Carl Sagan Presents His “Baloney Detection Kit”: 8 Tools for Skeptical Thinking

Sagan_835

Pho­to by NASA via Wiki­me­dia Com­mons

It is some­times said that sci­ence and phi­los­o­phy have grown so far apart that they no longer rec­og­nize each oth­er. Per­haps they no longer need each oth­er. And yet some of the most thought­ful sci­en­tists of modernity—those who most ded­i­cat­ed their lives not only to dis­cov­er­ing nature’s mys­ter­ies, but to com­mu­ni­cat­ing those dis­cov­er­ies with the rest of us—have been ful­ly steeped in a philo­soph­i­cal tra­di­tion. This espe­cial­ly goes for Carl Sagan, per­haps the great­est sci­ence com­mu­ni­ca­tor of the past cen­tu­ry or so.

Sagan wrote a num­ber of pop­u­lar books for lay­folk in which he indulged not only his ten­den­cies as a “hope­less roman­tic,” writes Maria Popo­va, but also as a “bril­liant philoso­pher.” He did not fear to ven­ture into the realms of spir­i­tu­al desire, and did not mock those who did like­wise; and yet Sagan also did not hes­i­tate to defend rea­son against “society’s most shame­less untruths and out­ra­geous pro­pa­gan­da.” These under­tak­ings best come togeth­er in Sagan’s The Demon-Haunt­ed World, a book in which he very patient­ly explains how and why to think sci­en­tif­i­cal­ly, against the very human com­pul­sion to do any­thing but.

In one chap­ter of his book, “The Fine Art of Baloney Detec­tion,” Sagan laid out his method, propos­ing what he called “A Baloney Detec­tion Kit,” a set of intel­lec­tu­al tools that sci­en­tists use to sep­a­rate wish­ful think­ing from gen­uine prob­a­bil­i­ty. Sagan presents the con­tents of his kit as “tools for skep­ti­cal think­ing,” which he defines as “the means to con­struct, and to under­stand, a rea­soned argu­ment and—especially important—to rec­og­nize a fal­la­cious or fraud­u­lent argu­ment.” You can see his list of all eight tools, slight­ly abridged, below. These are all in Sagan’s words:

  • Wher­ev­er pos­si­ble there must be inde­pen­dent con­fir­ma­tion of the “facts.”
  • Encour­age sub­stan­tive debate on the evi­dence by knowl­edge­able pro­po­nents of all points of view.
  • Argu­ments from author­i­ty car­ry lit­tle weight — “author­i­ties” have made mis­takes in the past. They will do so again in the future. Per­haps a bet­ter way to say it is that in sci­ence there are no author­i­ties; at most, there are experts.
  • Spin more than one hypoth­e­sis. If there’s some­thing to be explained, think of all the dif­fer­ent ways in which it could be explained. Then think of tests by which you might sys­tem­at­i­cal­ly dis­prove each of the alter­na­tives.
  • Try not to get over­ly attached to a hypoth­e­sis just because it’s yours. It’s only a way sta­tion in the pur­suit of knowl­edge. Ask your­self why you like the idea. Com­pare it fair­ly with the alter­na­tives. See if you can find rea­sons for reject­ing it. If you don’t, oth­ers will.
  • If what­ev­er it is you’re explain­ing has some mea­sure, some numer­i­cal quan­ti­ty attached to it, you’ll be much bet­ter able to dis­crim­i­nate among com­pet­ing hypothe­ses. What is vague and qual­i­ta­tive is open to many expla­na­tions.
  • If there’s a chain of argu­ment, every link in the chain must work (includ­ing the premise) — not just most of them.
  • Occam’s Razor. This con­ve­nient rule-of-thumb urges us when faced with two hypothe­ses that explain the data equal­ly well to choose the sim­pler. Always ask whether the hypoth­e­sis can be, at least in prin­ci­ple, fal­si­fied…. You must be able to check asser­tions out. Invet­er­ate skep­tics must be giv­en the chance to fol­low your rea­son­ing, to dupli­cate your exper­i­ments and see if they get the same result.

