See the Homes and Studies of Wittgenstein, Schopenhauer, Nietzsche & Other Philosophers

WittgensteinStudy1

Philoso­phers are quirky crea­tures. Some become house­hold names, in cer­tain well-edu­cat­ed house­holds, with­out any­one know­ing a thing about their lives, their loves, their apart­ments. The life of the mind, after all, rarely makes for good the­ater (or TV). And pri­or to the cre­ation of whole aca­d­e­m­ic depart­ments devot­ed to con­tem­pla­tion and region­al con­fer­ences, a philosopher’s life could be a very lone­ly one. Or so it would seem to those who shun soli­tude. But for the book­ish among us, the glimpses we have here into the well-kept homes and stud­ies of sev­er­al famous dead male Euro­pean thinkers may elic­it sighs of won­der, or envy even. It was so much eas­i­er to keep a room of one’s own neat before com­put­er para­pher­na­lia and tiny sheaves of Post-it notes clut­tered every­thing up, no?

WittgensteinStudy2

At the top of the post, we have an aus­tere space for a severe­ly aus­tere thinker, Lud­wig Wittgen­stein. His desk in Cam­bridge faces a vault­ed trip­tych of sun­lit win­dows, but the book­shelf has clear­ly been emp­tied since his stay, unless Herr Wittgen­stein pre­ferred to work free of the dis­trac­tion of oth­er people’s pub­lished work. Above, anoth­er angle reveals com­fort­able seat­ing near the fire­place, since blocked up with what appears to be an elec­tric heater, an appli­ance the ultra-min­i­mal­ist Wittgen­stein may have found super­flu­ous.

WittgensteinHouse

In addi­tion to his phi­los­o­phy, the Ger­man scion of a wealthy and eccen­tric fam­i­ly had an inter­est in pho­tog­ra­phy and archi­tec­ture, and he built his sis­ter Mar­garet a house (above) that became known for “for its clar­i­ty, pre­ci­sion, and austerity—and served as a foil for his writ­ten work.” Wittgenstein’s eldest sis­ter Hermione pro­nounced the house unliv­able, as it “seemed indeed to be much more a dwelling for the gods than for a small mor­tal like me.”

SchillerStudy

Anoth­er poly­math, cred­it­ed along with Goethe for a phase of Ger­man thought called Weimar Clas­si­cism, poet and philoso­pher Friedrich Schiller’s stu­dio in his Weimar house above presents us with a light, airy space, a stand­ing desk, and some sur­pris­ing­ly well-tend­ed fur­nish­ings. Whether they are orig­i­nal or not I do not know, but the space befits the man who wrote Let­ters Upon the Aes­thet­ic Edu­ca­tion of Man,  in which (Ford­ham Uni­ver­si­ty informs us) he “gives the philo­soph­ic basis for his doc­trine of art, and indi­cates clear­ly and per­sua­sive­ly his view of the place of beau­ty in human life.” The entire house is a study in beau­ty. A much gloomi­er char­ac­ter, whose view of humankind’s capac­i­ty for ratio­nal devel­op­ment was far less opti­mistic than Schiller’s, Arthur Schopen­hauer lived a soli­tary exis­tence, sur­round­ed by books—a life much more like the car­i­ca­ture of phi­los­o­phy. Below, see Schopenhauer’s book col­lec­tion lined up neat­ly and cat­a­logued.

SchopenhauerBooks

The façade of Schopenhauer’s birth house in Gdan­sk, below, doesn’t stand out much from its neigh­bors, none of whom could have guessed that the strange child inside would pre­pare the way for Niet­zsche and oth­er scourges of the good Chris­t­ian bour­geoisie. No doubt lit­tle Arthur received his por­tion of ridicule as he shuf­fled in and out, an odd boy with an odd hair­cut. And if Schopen­hauer didn’t actu­al­ly write the words attrib­uted to him about the “three stages of truth”—ridicule, vio­lent oppo­si­tion, and acceptance—he may have ful­ly agreed with the sen­ti­ment.

