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

We’ve all heard the phrase “the banal­i­ty of evil.” Some of us even know which polit­i­cal the­o­rist to attribute it to, and among those, a few have even read it in con­text. Han­nah Arendt most mem­o­rably employed it in both the sub­ti­tle and clos­ing words of Eich­mann in Jerusalem: A Report on the Banal­i­ty of Evil, her book on the tri­al of Nazi lieu­tenant-colonel Adolf Eich­mann. To Arendt’s mind, Eich­mann will­ing­ly did his part to orga­nize the Holo­caust — and an instru­men­tal part it was — out of nei­ther anti-semi­tism nor pure mal­ice, but out of a non-ide­o­log­i­cal, entire­ly more pro­sa­ic com­bi­na­tion of careerism and obe­di­ence. Read­ers have argued ever since its pub­li­ca­tion about this char­ac­ter­i­za­tion, and those with a spe­cial inter­est in how Arendt arrived there can find in the New York­er’s online archives the orig­i­nal series of “Eich­mann in Jerusalem” arti­cles out of which the book grew: part one, part two, part three, part four, and part five. (Click on the images at the bot­tom of each page to see Arendt’s writ­ing up close. Then click on them again and maneu­ver your mouse around to peruse the pages.) Giv­en that Han­nah Arendt, a new biopic star­ring Bar­bara Sukowa, just gained dis­tri­b­u­tion, you may want to read these arti­cles to stay ahead of the next wave of inter­est in the thinker and her writ­ings.

In today’s mag­a­zines, one reads rather few­er five-part inter­sec­tions of tri­al reportage and moral inquiry by fig­ures like Arendt. But the New York­er has­n’t entire­ly lost its will­ing­ness to con­front these mat­ters. Short­ly after last year’s mas­sacre in Auro­ra, Col­orado, the mag­a­zine ran on its site a piece by Rol­lo Romig in touch with con­cerns, broad­ly speak­ing, sim­i­lar to Arendt’s. Romig, too, looks at the nature of evil, but in a reflec­tion suit­ed to our time — brief, star­tling­ly time­ly, and specif­i­cal­ly for the web — rather than Eich­mann in Jerusalem’s. “The dan­ger of a word like ‘evil’ is that it is absolute,” he writes. “ ‘Evil’ has become the word we apply to per­pe­tra­tors who we’re both unable and unwill­ing to do any­thing to repair, and for whom all of our mech­a­nisms of jus­tice seem unequal: it describes the lim­its of what malev­o­lence we’re able to bear. In the end, it’s a word that says more about the help­less­ness of the accuser than it does the trans­gres­sor.”

H/T to Chris­t­ian F. for flag­ging the New York­er arti­cles for us.

Relat­ed Con­tent:

The Tri­al of Adolf Eich­mann at 50

55 Free Phi­los­o­phy Cours­es

Down­load Free Cours­es from Famous Philoso­phers: From Bertrand Rus­sell to Michel Fou­cault

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.

152 Big Thinkers Answer the Question “What Should We Be Worried About?”

Edge_2013_Flower

It’s a new year, which means it’s time for the Edge.org to pose its annu­al ques­tion to some of the world’s finest minds. The 2013 edi­tion asks the ques­tion, “What Should We Be Wor­ried About?”. And the replies — 152 in total — fea­ture thoughts by Nas­sim Nicholas Taleb, Daniel Den­nettSher­ry Turkle, Lawrence Krauss, and Esther Dyson, plus the ones excerpt­ed below. If you’re will­ing to go down the rab­bit hole, you can access the com­plete col­lec­tion of respons­es here.

What I fear most is that we will lack the will and the fore­sight to face the world’s prob­lems square­ly, but will instead retreat from them into super­sti­tion and igno­rance. Con­sid­er how in 375 AD, after a dream in which he was whipped for being “a Ciceron­ian” rather than a Chris­t­ian, Saint Jerome resolved no more to read the clas­si­cal authors and to restrict him­self only to Chris­t­ian texts, how the Chris­tians of Alexan­dria mur­dered the philoso­pher and math­e­mati­cian Hypa­tia in 415, and real­ize that, at least in part, the so-called dark ages were not some­thing imposed from with­out, a break­down of civ­i­liza­tion due to bar­bar­ian inva­sions, but a choice, a turn­ing away from knowl­edge and dis­cov­ery into a kind of reli­gious fun­da­men­tal­ism. [Read the rest here.]