See the unabridged list at Brain Pick­ings, or read Sagan’s full chap­ter, ide­al­ly by get­ting a copy of The Demon-Haunt­ed World. As Popo­va notes, Sagan not only gives us suc­cinct instruc­tions for crit­i­cal think­ing, but he also makes a thor­ough list, with def­i­n­i­tions, of the ways rea­son fails us through “the most com­mon and per­ilous fal­lac­i­es of log­ic and rhetoric.” Sagan’s chap­ter on “Baloney Detec­tion” is, like the rest of the book, a high­ly lit­er­ary, per­son­al, engage­ment with the most press­ing sci­en­tif­ic con­sid­er­a­tions in our every­day life. And it is also an infor­mal yet rig­or­ous restate­ment of Aristotle’s clas­si­cal log­ic and rhetoric and Fran­cis Bacon’s nat­ur­al phi­los­o­phy.

Relat­ed Con­tent:

The Wis­dom of Carl Sagan Ani­mat­ed

Richard Feyn­man Cre­ates a Sim­ple Method for Telling Sci­ence From Pseu­do­science (1966)

Noam Chom­sky Calls Post­mod­ern Cri­tiques of Sci­ence Over-Inflat­ed “Poly­syl­lab­ic Tru­isms”

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

Question: Where Can You Watch 65 Charlie Chaplin Films Free Online?

free chaplin films

Answer: Why, in our col­lec­tion 65 Char­lie Chap­lin Films Free Online. Just did­n’t want you to for­get :)

 

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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!

Watch the First Episode of Vinyl: Mick Jagger & Martin Scorsese’s Series on the 1970s Music Scene

A quick note: HBO recent­ly pre­miered Vinyl, which takes a Good­fel­las-style look at the seedy 1970s rock music and record-mak­ing scene. Here’s a quick snap­shot of what the show’s all about:

Cre­at­ed by Mick Jag­ger & Mar­tin Scors­ese & Rich Cohen and Ter­ence Win­ter, this new dra­ma series is set in 1970s New York. A ride through the sex- and drug-addled music busi­ness at the dawn of punk, dis­co, and hip-hop, the show is seen through the eyes of a record label pres­i­dent, Richie Fines­tra, played by Bob­by Can­navale, who is try­ing to save his com­pa­ny and his soul with­out destroy­ing every­one in his path. Addi­tion­al series reg­u­lars include Olivia Wilde, Ray Romano, Ato Essan­doh, Max Casel­la, P.J. Byrne, J.C. MacKen­zie, Bir­gitte Hjort Sørensen, Juno Tem­ple, Jack Quaid, James Jag­ger and Paul Ben-Vic­tor. Scors­ese, Jag­ger and Win­ter exec­u­tive pro­duce along with Vic­to­ria Pear­man, Rick Yorn, Emma Till­inger Koskoff, John Melfi, Allen Coul­ter and George Mas­tras. Win­ter serves as showrun­ner. The 10-episode first sea­son debuts Feb­ru­ary 14th.

The first pilot episode–directly by Scors­ese himself–is cur­rent­ly stream­ing free on HBO’s web­site. It runs two good hours. And if you want to watch the remain­ing episodes on the cheap, you can start a month­long free tri­al of HBO NOW. Just look for the “Start Your Free Month” but­ton at the top of HBO’s site.

Note: The video up top is only a trail­er for Episode 1. To watch the com­plete episode, click here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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!

 

30 Days of Shakespeare: One Reading of the Bard Per Day, by The New York Public Library, on the 400th Anniversary of His Death

April 23 is the 400th anniver­sary of Shakespeare’s death, an event so far in the past that it can be cel­e­brat­ed as a sec­ond birth­day of sorts.

The New York Pub­lic Library’s con­tri­bu­tion to the fes­tiv­i­ties has an endear­ing­ly home­made qual­i­ty.

This august insti­tu­tion boasts over 500 audio record­ings of the Bard’s work, not to men­tion 40 years’ worth of the New York Shake­speare Fes­ti­val’s records. But rather than draw­ing on the col­lec­tion to high­light the work of such supreme inter­preters as John Giel­gud, John Bar­ry­more, or Edwin Booth, the library has invit­ed thir­ty of its staffers to recite their favorite Shake­speare­an speech, mono­logue, or son­net.

Sean Fer­gu­son, of Chinatown’s Chatham Square branch, tack­les the open­ing of Richard III from a dig­ni­fied remove.