Schopenhauer_House-576x1024

Final­ly, speak­ing of Niet­zsche, we have below the Niet­zsche-Haus in Sils-Maria, Switzer­land, where the lover of moun­tain­ous climes and hater of the vul­gar rabble’s noise holed away to work in the sum­mers of 1881, 1883, and 1888. The house now con­tains an open library, one of the world’s largest col­lec­tions of books on Niet­zsche. Trip Advi­sor gives the site four-and-a-half stars, a crowd-sourced score, of course, of which Niet­zsche, I’m sure, would be proud.

nietzsche_house_sils_maria

See many more Ger­man (and some French) philoso­phers’ homes and stud­ies at The Unem­ployed Philoso­phers Guild PhLogA Piece of Mono­logue, and the excel­lent pho­tog­ra­phy site of Patrick Lakey.

Relat­ed Con­tent:

The Dai­ly Habits of High­ly Pro­duc­tive Philoso­phers: Niet­zsche, Marx & Immanuel Kant

Philoso­pher Por­traits: Famous Philoso­phers Paint­ed in the Style of Influ­en­tial Artists

Famous Philoso­phers Imag­ined as Action Fig­ures: Plun­der­ous Pla­to, Dan­ger­ous Descartes & More

Phi­los­o­phy: Free Cours­es

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

Watch After the Ball, the 1897 “Adult” Film by Pioneering Director Georges Méliès (Almost NSFW)

Cin­e­ma his­to­ry now looks back to Georges Méliès, cre­ator of 1902’s A Trip to the Moon and oth­er ear­ly motion pic­tures pre­vi­ous­ly fea­tured here, as the medi­um’s first mas­ter of the fan­tas­ti­cal. Visu­al effects, imag­ined worlds, and the seem­ing­ly impos­si­ble made seem­ing­ly real remain reli­able draws for mod­ern-day film­go­ers, but so does some­thing far sim­pler to pro­duce: skin. But Méliès knew that, and he even demon­strat­ed the extent of his knowl­edge in 1897’s After the Ball, view­able in all of its 19th-cen­tu­ry tit­il­la­tion, and for its entire 1:06 length, here. While not the very first “adult” film — that his­tor­i­cal hon­or goes to Eugène Pirou’s Bed­time for the Bride in France, and Esmé Collings’ A Vic­to­ri­an Lady in Her Boudoir in Britain — it must count as the ear­li­est one by such a dis­tin­guished film­mak­er. And it’s the only one of the three men­tioned here you can watch online.

Michael Brooke’s Georges Méliès blog describes the action, shall we say, as fol­lows: “A woman enters her boudoir, and her maid helps her to undress, peel­ing off her out­er gar­ments until she is clad in a shift and stock­ings. She sits down, and the maid helps remove the lat­ter. Almost naked aside from skimpy under­wear, the woman gets into a tub and the maid pours the con­tents of a large jug over her, dry­ing her off with a tow­el after­wards. They leave the room togeth­er.” While mod­ern-day adult film­mak­ers can and do con­tin­ue to dine out on such premis­es, After the Ball’s ren­di­tion of the cir­cum­stances now looks tame enough to play freely on Youtube. Brooke adds that this film, along with Collings’ and prob­a­bly Pirou’s, was “mar­ket­ed as being suit­able for pri­vate screen­ings to broad-mind­ed bach­e­lors.” Méliès’ con­tri­bu­tion to this inno­va­tion must have made for a few worth­while fin de siè­cle bach­e­lor par­ties.

Relat­ed Con­tent:

A Trip to the Moon (and Five Oth­er Free Films) by Georges Méliès, the Father of Spe­cial Effects

Broke­back Before Broke­back: The First Same-Sex Kiss in Cin­e­ma (1927)

Silent & Sound Shake­speare: Watch the Very First Film Adap­ta­tions of the Bard (1899–1936)

Watch The Plea­sure Gar­den, Alfred Hitchcock’s Very First Fea­ture Film (1925)

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.

Steven Soderbergh Posts a List of Everything He Watched and Read in 2009

Steven_Soderbergh_at_the_66th_Mostra

Fol­low­ing his retire­ment from film­mak­ing ear­li­er this year, Steven Soder­bergh has filled his time with some inter­est­ing endeav­ors. He tweet­ed an entire novel­la, and now he has post­ed a log of all the films and tele­vi­sion shows he watched, and all the books and plays he read, in 2009.

