 79 (the year Vesu­vius claimed two pros­per­ous Roman towns) was exca­vat­ed from the site of a bak­ery in Her­cu­la­neum.

Eighty-three years lat­er, the British Muse­um invit­ed Lon­don chef Gior­gio Locatel­li, above, to take a stab at cre­at­ing an edi­ble fac­sim­i­le for its Pom­peii Live exhi­bi­tion.

The assign­ment wasn’t as easy as he’d antic­i­pat­ed, the telegenic chef con­fess­es before whip­ping up a love­ly brown miche that appears far more mouth water­ing than the car­bonized round found in the Her­cu­la­neum oven.

His recipe could be mis­tak­en for mod­ern sour­dough, but he also has a go at sev­er­al details that speak to bread’s role in ancient Roman life:

Its perime­ter has a cord baked in to pro­vide for easy trans­port home. Most Roman homes were with­out ovens. Those who didn’t buy direct from a bak­ery took their dough to com­mu­ni­ty ovens, where it was baked for them overnight.

The loaf was scored into eight wedges. This is true of the 80 loaves found in the ovens of the unfor­tu­nate bak­er, Mod­es­tus. Locatel­li spec­u­lates that the wedges could be used as mon­e­tary units, but I sus­pect it’s more a busi­ness prac­tice on par with piz­za-by-the-slice.

(Nowa­days, Roman piz­za is sold by weight, but I digress.)

The crust bears a tell­tale stamp. Locatel­li takes the oppor­tu­ni­ty to brand his with the logo of his Miche­lin-starred restau­rant, Locan­da Locatel­li. His inspi­ra­tion is stamped ‘Prop­er­ty of Cel­er, Slave of Q. Gra­nius Verus.’ To me, this sug­gests the pos­si­bil­i­ty that the bread was found in a com­mu­nal oven.

Locatel­li also intro­duces a Flintston­ian vision when he alludes to spe­cial­ly-devised labor sav­ing machines to which Roman bak­ers yoked “ani­mals,” pre­sum­ably donkeys…or know­ing the Romans and their class sys­tem, slaves.

His pub­lished recipe is below.  Here is a con­ver­sion chart for those unfa­mil­iar with met­ric mea­sure­ments.

INGREDIENTS

400g biga aci­da (sour­dough)

12g yeast

18g gluten

24g salt

532g water

405g spelt flour

405g whole­meal flour

Melt the yeast into the water and add it into the biga. Mix and sieve the flours togeth­er with the gluten and add to the water mix. Mix for two min­utes, add the salt and keep mix­ing for anoth­er three min­utes. Make a round shape with it and leave to rest for one hour. Put some string around it to keep its shape dur­ing cook­ing. Make some cuts on top before cook­ing to help the bread rise in the oven and cook for 30–45 min­utes at 200 degrees.

For an even more arti­sanal attempt (and extreme­ly detailed instruc­tions) check out the Arti­san Pom­peii Miche recipe on the Fresh Loaf bread enthu­si­ast com­mu­ni­ty.

True Roman bread for true Romans!

via Metafil­ter/Make

Relat­ed Con­tent:

Cook Real Recipes from Ancient Rome: Ostrich Ragoût, Roast Wild Boar, Nut Tarts & More

Ani­ma­tion Gives You a Glimpse of What Life Was Like for Teenagers in Ancient Rome

Build­ing The Colos­se­um: The Icon of Rome

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

See Berlin Before and After World War II in Startling Color Video

Beau­ti­ful city, shame about all those Nazis.

Yes, this col­or news­reel above shows Berlin in 1936 as it gets ready to wel­come the world for the Olympic Games. It’s a PR film meant to show the upside of the Reich, as Ger­mans looked for­ward to a “bet­ter future”, and indeed the city looks just as gor­geous and excit­ing as oth­er bustling Euro­pean metrop­o­lis­es. There’s new con­struc­tion along­side the clas­si­cal archi­tec­ture. There’s cou­ples danc­ing to the lat­est hit tunes—Malneck and Mercer’s “Goody Goody” (which Ben­ny Good­man had just released in Feb­ru­ary). There’s young men frol­ick­ing in the Wannsee while ladies sun­bathe.

But then there’s those Nazis, ruin­ing everybody’s trav­el plans. The streets are “fes­tive­ly dec­o­rat­ed with flags with the cur­rent pat­tern” (ie. the swasti­ka); we see a group of Hitler youth on a parade for the Führer; and while the “chang­ing of the guard” may put some in mind of Buck­ing­ham Palace, here they’ve got the full goose-step­ping going on. And the film ends very odd­ly: a shot of the guards out­side the Min­istry of Avi­a­tion, home to mor­phine addict and con­cen­tra­tion camp co-cre­ator Her­mann Göer­ing.