Grand Central’s man­ag­ing librar­i­an, Gen­oveve Stow­ell, goes for it with a lusty ren­di­tion of King Lear’s third act rage against the storm.

Liz Den­linger, who helms the main branch’s Carl H. Pforzheimer Col­lec­tion of Shel­ley and His Cir­cle went with Shakespeare’s tem­po­ral­ly-obsessed 12th sonnet.

Make no mis­take these are librar­i­ans, not trained actors, but their ama­teur­ish­ness is part of the fun.

The library plans to release one record­ing dai­ly through­out the month of April, adding to the playlist until the tracks num­ber thir­ty.

We are hop­ing that the pro­jec­t’s archi­tects will define “staff” to include sup­port­ing depart­ments. We would love to hear a mem­ber of the secu­ri­ty or main­te­nance team take a stab—pardon the pun—at Oth­el­lo or Juli­et.

For more Shake­speare read­ings, see our post: A 68 Hour Playlist of Shakespeare’s Plays Being Per­formed by Great Actors: Giel­gud, McK­ellen & More.

Relat­ed Con­tent:

The Late, Great Alan Rick­man Reads Shake­speare, Proust & Thomas Hardy

Watch Very First Film Adap­ta­tions of Shakespeare’s Plays: King John, The Tem­pest, Richard III & More (1899–1936)

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

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her 15-year-old son will be play­ing Puck lat­er this month in the world pre­miere of Mark York’s musi­cal stag­ing of A Mid­sum­mer Night’s Dream. Mean­while, his moth­er dreams of being cast as the Nurse. Fol­low her @AyunHalliday

40,000 Film Posters in a Wonderfully Eclectic Archive: Italian Tarkovsky Posters, Japanese Orson Welles, Czech Woody Allen & Much More

stalker-md-web

Here we have a poster for a film many of you will have heard of, and some of you will have watched right here on Open Cul­ture: Stalk­er, wide­ly con­sid­ered the most mas­ter­ful of Sovi­et auteur Andrei Tarkovsky’s career full of mas­ter­pieces. Need­less to say, the film has inspired no small amount of cinephile enthu­si­asm in the 37 years since its release, and if it has inspired the same in you, what bet­ter way to express it than to hang its poster on your wall? And why not take it to the next lev­el by hang­ing a Stalk­er poster from anoth­er coun­try, such as the Ital­ian one here?

hannah-and-her-sisters-md-web

We found it on Pos­ter­i­tati, a New York movie poster gallery whose online store also func­tions as a dig­i­tal archive of over 40,000 of these com­mer­cial-cin­e­mat­ic works of art, all con­ve­nient­ly sort­ed into cat­e­gories: not just Tarkovsky posters, but posters from the for­mer East Ger­many and Iran, posters from the Czech New Wave, and posters designed by the Japan­ese artist Tadanori Yokoo (whose works, said no less an observ­er of the human con­di­tion than Yukio Mishi­ma, “reveal all of the unbear­able things which we Japan­ese have inside our­selves”). And that’s just a small sam­pling of what Pos­ter­i­tati has to offer. If you dig deep enough, you can even find posters from Poland and the Czech Repub­lic with cats in them.

bullitt-md-web

Avid Open Cul­ture read­ers might find Pos­ter­i­tati’s phi­los­o­phy sec­tion espe­cial­ly worth­while, con­tain­ing as it does posters for movies we’ve pre­vi­ous­ly fea­tured and movies about thinkers we like to write about, like Der­ri­da, Exam­ined LifeWittgen­stein, and of course the Slavoj Žižek-star­ring The Per­vert’s Guide to Ide­ol­o­gy and Žižek! 

f-for-fake-md-web

They also sell posters at the site, though even the ones not in stock remain avail­able to view as images: just tog­gle the “IN STOCK ONLY” switch to the OFF posi­tion, and you can then see all of the posters in the col­lec­tion.  No mat­ter what your cin­e­mat­ic, intel­lec­tu­al, or aes­thet­ic inter­ests, you’ll find at least a few posters that pique your inter­est. The Japan­ese poster for Orson Welles’ F for Fake just above, for instance, rep­re­sents a near-per­fect inter­sec­tion of most of my own inter­ests. Just as well Pos­ter­i­tati does­n’t have it in stock — I’d prob­a­bly pay any­thing.