As you will see in the log (below), Soder­bergh spent much of that year in prepa­ra­tion for the sched­uled June shoot of his adap­ta­tion of Michael Lewis’s book Mon­ey­ball, which was abrupt­ly shut down only days before shoot­ing was to begin, due to dis­agree­ments over revi­sions to Steven Zaillian’s screen­play. Soder­bergh read the book for the sec­ond, third, and fourth time, as well as much of the work of base­ball sta­tis­ti­cian Bill James, includ­ing every abstract James pub­lished from 1977 to 1988.

The remain­der of his 2009 read­ing is a mix of non-fic­tion (Mark Harris’s Pic­tures at a Rev­o­lu­tion to Mark Helprin’s Dig­i­tal Bar­barism: A Writer’s Man­i­festo) and works of fic­tion by Nichol­son Bak­er, Don­ald Barthelme, and Thomas Pyn­chon.

More inter­est­ing is his film and tele­vi­sion log, which alter­nates between cur­rent Hol­ly­wood and indie releas­es and clas­sic Hol­ly­wood titles. The list should be no sur­prise com­ing from a film­mak­er repeat­ed­ly called a styl­is­tic chameleon. Should we be sur­prised he fol­lows a Ken Rus­sell phase with The Lone Ranger? Or that he’s just like us and binge-watch­es Break­ing Bad?

The log also sheds light on the post-pro­duc­tion process of two of his films released in 2009, The Girl­friend Expe­ri­ence and The Infor­mant, the for­mer viewed three times, the lat­ter four. Was his repeat­ed view­ing of Being There inspi­ra­tion? Or is it sim­ply one of his favorite films?

This is not the first time Soder­bergh revealed his view­ing log. In 2011, he gave Stu­dio 360’s Kurt Ander­son his 2010 log, which includ­ed twen­ty view­ings of his film Hay­wire and sev­er­al Raiders of the Lost Ark, in black and white.

See the full 2009 list below.

SEEN, READ 2009

All caps: MOVIE
All caps, star: TV SERIES*
All caps, ital­ics: BOOK
Quo­ta­tion marks: “Play”

1/1/09 VALKRYIE, THE GODFATHER

1/4/09 REMAINDER, Tom McCarthy

1/7/09 BURN AFTER READING

1/10/09 MADE IN USA, STATE AND MAIN

1/13/09 BEING THERE

1/14/09 THE INFORMANT, THE GIRLFRIEND EXPERIENCE

1/15/09 ARSENALS OF FOLLY, Richard Rhodes

1/24/09 THE GRAND, JAWS

1/25/09 THE HOT ROCK

1/27/09 SOLITARY MAN

1/30/09 THE APARTMENT, MONEYBALL (2) Michael Lewis

2/3/09 THE INFORMANT

2/6/09 “The Removal­ists”

2/7/09 “The War of the Ros­es, Part One”, THE GIRLFRIEND EXPERIENCE

2/8/09 THINGS I DIDN’T KNOW, Robert Hugh­es, FIVE EASY PIECES

2/9/09 SOLITARY MAN

2/11/09 MONEYBALL (3)

2/11/09 “The Talk­ing Cure”, Christo­pher Hamp­ton

2/14/09 HISTORICAL BASEBALL ABSTRACT, Bill James. CORALINE, W., REBECCA.

2/15/09 FROZEN RIVER, WHATEVER HAPPENED TO COOPERSTOWN, Bill James.

2/18/09 BEING THERE

2/20/09 THE OSCAR

2/21/09 PANIC ROOM, THE PARALLAX VIEW

2/22/09 THE BRIDE WORE BLACK

2/23/09 1977, ’78, ’79 BASEBALL ABSTRACT, Bill James.

2/23/09 1980 BASEBALL ABSTRACT, Bill James.

2/26/09 1981 BASEBALL ABSTRACT, Bill James.

2/26/09 PICTURES AT A REVOLUTION, Mark Har­ris.

2/27/09 REDS (part one)

2/25/09 thru 2/29/09 1982, ’83, ’84, ’85 BASEBALL ABSTRACT, Bill James.

3/01/09 1986, ’87, ’88 BASEBALL ABSTRACT, Bill James.