Flash for­ward to July 1945, and what a dif­fer­ence sur­ren­der to the Allies makes: Berlin in ruins, large posters of Stal­in, and the signs of the divi­sions that even­tu­al­ly end in the 1961 build­ing of the Berlin Wall. The news­reel con­cludes with a dra­mat­ic aer­i­al shot of the entire city, tak­ing in the amount of destruc­tion.

We’ve fea­tured this 1945 film before, but this before-and-after com­par­i­son speaks to the dev­as­ta­tion of war and the deter­mi­na­tion to rebuild.

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

Berlin Street Scenes Beau­ti­ful­ly Caught on Film (1900–1914)

1,000,000 Min­utes of News­reel Footage by AP & British Movi­etone Released on YouTube

Watch World War II Rage Across Europe in a 7 Minute Time-Lapse Film: Every Day From 1939 to 1945

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.

“Auteur in Space”: A Video Essay on How Andrei Tarkovsky’s Solaris Transcends Science Fiction

If you haven’t yet seen Andrei Tarkovsky’s Solaris but do plan on watch­ing it (find it online here), rest assured that there’s no wrong way to go about it. You can plunge, with­out prepa­ra­tion, right into its vivid, tor­ment­ed Sovi­et sci-fi world of fail­ing high tech­nol­o­gy, sub­lime nat­ur­al forces, and haunt­ing mem­o­ry. You can do no end of pre­lim­i­nary research on the film, its mak­er, and its mak­er’s strug­gle to adapt the orig­i­nal Stanis­law Lem nov­el to his own dis­tinc­tive sen­si­bil­i­ty. Or you could just pre­cede your screen­ing with “Auteur in Space,” a brief exam­i­na­tion of Solaris by well-known cinephile video essay­ist kog­o­na­da.  It was made on behalf of The British Film Insti­tute.

“The very con­cept of genre is as cold as the tomb,” the nar­ra­tor quotes Tarkovsky as writ­ing, going on to cite his crit­i­cism of Stan­ley Kubrick­’s 2001 “for being too enam­ored by the spec­ta­cle of the genre, for being too exot­ic, too immac­u­late.” From then on, the video demon­strates not just what Tarkovsky does to push Solaris out of the shad­ow of 2oo1, but also to break it out of the stan­dard forms of sci­ence fic­tion and, ulti­mate­ly, to free it from the stric­tures of genre itself — to occu­py that cat­e­go­ry we can only call Tarkovsky.

And so the Russ­ian auteur decides to make the space sta­tion on which most of the film takes place “look like a bro­ken-down old bus.” He decides “to spend five min­utes show­ing a man in an ordi­nary car trav­el­ing along the high­way, and less than two min­utes show­ing his main char­ac­ter trav­el­ing through space.” He gives in to his “occu­pa­tion with the ele­men­tal things of Earth.” He comes to “ques­tion the lim­its of sci­ence in engag­ing the mys­ter­ies of exis­tence,” ulti­mate­ly using Solaris to pit sci­ence against fic­tion, “each with their own weight and his­to­ry and pur­suit of truth and knowl­edge.”

If, indeed, you haven’t yet seen Solaris and watch this video essay, you’ll sure­ly find your­self no longer able to resist the temp­ta­tion to expe­ri­ence the film as soon as pos­si­ble. Maybe you’ll pop in the DVD or Blu-Ray, or bet­ter yet, maybe you’ll catch a the­atri­cal screen­ing. But if you under­stand­ably can’t wait for even a moment, you can watch it free online right now. And find oth­er Tarkovsky films free online here.

via io9

Relat­ed Con­tent:

Andrei Tarkovsky Calls Kubrick’s 2001: A Space Odyssey a “Pho­ny” Film “With Only Pre­ten­sions to Truth”

Watch Solaris (1972), Andrei Tarkovsky’s Haunt­ing Vision of the Future

Andrei Tarkovsky’s Solaris Shot by Shot: A 22-Minute Break­down of the Director’s Film­mak­ing

The Mas­ter­ful Polaroid Pic­tures Tak­en by Film­mak­er Andrei Tarkovsky

Tarkovsky’s Advice to Young Film­mak­ers: Sac­ri­fice Your­self for Cin­e­ma

A Poet in Cin­e­ma: Andrei Tarkovsky Reveals the Director’s Deep Thoughts on Film­mak­ing and Life

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.