Relat­ed Con­tent:

50 Film Posters From Poland: From The Empire Strikes Back to Raiders of the Lost Ark

The Strange and Won­der­ful Movie Posters from Ghana: The Matrix, Alien & More

Japan­ese Movie Posters of 10 David Lynch Films

Down­load Vin­tage Film Posters in High-Res: From The Philadel­phia Sto­ry to Attack of the Crab Mon­sters

A Look Inside Mar­tin Scorsese’s Vin­tage Movie Poster Col­lec­tion

100 Great­est Posters of Film Noir

Strik­ing French, Russ­ian & Pol­ish Posters for the Films of Andrei Tarkovsky

Watch Stalk­er, Andrei Tarkovsky’s Mind-Bend­ing Mas­ter­piece Free Online

F for Fake: Orson Welles’ Short Film & Trail­er That Was Nev­er Released in Amer­i­ca

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Monty Python’s John Cleese Worries That Political Correctness Will Lead Us into a Humorless World, Reminiscent of Orwell’s 1984

As with all of our polit­i­cal debates, those over “polit­i­cal cor­rect­ness” have become even more polar­ized, vit­ri­olic, and out­sized than when I was in col­lege at the height of the first cul­ture wars, when it often seemed to me like just new eti­quette for increas­ing­ly plu­ral­ist cam­pus­es and work­places. Now, peo­ple use the phrase to refer to any call for basic human decen­cy and intel­lec­tu­al honesty—and use it to dis­miss such calls out of hand. On the oth­er hand, many efforts at curb­ing or crit­i­ciz­ing cer­tain kinds of speech can seem gen­uine­ly, unnec­es­sar­i­ly, repres­sive. Whether it’s an illib­er­al col­lege group pres­sur­ing their uni­ver­si­ty to dis­in­vite enter­tain­ers or shut down debates, or fanat­i­cal gun­men threat­en­ing, and tak­ing, the lives of jour­nal­ists or blog­gers, the stakes over what can and can’t be said have grown expo­nen­tial­ly.

Have we reached a cri­sis of “Orwellian” pro­por­tions in the U.S.? I’d hes­i­tate to say so, giv­en the overuse and abuse of Orwell’s name and ideas as a catch-all for soci­etal dys­func­tion. We have ral­lies in which tens of thou­sands gath­er to cheer for the demo­niza­tion and slan­der of entire peo­ple groups. It hard­ly seems to me that anyone’s los­ing their free­dom of speech any time soon. But John Cleese in the Big Think video above makes an argu­ment about a par­tic­u­lar kind of polit­i­cal cor­rect­ness that he defines as “the idea that you have to be pro­tect­ed from any kind of uncom­fort­able emo­tion.” Describ­ing this kind of speech polic­ing as patho­log­i­cal, Cleese refers to a the­o­ry of a psy­chi­a­trist friend, Robin Skin­ner, that peo­ple who can’t con­trol their own emo­tions “have to start to con­trol oth­er people’s behav­ior.”

Cleese does­n’t blan­ket­ly impugn the motives of all activists for polit­i­cal­ly cor­rect speech. He notes a sim­i­lar tra­jec­to­ry as I have when it comes to col­lege cam­pus­es. “Polit­i­cal cor­rect­ness,” he says, “has been tak­en from being a good idea, which is ‘let’s not be mean, and par­tic­u­lar­ly to peo­ple who are not able to look after them­selves very well,’ to the point where any kind of crit­i­cism of any indi­vid­ual or group can be labeled cru­el.” Per­haps he’s right. (And Cleese is by no means the first com­ic to say so—and to swear off col­lege cam­pus­es.) In any case, his obser­va­tions about the nec­es­sary rela­tion­ship of com­e­dy to crit­i­cism or offense are dead on, as well as his con­clu­sion that once the humor’s gone, so “goes a sense of pro­por­tion, and… you’re liv­ing in 1984.” I can’t think of a book, or a soci­ety, with less humor in it.