Tim O’Reil­ly, Founder and CEO of O’Reil­ly Media, Inc.

Death is what makes this cycli­cal renew­al and steady advance in organ­isms pos­si­ble. Dis­cov­ered by liv­ing things mil­lions of years ago, aging and death per­mit a species to grow and flour­ish. Because nat­ur­al selec­tion ensures that the child-who-sur­vives-to-repro­duce is bet­ter than the par­ent (albeit infin­i­tes­i­mal­ly so, for that is how evo­lu­tion works), it is bet­ter for many species that the par­ent step out of the way and allow its (supe­ri­or) child to suc­ceed in its place.… So impor­tant is death that we have, wired into our genes, a self-destruct senes­cence pro­gram that shuts down oper­a­tions once we have suc­cess­ful­ly repro­duced, so that we even­tu­al­ly die, leav­ing our children—the fresh­er, new­er, shinier ver­sions of ourselves—to car­ry on with the best of what we have giv­en them: the best genes, the best art, and the best ideas. Four bil­lion years of death has served us well. Now, all this may be com­ing to an end, for one of the things we humans, with our evolved intel­li­gence, are work­ing hard at is try­ing to erad­i­cate death.[Read the rest here.]

–Kate Jef­fery, Head, Dept. of Cog­ni­tive, Per­cep­tu­al and Brain Sci­ences, Uni­ver­si­ty Col­lege, Lon­don

Most of the smart peo­ple I know want noth­ing to do with pol­i­tics. We avoid it like the plague… Is this because we feel that pol­i­tics isn’t where any­thing sig­nif­i­cant hap­pens? Or because we’re too tak­en up with what we’re doing, be it Quan­tum Physics or Sta­tis­ti­cal Genomics or Gen­er­a­tive Music? Or because we’re too polite to get into argu­ments with peo­ple? …  It’s pol­i­tics that’s bleed­ing the poor­er nations for the debts of their for­mer dic­ta­tors. It’s pol­i­tics that allows spe­cial inter­ests to run the coun­try. It’s pol­i­tics that helped the banks wreck the econ­o­my. It’s pol­i­tics that pro­hibits gay mar­riage and stem cell research but nur­tures Gaza and Guan­tanamo.… What wor­ries me is that while we’re lais­sez-ing, some­one else is faire-ing. [Read the rest here]

–Bri­an Eno, Artist, Com­pos­er, Pro­duc­er

You can dive into the full col­lec­tion at Edge.org. The pho­to above was tak­en by Katin­ka Mat­son.

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The Beatles: Unplugged Collects Acoustic Demos of White Album Songs (1968)

I am a child of Bea­t­les fans; we owned near­ly every album in orig­i­nal mono vinyl press­ings. But some­how there was a hole in our collection—a whale-sized hole, it turned out—because we didn’t have a copy of the White Album. I was intro­duced to it lat­er by a friend, who shared its secrets with me like one would share the favorite work of a favorite poet—reverently. We delved into the his­to­ry and learned that record­ing ses­sions were noto­ri­ous­ly fractious—with Ringo step­ping away for a while and Paul step­ping in on the drums, and with the oth­ers record­ing solo, some­times with ses­sion play­ers, rarely in the same room togeth­er— a sit­u­a­tion reflect­ed in the track­ing of the record, which feels like a com­pi­la­tion of songs by each Bea­t­le (but Ringo), rather than the usu­al smooth affair of Lennon/McCartney, and occa­sion­al Har­ri­son pro­duc­tions.