Pres. Obama Releases a Free Playlist of 40 Songs for a Summer Day (Plus 6 Books on His Summer Reading List)

obama summer playlist

Like much of the rest of the coun­try, Pres­i­dent Oba­ma is get­ting some down­time in August — in his case spend­ing 16 days in Martha’s Vine­yard. From that nice get­away spot, POTUS has launched on Spo­ti­fy (down­load the free soft­ware here) two playlists of music — 20 songs for a hot sum­mer day, and anoth­er 20 for a nice sum­mer evening. You can play the songs below, and fur­ther down the page, find six books on his sum­mer vaca­tion read­ing list.

Day­time lis­ten­ing fea­tures songs from Bob Dylan, Bob Mar­ley, Cold­play, Howl­in’ Wolf, Aretha Franklin, Flo­rence and the Machine, and The Rolling Stones. For night­time, he’s serv­ing up John Coltrane, Van Mor­ri­son, Joni Mitchell, Nina Simone and more. The man has taste. And for sum­mer read­ing you can do worse than offer Jhumpa Lahiri, James Salter and Eliz­a­beth Kol­bert.

“The Pres­i­den­t’s Sum­mer Playlist: Day”

“The Pres­i­den­t’s Sum­mer Playlist: Night”

Oba­ma’s Sum­mer Read­ing List:

All That Is, by James Salter

All The Light We Can­not See, by Antho­ny Doerr

The Sixth Extinc­tion, by Eliz­a­beth Kol­bert

The Low­land, by Jhumpa Lahiri

Between The World and Me, by Ta-Nehisi Coates

Wash­ing­ton: A Life, by Ron Cher­now

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!

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The First Scientific Map of the Moon (1679)

moon-lg (1)

Mil­lions watched as astro­naut Neil Arm­strong put boots to the moon in 1969.

It was, as he famous­ly remarked, one “giant leap for mankind,” but from a sci­en­tif­ic stand­point the ter­ri­to­ry was far from vir­gin.

Near­ly 300 years ear­li­er, engi­neer Gio­van­ni Domeni­co Cassi­ni, astronomer to Sun King Louis XIV, made lunar his­to­ry in 1679, when he pub­lished the first sci­en­tif­ic map of the moon, above.

Need­less to say, the event was not tele­vised and Cassi­ni nev­er had the oppor­tu­ni­ty to walk on the sur­face he stud­ied. Instead he observed it through the eye­piece of a tele­scope, a rel­a­tive­ly new inven­tion.

His pre­de­ces­sors, includ­ing Galileo, used the then-rev­o­lu­tion­ary tool to delve deep­er into their own lunar obses­sions, mak­ing sketch­es and per­form­ing exper­i­ments designed to repli­cate the craters they noticed in the moon’s crust.

Cassi­ni, then eight years into his forty year career as Direc­tor of the Paris Obser­va­to­ry, pro­duced a map so exhaus­tive, it pro­vid­ed his peers with far more details of the moon’s sur­face than they had with regard to their own plan­et.

He also used his pow­ers of obser­va­tion to expand human under­stand­ing of Mars, Sat­urn, and France itself (which turned out to be much small­er than pre­vi­ous­ly believed).

moon maiden

 

A man of sci­ence, he may not have been entire­ly immune to the sort of moon-based whim­sy that has long infect­ed poets, song­writ­ers, and 19th-cen­tu­ry roman­tic hero­ines. Hid­ing in the low­er right quad­rant, near Cape Her­a­clides on the Sinus Iridum (aka Bay of Rain­bows), is a tiny, bare-shoul­dered moon maid. See right above.

Or per­haps this appeal­ing­ly play­ful vision can be attrib­uted to Cassini’s engraver Claude Mel­lan.

Either way, she seems exact­ly the sort of female life form a 17th-cen­tu­ry human male might hope to encounter on a trip to the moon.

via Pick­over Real­i­ty Car­ni­val

Relat­ed Con­tent:

Free Online Astron­o­my Cours­es

Galileo’s Moon Draw­ings, the First Real­is­tic Depic­tions of the Moon in His­to­ry (1609–1610)

The Birth of the Moon: How Did It Get There in the First Place?