One point of inter­est: Polit­i­cal Cor­rect­ness means a great many things to a great many peo­ple. For some it is about agency and self-deter­mi­na­tion, and right­ing his­tor­i­cal wrongs so as not to per­pet­u­ate them in the present. For oth­ers, it tends more toward a patron­iz­ing activist cru­sade on behalf, as Cleese says in his def­i­n­i­tion of the term, of “peo­ple who are not able to look after them­selves.” While he calls a lit­tle of this lat­ter atti­tude a good thing, George Car­lin saw it as con­de­scend­ing and disin­gen­u­ous. By no means a respecter of any par­ty ide­ol­o­gy, Car­lin described even seem­ing­ly innocu­ous forms of polit­i­cal­ly cor­rect lan­guage as fas­cism mas­querad­ing as man­ners.

In my expe­ri­ence, few peo­ple can make argu­ments against polit­i­cal­ly cor­rect lan­guage with­out occa­sion­al­ly falling into the trap of prov­ing its point. But Car­lin and Cleese make thought­ful cas­es, espe­cial­ly when they use humor—as Car­lin did over an entire career of rail­ing against the speech police. In his bit above on the increas­ing insis­tence on ungain­ly euphemisms and puffed-up jar­gon, he demon­strates what Cleese calls the effec­tive anti­dote to a polit­i­cal move­ment run riot: a sense of proportion—as well as a sense of com­pas­sion.

Relat­ed Con­tent:

Slavoj Žižek Calls Polit­i­cal Cor­rect­ness a Form of “Mod­ern Total­i­tar­i­an­ism”

John Cleese on How “Stu­pid Peo­ple Have No Idea How Stu­pid They Are” (a.k.a. the Dun­ning-Kruger Effect)

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

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

Spike Lee Interviews Bernie Sanders: Two Guys from Brooklyn Talk About Education, Inequality & More

With the New York pri­ma­ry com­ing up, Spike Lee and Bernie Sanders–the film­mak­er and the politician–sat down and talked about pol­i­tics and the state of our nation. At the 15 minute mark, the two Brook­lyn natives turned to edu­ca­tion (some­thing that undoubt­ed­ly con­cerns many read­ers here) and the impor­tance of mak­ing our pub­lic uni­ver­si­ties actu­al­ly acces­si­ble to the pub­lic. Such a rad­i­cal thought? You can read a tran­script of the con­ver­sa­tion over at The Hol­ly­wood Reporter.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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:

Bernie Sanders: I Will Be an Arts Pres­i­dent

Spike Lee’s List of 95 Essen­tial Movies – Now with Women Film­mak­ers

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)

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Pink Floyd Performs on US Television for the First Time: American Bandstand, 1967

You may have noticed we’ve been in the midst of a mini-six­ties revival for the past decade or so—what with the retro soul of Alaba­ma Shakes or the late Amy Wine­house, the garage rock of Ty Segall, and the Cal­i­for­nia psych of Aus­trali­a’s Tame Impala. That’s to name but just a few stu­dents of six­ties’ sounds; many hun­dreds more pop­u­late events like the Psych Fests of Austin and Liv­er­pool. And before these bands, late eighties/early nineties brought us a British re-inva­sion of six­ties garage rock and pop like the Jesus and Mary Chain, the Chameleons, the Stone Ros­es, Oasis, and many oth­er jan­g­ly, fuzzy, dreamy bands.

All of that is to say it’s near­ly impos­si­ble to hear any­thing six­ties rock with fresh ears. Not only has the inces­sant nos­tal­gia dimmed our sens­es, but we’ve seen the ideas of the six­ties evolve into myr­i­ad sub­cul­tures var­i­ous­ly indebt­ed to the decade, but no longer even in need of direct ref­er­ence. What would it mean, how­ev­er, to hear the far-out sounds of a band like Pink Floyd for the first time, a band who may at times sound dat­ed now, but much of whose more obscure cat­a­log remains shock­ing. And it’s easy to for­get that when Pink Floyd—or “The Pink Floyd” as they tend­ed to be called—got their start with orig­i­nal singer and song­writer Syd Bar­rett, they made a much dif­fer­ent sound than those we’re famil­iar with from The Wall or Dark Side of the Moon.