That rangi­ness is what makes the White Album spe­cial: it’s feels so famil­iar, and yet it’s not like any­thing they’d done before and presages the genius to come in their solo careers. So imag­ine my sur­prised delight at stum­bling across a boot­leg that die-hard com­pletists have sure­ly known about for ages (though it only saw release in 2002): The Bea­t­les: Unplugged is a record­ing of acoustic songs, most of which would appear on the the White Album, played and sung by John, Paul, and George at George’s house in Esher—hence the bootleg’s sub­ti­tle, the Kin­fauns-Ses­sions (Kin­fauns was the name of George’s home). Here are the close vocal har­monies that seemed to mark a group of musi­cians in near-per­fect har­mo­ny with each oth­er (but with­out Ringo, again). And here are some of the Bea­t­les’ most poignant, point­ed, and vaude­vil­lian songs live and direct, with­out any stu­dio tricks what­so­ev­er.

Of course these were record­ed as demos, and not meant for release of any kind, but even so, they’re fair­ly high-qual­i­ty, in a lo-fi kind of way. Lis­ten­ing to the songs in this form makes me think of the folk/psych revival­ism of the so-called New Weird Amer­i­ca that hear­kened back to so much six­ties’ trip­py play­ful­ness, but most­ly eschewed the major label stu­dio sound of six­ties’ records and wel­comed promi­nent tape hiss and sin­gle-track, bed­room takes. Giv­en the rapid pop-cul­ture recy­cling that is the hall­mark of the ear­ly 21st cen­tu­ry, The Bea­t­les: Unplugged sounds strange­ly mod­ern.

The Unplugged ses­sion includes a won­der­ful­ly airy ren­di­tion of “Dear Pru­dence,” which like so many of these songs, was writ­ten dur­ing The Bea­t­les’ sojourn in India, about Mia Farrow’s sis­ter (a com­plete track­list is here). The com­pil­ers of the release have tacked on three addi­tion­al songs: “Spir­i­tu­al Regen­er­a­tion India” (also a birth­day trib­ute to The Beach Boy’s Mike Love), an odd­ly upbeat stu­dio run-through of “Hel­ter Skel­ter,” and a free-form acoustic med­ley of tra­di­tion­al songs called “Rishikesh No. 9” (also called “Spir­i­tu­al Christ­mas”). In addi­tion to the slew of White Album songs, the record­ing ses­sion also fea­tures McCartney’s “Junk,” which lat­er appeared on his 1970 solo album McCart­ney and John Lennon’s “Jeal­ous Guy” (here called “Child of Nature”), which sur­faced on 1971’s Imag­ine. As Allmusic’s Bruce Eder writes, Unplugged is a boot­leg so good, “the folks at Apple and EMI ought to be kick­ing them­selves for not think­ing of it first.”

Relat­ed Con­tent

Eric Clapton’s Iso­lat­ed Gui­tar Track From the Clas­sic Bea­t­les Song, ‘While My Gui­tar Gen­tly Weeps’ (1968)

Hear the 1962 Bea­t­les Demo that Dec­ca Reject­ed: “Gui­tar Groups are on Their Way Out, Mr. Epstein”

How Bertrand Rus­sell Turned The Bea­t­les Against the Viet­nam War

Peter Sell­ers Reads The Bea­t­les’ “She Loves You” in Four Voic­es

Josh Jones is a writer and musi­cian. He recent­ly fin­ished a dis­ser­ta­tion on land, land­scape, and labor. 

Bertrand Russell’s Improbable Appearance in a Bollywood Film (1967)

Here’s one for Rip­ley’s Believe It Or Not: Bertrand Rus­sell, the emi­nent math­e­mati­cian and philoso­pher, once made a cameo appear­ance in a Bol­ly­wood movie.

The year was 1967. Rus­sell was by then a very frail 95-year-old man. Besides fin­ish­ing work on his three-vol­ume auto­bi­og­ra­phy, Rus­sell was devot­ing much of his remain­ing time to the strug­gle for peace and nuclear dis­ar­ma­ment. To that end, he some­times made him­self avail­able to peo­ple he thought could help the cause. (See our March 2012 post, “How Bertrand Rus­sell Turned the Bea­t­les Against the Viet­nam War.”)