Michio Kaku Schools Takes on Moon Land­ing-Con­spir­a­cy Believ­er on His Sci­ence Fan­tas­tic Pod­cast

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

One of World’s Oldest Books Printed in Multi-Color Now Opened & Digitized for the First Time

Manual of Calligraphy and Painting2

Now free for the world to see on the Cam­bridge Uni­ver­si­ty Dig­i­tal Library are some trea­sures from the library’s Chi­nese col­lec­tions. Fire up that time machine called the Inter­net, and you can start perus­ing:

  • The ora­cle bones (pieces of ox shoul­der blades and tur­tle shells used for div­ina­tion in ancient Chi­na) which impor­tant­ly bear the ear­li­est sur­viv­ing exam­ples of Chi­nese writ­ing. They’re over three thou­sand years old.
  • A dig­i­ti­za­tion of one of the world’s ear­li­est print­ed books (Mahapra­j馻-parami­ta-sutra or Per­fec­tion of Wis­dom), a Bud­dhist text dat­ing between 1127 and 1175.
  • 14th-cen­tu­ry ban­knote. Accord­ing to Cam­bridge, “Paper cur­ren­cy first appeared in Chi­na dur­ing the 7th cen­tu­ry, and was in wide cir­cu­la­tion by the 11th cen­tu­ry, 500 years before its first use in Europe.”

But what’s been burn­ing up the Inter­net dur­ing the past few days (large­ly thanks to Hyper­al­ler­gic) is the dig­i­ti­za­tion of the Man­u­al of Cal­lig­ra­phy and Paint­ing.

Manual of Calligraphy and Painting1

Made in 1633 in Nan­jing, the Man­u­al of Cal­lig­ra­phy and Paint­ing is note­wor­thy part­ly because “It is the ear­li­est and finest exam­ple of mul­ti-colour print­ing any­where in the world, com­pris­ing 138 paint­ings and sketch­es with asso­ci­at­ed texts by fifty dif­fer­ent artists and cal­lig­ra­phers.” And part­ly because “The bind­ing is so frag­ile, and the man­u­al so del­i­cate, that until it was dig­i­tized, we have nev­er been able to let any­one look through it or study it – despite its undoubt­ed impor­tance to schol­ars,” says Charles Aylmer, Head of the Chi­nese Depart­ment at Cam­bridge Uni­ver­si­ty Library.

Shi zhu zhai shu hua pu2

Begin your dig­i­tal tour of the 388-page Man­u­al here (or see a few sam­ples above) and be among the first to lay eyes on it.

via Hyper­al­ler­gic/Book Patrol/Cam­bridge Uni­ver­si­ty Library

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!

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A Look Inside Hannah Arendt’s Personal Library: Download Marginalia from 90 Books (Heidegger, Kant, Marx & More)

Hannah_Arendt

It does seem pos­si­ble, I think, to over­val­ue the sig­nif­i­cance of a writer’s library to his or her own lit­er­ary pro­duc­tions. We all hold on to books that have long since ceased to have any pull on us, and lose track of books that have great­ly influ­enced us. What we keep or don’t keep can be as much a mat­ter of hap­pen­stance or sen­ti­ment as delib­er­ate per­son­al archiv­ing. But while we may not always be con­scious cura­tors of our lives’ effects, those effects still speak for us when we are gone in ways we may nev­er have intend­ed. In the case of famous—and famous­ly controversial—thinkers like Han­nah Arendt, what is left behind will always con­sti­tute a body of evi­dence. And in some cases—such as that of Arendt’s teacher and one­time lover Mar­tin Hei­deg­ger’s glar­ing­ly anti-Semit­ic Black Note­books—the evi­dence can be irrev­o­ca­bly damn­ing.

Heidegger Early Greek

In Arendt’s case, we have no such smok­ing gun to sub­stan­ti­ate argu­ments that, despite her own back­ground, Arendt was anti-Jew­ish and blamed the vic­tims of the Holo­caust. Dur­ing the so-called “Eich­mann wars” in the mid-twen­ti­eth cen­tu­ry, a tor­rent of crit­i­cism bom­bard­ed Arendt’s Eich­mann in Jerusalem, the com­pi­la­tion of dis­patch­es she penned as an observ­er of the Nazi arch-bureaucrat’s tri­al. These days, writes Corey Robin in The Nation, “while the con­tro­ver­sy over Eich­mann remains, the con­tro­ver­sial­ists have moved on.” The debate now seems more cen­tered on Arendt’s book itself than on her moti­va­tions. What do Arendt’s obser­va­tions reveal to us today about the log­ic of total­i­tar­i­an­ism and geno­ci­dal state actions? One way to approach the ques­tions of mean­ing in Eich­mann, and in her mon­u­men­tal The Ori­gins of Total­i­tar­i­an­ism, is to exam­ine the sources of her thought—and her use of those sources.