3/02/09 EUROPA

3/04/09 FOREIGN CORRESPONDENT

3/06/09 THE MAN WHO FELL TO EARTH

3/07/09 ELECTION, THE VERDICT

3/08/09 NO WAY OUT

3/09/09 MONEYBALL (4), Michael Lewis

3/10/09 THE INFORMANT, THE MEN WHO STARE AT GOATS, THE INFORMANT

3/12/09 BREAKING BAD* (pilot)

3/15/09 BREAKING BAD* (2 episodes)

3/16/09 BREAKING BAD* (2 episodes)

3/17/09 BREAKING BAD* (2 episodes)

3/18/09 IL DIVO, MISSISSIPPI MERMAID

3/19/09 THE THOMAS CROWN AFFAIR (’68)

3/20/09 DUPLICITY, GOMORRAH

3/21/09 APPETITE FOR SELF-DESTRUCTION, Steve Knop­per

3/22/09 GATTACA

3/26/09 THE CENTER CANNOT HOLD, Elyn Saks, BREAKING BAD* (1 episode)

3/27/09 AGATHA, MADEMOISELLE, BREAKING BAD* (2 episodes)

3/29/09 WAS CLARA SCHUMANN A FAG HAG?, David Watkin, POINT BLANK, BREAKING BAD* (2 episodes)

3/30/09 LET THE RIGHT ONE IN

3/31/09 FORBIDDEN PLANET

4/02/09 THE GIRLFRIEND EXPERIENCE, SWEET SMELL OF SUCCESS

4/05/09 BREAKING BAD* (1 episode), NEXT STOP GREENWICH VILLAGE

4/06/09 AMERICAN GRAFFITI

4/10/09 HOUSE OF GAMES

4/11/09 CARNAL KNOWLEDGE

4/12/09 BREAKING BAD* (1 episode)

4/15/09 ANIMAL SPIRITS; HOW HUMAN PSYCHOLOGY DRIVES THE ECONOMY, AND WHY IT MATTERS FOR GLOBAL CAPITALISM, George A. Akerlof & Robert Shiller

4/17/09 ROCKNROLLA

4/18/09 SEXY BEAST

4/19/09 THE FORTUNE, THIS IS WATER, David Fos­ter Wal­lace, BREAKING BAD* (1 episode)

4/21/09 GOLDFINGER

4/23/09 2001: A SPACE ODYSSEY

4/24/09 BREAKING BAD* (1 episode)

5/01/09 THE RACE CARD, Richard Thomp­son Ford

5/02/09 WHERE THE DEAD LAY, David Levien, CONVERSATIONS WITH MARLON BRANDO, Lawrence Gro­bel.

5/03/09 STRAW; FINDING MY WAY, Dar­ryl Straw­ber­ry, BREAKING BAD* (1 episode)

5/06/08 THE RIDICULOUS RACE, Steve Hely & Vali Chan­drasekaran.

5/08/09 CONVERSATIONS WITH ROBERT EVANS, Lawrence Gro­bel

5/09/09 SHAMPOO, THE FRENCH LIEUTTENANT’S WOMAN

5/11/09 COLUMBINE, Dave Cullen

5/14/09 BREAKING BAD* (1 episode), JAWS

5/16/09 THE BROTHERS BLOOM

5/18/09 BREAKING BAD* (1 episode), TAKEN, ERASERHEAD

5/20/09 40 STORIES, Don­ald Barthelme

5/24/09 DIGITAL BARBARISM, Mark Hel­prin, BREAKING BAD* (1 episode), TRANSSIBERIAN

5/31/09 THREE DAYS OF THE CONDOR, DRAG ME TO HELL, BREAKING BAD* (1 episode)

6/02/09 THE CULT OF THE AMATEUR, Andrew Keen

6/04/09 3 NIGHTS IN AUGUST, Buzz Bissinger

6/06/09 THE HANGOVER, MISSION: IMPOSSIBLE

6/21/09 MOON

6/23/09 THE FORTUNE COOKIE

6/26/09 THE HURT LOCKER, BARRY LYNDON

6/27/09 THE GRADUATE

6/28/09 BEING THERE

6/29/09 2001: A SPACE ODYSSEY

7/01/09 SUNSET BOULEVARD

7/02/09 CLOSE ENCOUNTERS OF THE THIRD KIND

7/03/09 PUBLIC ENEMIES

7/04/09 THE KILLING OF SISTER GEORGE

7/07/09 TWO LOVERS

7/08/09 THE EMPEROR’S NAKED ARMY MARCHES ON, THE FAILURE, James Greer.