If you haven’t heard the sound of the band cir­ca 1967, when they record­ed their first album Piper at the Gates of Dawn, then you may nod along with Dick Clark’s ambiva­lent intro­duc­tion of them to U.S. audi­ences in the ’67 Amer­i­can Band­stand appear­ance above—their first vis­it to the States and first time of TV. They do indeed make “very inter­est­ing sounds”: specif­i­cal­ly, “Apples and Oranges,” the third sin­gle and the final song Bar­rett wrote for the band before he suf­fered a psy­chot­ic break onstage and was replaced by David Gilmour. There isn’t much in the way of per­for­mance. (But stick around for the inter­views around 3:25.) As pret­ty much every­one did at the time, Bar­rett, Roger Waters, Nick Mason, and Richard Wright mime to a pre­re­cord­ed track. And Bar­rett looks par­tic­u­lar­ly out of it. He was close by this point to the crip­pling men­tal health cri­sis that would even­tu­al­ly end his career.

But Syd Bar­rett did not dis­ap­pear from music right away. The unre­leased “Scream Thy Last Scream,” slat­ed to be the next sin­gle released after Piper at the Gates of Dawn, gave much indi­ca­tion of the musi­cal direc­tion he took in two 1970 solo albums, The Mad­cap Laughs and Bar­rett. Like lat­er Bar­rett, ear­ly Pink Floyd is not music for every­one. Instead of the famil­iar stomp­ing funk of “The Wall” or the soar­ing blues of “Com­fort­ably Numb,” the songs mean­der, twist, turn, and wob­ble, often indi­cat­ing the state of Barrett’s trou­bled soul, but just as often show­cas­ing his bril­liant com­po­si­tion­al mind. Bar­rett is gone, as is key­boardist Richard Wright, and Pink Floyd is no more. But their lega­cy is secure. And we still have mad genius­es like Austin psych leg­end Roky Erick­son to kick around, as well as all the many thou­sands of musi­cians he and Bar­rett inspired.

Relat­ed Con­tent:

Pink Floyd Plays With Their Brand New Singer & Gui­tarist David Gilmour on French TV (1968)

Pink Floyd’s David Gilmour Sings Shakespeare’s Son­net 18

Hear Lost Record­ing of Pink Floyd Play­ing with Jazz Vio­lin­ist Stéphane Grap­pel­li on “Wish You Were Here”

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

Leonardo da Vinci Draws Designs of Future War Machines: Tanks, Machine Guns & More

precursor to machine gun

We think of Leonar­do da Vin­ci as one of the great human­ists, a thinker and cre­ator whose achieve­ments spanned the realms of art, archi­tec­ture, nat­ur­al sci­ence, engi­neer­ing, and let­ters. We less often think of him as an inno­va­tor of the tools of as destruc­tive a prac­tice as war, but a true poly­math — and the life of Leonar­do more or less defines that con­cept — knows no bound­aries. The web­site Leonar­do da Vin­ci Inven­tions lists among the machines he came up with an armored car (“pre­cur­sor to the mod­ern tank”), an 86-foot cross­bow, and a triple bar­rel can­non (at a time when even gun­pow­der itself had­n’t yet attained world­wide use).

Copertina1-640x349

Many of Leonar­do’s inven­tions, no mat­ter how thor­ough­ly he dia­grammed their designs and mechan­ics in his note­books, nev­er got out of the realm of the the­o­ret­i­cal in his life­time — and some remain machines of the imag­i­na­tion. But as Nick Squires report­ed in the Tele­graph a few years ago, a late 15th-cen­tu­ry can­non dug up in Croa­t­ia “bears a strik­ing resem­blance to sketch­es drawn by the Renais­sance inven­tor, notably in his Codex Atlanti­cus — the largest col­lec­tion of his draw­ings and writ­ing. Mount­ed on a wood­en car­riage and wheels, it would have allowed a much more rapid rate of fire than tra­di­tion­al sin­gle-bar­reled guns — in a pre­cur­sor to mod­ern day machine guns.”

KONICA MINOLTA DIGITAL CAMERA

Italian-renaissance-art.com offers more detail on all these Leonar­do-designed weapons, and the his­tor­i­cal con­text which drove him to work on them:

He was a man of his time and the need for mil­i­tary engi­neers pro­vid­ed him with employ­ment, trav­el oppor­tu­ni­ties, and the chance to con­tin­ue his sci­en­tif­ic work unhin­dered. Renais­sance Italy was a col­lec­tion of inde­pen­dent city states who became engaged in inces­sant war­fare with each oth­er.