Arendt Nicomachean

Arendt’s library—much of it on view online thanks to Bard col­lege—offers us a unique oppor­tu­ni­ty to do just that, not only by giv­ing us access to the spe­cif­ic edi­tions and trans­la­tions that she her­self read and saved (for what­ev­er rea­son), but also by offer­ing insight into what Arendt con­sid­ered impor­tant enough in those texts to under­line and anno­tate. In Bard’s dig­i­tal col­lec­tion of “Arendt Mar­gin­a­lia”—selec­tions of her anno­tat­ed books in down­load­able PDFs—we see a polit­i­cal phi­los­o­phy informed by Aris­to­tle (see a page from her copy of Nico­machean Ethics above), Pla­to, and Kant, but also by con­ser­v­a­tive Ger­man polit­i­cal the­o­rist Carl Schmitt, a mem­ber and active sup­port­er of Nazism, and of course, by Hei­deg­ger, whose work occu­pies a cen­tral place in her library: in Ger­man and Eng­lish (like his Ear­ly Greek Think­ing above, inscribed by the trans­la­tor), and in pri­ma­ry and sec­ondary sources.

While it may go too far to claim, as promi­nent schol­ar Bernard Wasser­stein did in 2009, that an exam­i­na­tion of Arendt’s sources shows her inter­nal­iz­ing the val­ues of Nazis and anti-Semi­tes, the pre­pon­der­ance of con­ser­v­a­tive Ger­man thinkers in her per­son­al library does give us a sense of her intel­lec­tu­al lean­ings. But we can­not draw broad con­clu­sions from a cur­so­ry sur­vey of a life­time of read­ing and re-read­ing, though we do see a par­tic­u­lar­ly Aris­totelian strain in her think­ing: that the indi­vid­ual is only as healthy as his or her polit­i­cal cul­ture. What schol­ars of Arendt will find in Bard’s dig­i­tal col­lec­tion are ample clues to the devel­op­ment and evo­lu­tion of her phi­los­o­phy over time. What lay read­ers will find is the out­line of a course on the sources of Arendt-ian thought, includ­ing not only Greeks and Ger­mans, but the Amer­i­can poet Robert Low­ell, who wrote a glow­ing pro­file of Arendt and con­tributed at least four signed books of his to her library.

I say “at least” because the Bard dig­i­tal col­lec­tion is yet incom­plete, rep­re­sent­ing only a por­tion of the phys­i­cal media in the college’s phys­i­cal archive of “approx­i­mate­ly 4,000 vol­umes, ephemera and pam­phlets that made up the library in Han­nah Arendt’s last apart­ment in New York City.” What we don’t have online are books inscribed to her by Jew­ish schol­ar and mys­tic Ger­shom Scholem, by W.H. Auden and Ran­dall Jar­rell, and many oth­ers. Nonethe­less the “Arendt Mar­gin­a­lia” gives us an oppor­tu­ni­ty to peer into a writer and scholar’s process, and see her wres­tle with the thought of her pre­de­ces­sors and con­tem­po­raries. The full Arendt col­lec­tion gives us even more to sift through, includ­ing pri­vate cor­re­spon­dence and record­ings of pub­lic speech­es. The dig­i­ti­za­tion of these sources offers many oppor­tu­ni­ties for those who can­not trav­el to New York and access the phys­i­cal archives to delve into Arendt’s intel­lec­tu­al world in ways pre­vi­ous­ly only avail­able to pro­fes­sion­al aca­d­e­mics.

Relat­ed Con­tents:

Enter the Han­nah Arendt Archives & Dis­cov­er Rare Audio Lec­tures, Man­u­scripts, Mar­gin­a­lia, Let­ters, Post­cards & More

Han­nah Arendt Dis­cuss­es Phi­los­o­phy, Pol­i­tics & Eich­mann in Rare 1964 TV Inter­view

Han­nah Arendt’s Orig­i­nal Arti­cles on “the Banal­i­ty of Evil” in the New York­er Archive

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

Get a Free Subscription to the Beta Version of The Great Courses Plus (Space Limited)

We’ve told you about the Great Cours­es Plus (now called Won­dri­um) before–a new video sub­scrip­tion ser­vice that lets you watch free cours­es (about 8,000 lec­tures in total) across a wide range of sub­jects, all taught by some of the best lec­tur­ers in the coun­try. The top­ics cov­er every­thing from His­to­ry, Phi­los­o­phy, Lit­er­a­ture, and Eco­nom­ics, to Math, Sci­ence, Pro­fes­sion­al Devel­op­ment, Cook­ing, and Pho­tog­ra­phy. And you can binge-watch entire col­lege cours­es in a mat­ter of days by watch­ing videos on your TV, tablet, lap­top and smart phone, with the help of apps designed for Apple, Google Play, Kin­dle Fire, and Roku.