So when he was asked to appear in a movie called Aman, about a young Indi­an man who has just received his med­ical degree in Lon­don and wants to go to Japan to help vic­tims of the atom­ic bomb­ings at Hiroshi­ma and Nagasa­ki, Rus­sell said yes.

It’s a weird scene. The eager young grad­u­ate, played by Rajen­dra Kumar, is grant­ed an audi­ence with the famous philoso­pher, who gives him his bless­ing and offers a few words of wis­dom. Sad­ly, much of what Rus­sell has to say is drowned out by the Hin­di-lan­guage nar­ra­tion. But the clip above offers an intrigu­ing glimpse of Rus­sell at his home in Lon­don only three years before his death. Its appear­ance on the Inter­net has caused con­sid­er­able amuse­ment. One observ­er not­ed that, as an actor, Rus­sell has only three degrees of sep­a­ra­tion from Kevin Bacon. Truth real­ly is stranger than fic­tion.

Relat­ed con­tent:

Face to Face with Bertrand Rus­sell: Love is Wise, Hatred is Fool­ish

Three Pas­sions of Bertrand Rus­sell (and a Col­lec­tion of Free Texts)

Bertrand Rus­sell & Oth­er Big Thinkers in BBC Lec­ture Series (Free)

Stanford Makes Open Source Platform, Class2Go, Available to All; Launches MOOC on Platform Today

Are you on the hunt for a free, open source plat­form that will let you deliv­er free online cours­es? We’ve already told you about one option: Google Course Builder. Now here’s anoth­er: Stan­ford’s Class2Go. The plat­form is open, mean­ing that you can grab the code base for free and run it on your very own serv­er. Class2Go is also portable, giv­ing schools the abil­i­ty to move doc­u­ments and media to oth­er plat­forms if they so choose. The Stan­ford plat­form is inter­op­er­a­ble in the sense that it builds on exist­ing soft­ware (MySQL, Github, Piaz­za, MySQL, Python Djan­go, etc.). And, unlike some oth­er plat­forms, Class2Go gives edu­ca­tors imme­di­ate access to valu­able data, allow­ing them to make refine­ments to the edu­ca­tion­al expe­ri­ence.

Although still under devel­op­ment, Class2Go is ready for action. In the fall, Stan­ford offered two MOOCs through Class2Go (Com­put­er Net­work­ing and Solar Cells, Fuel Cells, & Bat­ter­ies). And it has a new MOOC get­ting start­ed today: Intro­duc­tion to Data­bas­es taught by Jen­nifer Widom, the Chair of Stan­ford’s famed Com­put­er Sci­ence depart­ment. (Watch her intro above.) You can take the course for free and learn all about data­base devel­op­ment. Or you can use it as an oppor­tu­ni­ty to see Class2Go up close.

In the com­ing months, Class2Go will be deployed at the Uni­ver­si­ty of West­ern Aus­tralia. If you’re tempt­ed to do the same at your own uni­ver­si­ty, you can get the Class2Go code here.

Relat­ed Con­tent:

A Com­plete list of MOOCs and Cer­tifi­cate Cours­es from Lead­ing Uni­ver­si­ties

650 Free Online Cours­es from Top Uni­ver­si­ties (a huge trove of video/audio lec­tures)

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The Many Ways to Mars: A Reality Show, a New Martian City, and Mapping Mars from Home

Real­i­ty tele­vi­sion has been around since at least the late ’40s. First we had Can­did Cam­era, where hap­less, but real, peo­ple became the unwit­ting butt of Allen Funt’s jokes. But it wasn’t until fifty years lat­er that the genre explod­ed, bring­ing us Big Broth­er and, of course, Sur­vivor.

Now, make way for the unbe­liev­able and ultra-expen­sive mar­riage of real­i­ty tele­vi­sion and sci­ence fic­tion. Mars One, the brain­child of Dutch entre­pre­neur Bas Lans­dorp, plans to estab­lish a per­ma­nent human set­tle­ment on the red plan­et in 2023. First, four peo­ple would land on Mars. Every two years, anoth­er group of peo­ple would arrive. The trips would be one-way and all the set­tlers would live out the rest of their lives on Mars. Fund­ing for the first phase is esti­mat­ed at $6 bil­lion.