“This pro­vid­ed a mar­ket for the tech­ni­cal­ly advanced weapons need­ed to gain mil­i­tary advan­tage over the ene­my” — and an oppor­tu­ni­ty for Leonar­do to work out his ideas for “new weapon­ry, bridg­ing, bom­bard­ing machines, trench drain­ing,” and more. Leonar­do’s work dur­ing this peri­od includ­ed 15th-cen­tu­ry blue­prints for “an armored vehi­cle made from wood and oper­at­ed by eight men” turn­ing cranks, an antiq­ui­ty-inspired “scythed char­i­ot,” breech-load­ing and water-cooled guns not entire­ly dif­fer­ent in con­cept from the steam can­nons used in the World War II, and “a repeat­ing ‘machine gun’ oper­at­ed by a man-pow­ered tread­mill.”

leonardo-da-vincis-crossbow

You can see a real-life exam­ple of Leonar­do’s leaf-spring cat­a­pult built by a Soci­ety for Cre­ative Anachro­nism mem­ber here. But if you try to fol­low the instruc­tions and assem­ble his oth­er inge­nious mil­i­tary devices, pre­pare for dis­ap­point­ment. The Tele­graph’s Tom Leonard wrote up an ear­ly-2000s BBC doc­u­men­tary that claimed this Renais­sance Man’s Renais­sance Man “insert­ed a series of delib­er­ate flaws into his inven­tions to make sure that they could nev­er be used,” for instance, “when the tank, a tor­toise-like con­trap­tion, was test­ed by the Army, it imme­di­ate­ly became clear that its gears had been set against each oth­er.”

Leonar­do pos­si­bly crip­pled his own designs in order to serve the func­tion of absent “patent laws to pro­tect him from hav­ing his designs copied,” and pos­si­bly because he “was a paci­fist who was aware that his war­lord mas­ters might try to find mil­i­tary uses for his inven­tions.” Either way, at least he died a few hun­dred years too ear­ly to wit­ness the First World War, in which tanks, machine guns, and all the rest of it turned into sure­ly more hor­ri­fy­ing a spec­ta­cle than all the bat­tles of Renais­sance Italy put togeth­er.

LDV-catapult_1

Relat­ed Con­tent:

Down­load the Sub­lime Anato­my Draw­ings of Leonar­do da Vin­ci: Avail­able Online, or in a Great iPad App

Orig­i­nal Por­trait of the Mona Lisa Found Beneath the Paint Lay­ers of da Vinci’s Mas­ter­piece

Leonar­do da Vinci’s Hand­writ­ten Resume (1482)

Leonar­do Da Vinci’s To Do List (cir­ca 1490) Is Much Cool­er Than Yours

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

David Bowie Urges Kids to READ in a 1987 Poster Sponsored by the American Library Association

bowieread

If you were Amer­i­can and in school dur­ing the late ‘80s and through the ‘90s, you would have seen the Amer­i­can Library Asso­ci­a­tion’s series of pro­mo­tion­al posters that paired a celebri­ty with his/her favorite book, and a sim­ple com­mand: READ. Need it be point­ed out that the coolest of the batch, and one of the first to be shot for the series, was the one fea­tur­ing David Bowie? (This also prob­a­bly meant your librar­i­an was cool too.)

The ALA con­tin­ues to update the series with stars like Phar­rell, Bel­la Thorne, and Octavia Spencer, but they also rere­leased the Bowie poster in Feb­ru­ary in hon­or of the musi­cian’s pass­ing the month before. Bowie looks like a teenag­er, dressed in his let­ter­man jack­ets (from Cana­di­an com­pa­ny Roots, by the way, still mak­ing such jack­ets).

His pom­padour is on point, not egre­gious like his Glass Spi­der Tour ‘do just around the cor­ner. While oth­er celebs in the series dis­play their books like an award, he’s active, read­ing and jump­ing at the same time. (Not the best way to read, how­ev­er.) And those bare feet (see the full poster here) are a nice touch, just a lit­tle bit of Bowie strange­ness.

And though he’s read­ing Fyo­dor Dos­toyevsky’s The Idiot, the book did not turn up on Bowie’s list of his 100 favorite books, print­ed in 2013. Per­haps it’s a ref­er­ence to the album he co-wrote and pro­duced with Iggy Pop?