Inter­est­ed in try­ing out this ser­vice? Right now, the Great Cours­es Plus/Won­dri­um is offer­ing a spe­cial deal for Open Cul­ture read­ers. If you click here, and sign up for a free tri­al, you can use this ser­vice for 30 days … for free. And then, if you would like, you can con­tin­ue to sub­scribe and pay their nor­mal prices. If you have time on your hands, this is a great way to keep your mind engaged and stream what PC Mag­a­zine has called “an excel­lent library of col­lege-lev­el lec­tures.”

Note: The Great Cours­es is a part­ner with Open Cul­ture. So if you sign up for a free tri­al, it ben­e­fits not just you and Great Cours­es Plus. It ben­e­fits Open Cul­ture too. So con­sid­er it win-win-win.

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The End of an Era: A Short Film About The Last Day of Hot Metal Typesetting at The New York Times (1978)

This is usu­al­ly what hap­pens when I write a piece for Open Cul­ture: As I drink an over­priced cof­fee at my local cof­fee shop, I research a top­ic on the inter­net, write and edit an arti­cle on Microsoft Word and then copy and paste the whole thing into Word­Press. My edi­tor in Open Cul­ture’s gleam­ing inter­na­tion­al head­quar­ters up in Palo Alto gives it a look-over and then, with the push of a but­ton, pub­lish­es the arti­cle on the site.

It’s sober­ing to think what I casu­al­ly do over the course of a morn­ing would require the effort of dozens of peo­ple 40 years ago.

Until the 1970s, with the rise in pop­u­lar­i­ty of com­put­er type­set­ting, news­pa­pers were print­ed the same way for near­ly a cen­tu­ry. Lino­type machines would cast one line at a time from molten lead. Though an improve­ment from hand­set type, where print­ers would assem­ble lines of type one char­ac­ter at a time, lino­type still required numer­ous skilled print­ers to assem­ble each and every news­pa­per edi­tion.

The New York Times tran­si­tioned from that ven­er­at­ed pro­duc­tion method to com­put­er type­set­ting on Sun­day, July 2, 1978. David Loeb Weiss, a proof­read­er at the Times, doc­u­ment­ed this final day in the doc­u­men­tary Farewell — Etaoin Shrd­lu.

The title of the movie, by the way, comes from the first two lines of a printer’s key­board, which are arranged accord­ing to a letter’s fre­quen­cy of use. When a print­er typed “etaoin shrd­lu,” it meant that the line had a mis­take in it and should be dis­card­ed.

Watch­ing the movie, you get a sense of just how much work went into each page and how print­ers were skilled crafts­men. (You try spot­ting a typo on a page of upside down and back­wards type.) The film also cap­tures the furi­ous ener­gy and the cacoph­o­ny of clinks and clanks of the com­pos­ing room. You can see just how much phys­i­cal work was involved. After all, each page was print­ed off of a 40-pound plate made of lead.

The tone of the movie is under­stand­ably melan­choly. The work­ers are bid­ding farewell to a job that had exist­ed for decades. “All the knowl­edge I’ve acquired over my 26 years is all locked up in a lit­tle box now called a com­put­er,” notes one print­er. “And I think most jobs are going to end up the same way.” Some­one else wrote the fol­low­ing on the com­pos­ing room’s chalk­board. “The end of an era. Good while it last­ed. Cry­ing won’t help.”

You can watch the full doc­u­men­tary above. It will also be added to our list of 200 Free Doc­u­men­taries, a sub­set of our meta col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

H/T @Kirstin­But­ler

Relat­ed Con­tent:

Friedrich Nietzsche’s Curi­ous Type­writer, the “Malling-Hansen Writ­ing Ball”

53 New York Times Videos Teach Essen­tial Cook­ing Tech­niques: From Poach­ing Eggs to Shuck­ing Oys­ters

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Mark Twain Wrote the First Book Ever Writ­ten With a Type­writer

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.


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