Mars One back­ers say rais­ing $6 bil­lion will be easy. Every four years the Sum­mer and Win­ter Olympics gen­er­ate mil­lions of dol­lars in rev­enue because peo­ple all over the world want to watch. The Olympics held in 2005 and 2008 togeth­er made near­ly $5.5 bil­lion from pro­gram­ming and spon­sor­ship.

So, what if there were an event so fas­ci­nat­ing, so unprece­dent­ed and amaz­ing, that lit­er­al­ly every tele­vi­sion, com­put­er, and smart device would be tuned in to watch? What if the entire Mars mis­sion was an inter­na­tion­al real­i­ty tele­vi­sion show? That’s the plan. Every­thing from the selec­tion of the first group of astro­nauts to the launch, land­ing, and dai­ly life on the red plan­et would be tele­vised. The audi­ence even gets to vote on the final four space trav­el­ers.

Inter­est­ed? Mars One has issued its require­ments for astro­naut selec­tion. No mil­i­tary, flight, or sci­ence expe­ri­ence required. Appli­cants must be at least 18, in good men­tal and phys­i­cal health, and will­ing to devote eight years to train­ing before begin­ning the jour­ney to their new home plan­et. Find­ing this hard to believe? The first ques­tion in Mars One’s FAQ page sort of says it all. Is this for real? Yes, the plans are for real. Whether any or every­thing Mars One imag­ines actu­al­ly takes place is anybody’s guess.

What’s cer­tain is that Mars is a hot des­ti­na­tion at the moment, and not just for aspir­ing real­i­ty stars. SpaceX fun­der and bil­lion­aire Elon Musk wants to build a city for 80,000 on Mars. While accept­ing an award from the Roy­al Aero­nau­ti­cal Soci­ety, Musk out­lined his vision to charge $500,000 per per­son to trans­port peo­ple to the new Mar­t­ian city. He’s men­tioned want­i­ng to retire on Mars and is using SpaceX as a lab to devel­op new inter­plan­e­tary rock­et tech­nol­o­gy.

But you don’t need to be rich or pop­u­lar to see some of the red plan­et. There’s also plen­ty of explor­ing to do on the sur­face of Mars from home. Cit­i­zen sci­en­tists can help Plan­et Four iden­ti­fy fans and blotch­es in images of the Mar­t­ian sur­face. The pic­tures come from a cam­era aboard the Mars Recon­nais­sance Orbiter, a NASA mis­sion to orbit Mars and trans­mit images and data to Earth using a pow­er­ful radio fre­quen­cy called the “Ka-band,” which works like an inter­plan­e­tary Inter­net.

Using sim­ple mark­ing tools, users can mark the sur­face col­orations and spots that help sci­en­tists study changes in the planet’s weath­er. So-called “spi­ders” of dry ice form on the planet’s poles in the win­ter and then lead to fan-shaped mois­ture foot­prints.

It’s fun to imag­ine that the data you cre­ate could bring us clos­er to our dis­tant neigh­bor plan­et. Unless of course you’d rather suit up and start train­ing to go there your­self. In that case, good luck and start sav­ing.

Kate Rix writes about dig­i­tal tech­nol­o­gy and edu­ca­tion. Read more of her work at .