You can buy your copy of the Bowie Read poster and sup­port the ALA here. It costs $18 and mea­sures 22″ x 34.”

Relat­ed Con­tent:

David Bowie Releas­es 36 Music Videos of His Clas­sic Songs from the 1970s and 1980s

The Sto­ry of Zig­gy Star­dust: How David Bowie Cre­at­ed the Char­ac­ter that Made Him Famous

The 10 Great­est Books Ever, Accord­ing to 125 Top Authors (Down­load Them for Free)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based 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.

Tom Waits Names 14 of His Favorite Art Films

Tom Waits is that rare breed of artist who has equal amounts of cred­i­bil­i­ty in the art house the­aters and on the punk rock street. His depres­sion-era every­man blues and drunk­en skid row laments ring just as true as his high-con­cept vaude­ville the­ater act and cock­tail lounge per­for­mance art. Hav­ing the abil­i­ty to con­vinc­ing­ly set his brow high or low makes Waits an excel­lent ambas­sador for film, a medi­um sad­ly riv­en by brow height. While cable TV and Net­flix may be the art hous­es of the 21st cen­tu­ry, let’s not give up on the cul­tur­al reach of lega­cy archives like the Cri­te­ri­on Col­lec­tion just yet. Not before we hear Waits weigh in on his favorite art films.

Waits’ fil­mog­ra­phy as an actor is itself a tes­ta­ment to his brow-span­ning abilities—from such wide-release fare as Drac­u­la and Sev­en Psy­chopaths to the scrap­py, inti­mate films of Jim Jar­musch, and more or less every­thing in-between. The threads that run through all of his film choic­es as an actor are a cer­tain sur­re­al sense of humor and the off-kil­ter human­i­ty and for­mal anar­chy we know so well from his musi­cal choic­es.

We see sim­i­lar pro­cliv­i­ties in Waits’ film favorites, as com­piled by Chris Ambro­sio at Cri­te­ri­on. Most of the choic­es are of the, “Ah, of course” vari­ety in that these films so per­fect­ly explain, or illus­trate, the Tom Waits uni­verse. We might imag­ine many of them with alter­nate sound­tracks of songs from Real Gone, Sword­fishtrom­bones, Bone Machine, etc.

First, up, of course, Fellini’s neo­re­al­ist La Stra­da, a film about the sad­dest, sweet­est, gruffest trav­el­ing cir­cus act ever. Waits also con­fess­es a pas­sion for all of the beau­ti­ful­ly over­wrought films of Carl Theodor Drey­er, includ­ing the pro­found and dis­turb­ing 1928 The Pas­sion of Joan of Arc and 1932 hor­ror clas­sic Vampyr (both above). You can see the full list of Waits’ favs below. Let your pas­sion for art film be rekin­dled, and when watch­ing the silent films, con­sid­er putting on some Mule Vari­a­tions or Blood Mon­ey. You’ll prob­a­bly find it fits per­fect­ly.

  1. La Stra­da, Fed­eri­co Felli­ni (U.S. read­ers: watch Fellini’s films free on Hulu)
  2. Zato­ichi: The Blind Swords­man
  3. Put­ney Swope, Robert Downey, Sr.
  4. Every­thing by Carl Theodor Drey­er
  5. Amar­cord, Fed­eri­co Felli­ni
  6. 8 1/2, Fed­eri­co Felli­ni
  7. The Night of the Hunter, Charles Laughton
  8. Wise Blood, John Hus­ton
  9. Two-Lane Black­top, Monte Hell­man
  10. Eraser­head, David Lynch
  11. Pick­up on South Street, Samuel Fuller
  12. Ikiru, Aki­ra Kuro­sawa
  13. Ver­non, Flori­da, Errol Mor­ris
  14. In a Lone­ly Place, Nicholas Ray

Relat­ed Con­tent:

Free on Hulu: Stream Fellini’s 8 1/2, La Stra­da & Oth­er Clas­sic & Con­tem­po­rary Films

Tom Waits, Play­ing the Down-and-Out Barfly, Appears in Clas­sic 1978 TV Per­for­mance

The Tom Waits Map: A Map­ping of Every Place Waits Has Sung About, From L.A. to Africa’s Jun­gles

Jim Jar­musch: The Art of the Music in His Films

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


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