Watch Raymond Chandler’s Long-Unnoticed Cameo in Double Indemnity

Philip Mar­lowe’s cre­ator Ray­mond Chan­dler did not, to put it mild­ly, seek out the lime­light. Any biog­ra­phy of that most assid­u­ous­ly stud­ied noir nov­el­ist can tell you so, but none can tell you that, albeit for less than a minute, Chan­dler appeared in a clas­sic of the sil­ver screen. The books have a good excuse for leav­ing out that strik­ing­ly unchar­ac­ter­is­tic detail: it took cinephiles decades to notices the cameo. “More than 60 years after its release, a French cin­e­ma his­to­ri­an and two US crime-writ­ers almost simul­ta­ne­ous­ly hap­pened on the same bizarre dis­cov­ery — that Ray­mond Chan­dler, uncred­it­ed and pre­vi­ous­ly unno­ticed, has a tiny cameo in Dou­ble Indem­ni­ty,” writes the Guardian’s Adri­an Woot­ton. “On 14 Jan­u­ary, the Amer­i­can mys­tery writer Mark Cog­gins, tipped off by anoth­er writer, John Bill­heimer, post­ed the news on his web­site, Rior­dan’s desk, while the French jour­nal­ist Olivi­er Eyquem, wrote about on his blog on March 30.”

While I per­son­al­ly rec­om­mend using this rev­e­la­tion as an excuse to watch Bil­ly Wilder’s immor­tal James M. Cain adap­ta­tion again in its entire­ty, you can view a clip of Chan­dler’s brief appear­ance in it above, which includes a slow-motion instant replay. “We will prob­a­bly nev­er know whose idea it was it to put Chan­dler in front of the cam­era, or if it took a few drinks to get him in the mood,” writes the Los Ange­les Times’ Car­olyn Kel­logg about this rare cin­e­mat­ic glimpse of the writer who did so much to earn Los Ange­les its place on the pulp-lit map. “And no one has suc­cess­ful­ly deci­phered the cov­er of what he’s read­ing, which would be nice to know too.” Alas, from this footage of lit­tle more than a seat­ed Chan­dler look­ing up from a book, we can expect to derive no seri­ous insights into his life or work; for those, we’ll need to go right back to the biogra­phies.

Relat­ed Con­tent:

Ray­mond Chan­dler & Ian Flem­ing in Con­ver­sa­tion (1958)

Ray­mond Chan­dler: There’s No Art of the Screen­play in Hol­ly­wood

The Adven­tures of Philip Mar­lowe: The Radio Episodes

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.

The ABC of Architects: An Animated Flipbook of Famous Architects and Their Best-Known Buildings

As a new-ish par­ent, I’ve been inun­dat­ed with alpha­bet books from well-mean­ing friends and fam­i­ly, and I am most grate­ful for them all. But I’m espe­cial­ly glad for a set that uses images from the Met­ro­pol­i­tan Muse­um of Art to illus­trate each let­ter. My daugh­ter gets lost in the paint­ings, prints, etch­ings, etc., and you know what? So do I. It’s that rare meet­ing of adult high art and kid for­mat­ting that keeps us both engaged.

The above video, while not strict­ly for chil­dren, could cer­tain­ly work as well. A con­cept of the Argen­tine group Ombu Archi­tec­ture and graph­ic design­er Fed­eri­co Gon­za­lez, “The ABC of Archi­tects” is a vin­tage flip­book trib­ute to the last 100 years or so in inter­na­tion­al archi­tec­ture, set to a jaun­ty, gold­en-age-of-radio score by Eugene C. Rose and George Ruble (which you can down­load for free here).

With the kind of quaint globe-hop­ping (but with­out the passé racism) of a Tintin com­ic, “The ABC of Archi­tects” skips through its list of twen­ty-six revered names from almost as many countries–from Fin­ish Alvar Aal­to to Iraqi-British Zaha Hadid. There are many names I don’t know and many famil­iar favorites. I can imag­ine this appeal­ing to preschool­ers or seri­ous stu­dents, and for some of the same rea­sons. While the cre­ators express grief at hav­ing to leave out so many artists, “The ABC of Archi­tects” is noth­ing less than joy­ous and inspir­ing.

via Dooby­Brain

h/t Jim­my Askew

Relat­ed Con­tent

The His­to­ry of West­ern Archi­tec­ture: From Ancient Greece to Roco­co (A Free Online Course)

Ice Cube & Charles Eames Rev­el in L.A. Archi­tec­ture

Archi­tec­ture in Motion

Josh Jones is a writer, musi­cian, and muse­um-hop­ping father.

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