7/09/09 HUMAN SMOKE, Nichol­son Bak­er

7/10/09 SLAP SHOT

7/11/09 BRUNO

7/12/09 THE PRIVATE LIFE OF SHERLOCK HOLMES, PERSONA, THE CHARGE OF THE LIGHT BRIGADE (’68), ELGAR*, THE DEBUSSY FILM*, PYGMY, Chuck Palah­niuk

7/14/09 ALWAYS ON SUNDAY*, ISADORA: THE BIGGEST DANCER IN THE WORLD*

7/15/09 DANTE’S INFERNO*, ALTERED STATES

7/16/09 THE LONE RANGER

7/17/09 THE LONE RANGER AND THE CITY OF LOST GOLD

7/18/09 GET SHORTY

7/26/09 ORPHAN, REPULSION

7/27/09 THE HOSPITAL

7/30/09 THE COLLECTOR (’65)

7/31/09 ZODIAC, SONG OF SUMMER*, MUSICOPHILIA, Oliv­er Sacks

8/01/09 A PERFECT MURDER

8/02/09 VOX, NIchol­son Bak­er, CACHE

8/03/09 ADVISE AND CONSENT

8/05/09 THE LONG GOODBYE

8/06/09 THE RED SHOES

8/08/09 INHERENT VICE, Thomas Pyn­chon, UNMAN, WITTERING, AND ZIGO, ELECTRA GLIDE IN BLUE, THE ASCENT OF MONEY*, THE SHINING

8/13/09 THIEVES LIKE US, REDS (part two)

8/15/09 CHINATOWN, CITIZEN RUTH

8/16/09 DISTRICT 9, MADE MEN* (1 episode)

Justin Alvarez is the dig­i­tal direc­tor of The Paris Review. His work has appeared in Ploughshares, Guer­ni­ca, and Flatmancrooked’s Slim Vol­ume of Con­tem­po­rary Poet­ics. Fol­low him at @Alvarez_Justin.

In His Latest Film, Slavoj Žižek Claims “The Only Way to Be an Atheist is Through Christianity”

For some time now, Slavoj Žižek has been show­ing up as an author and edi­tor of the­ol­o­gy texts along­side ortho­dox thinkers whose ideas he thor­ough­ly nat­u­ral­izes and reads through his Marx­ist lens. Take, for exam­ple, an essay titled, after the Catholic G.K. Chester­ton, “The ‘Thrilling Romance of Ortho­doxy’ ” in the 2005 vol­ume, part­ly edit­ed by Žižek, The­ol­o­gy and the Polit­i­cal: The New Debate. In Chesterton’s defense of Chris­t­ian ortho­doxy, Žižek sees “the ele­men­tary matrix of the Hegelian dialec­ti­cal process.” While “the pseu­do-rev­o­lu­tion­ary crit­ics of reli­gion” even­tu­al­ly sac­ri­fice their very free­dom for “the athe­ist rad­i­cal uni­verse, deprived of reli­gious ref­er­ence… the gray uni­verse of egal­i­tar­i­an ter­ror and tyran­ny,” the same para­dox holds for the fun­da­men­tal­ists. Those “fanat­i­cal defend­ers of reli­gion start­ed with fero­cious­ly attack­ing the con­tem­po­rary sec­u­lar cul­ture and end­ed up for­sak­ing reli­gion itself (los­ing any mean­ing­ful reli­gious expe­ri­ence).”

For Žižek, a mid­dle way between these two extremes emerges, but it is not Chester­ton’s way. Through his method of teas­ing para­dox and alle­go­ry from the cul­tur­al arti­facts pro­duced by West­ern reli­gious and sec­u­lar ideologies—supplementing dry Marx­ist analy­sis with the juicy voyeurism of psychoanalysis—Žižek finds that Chris­tian­i­ty sub­verts the very the­ol­o­gy its inter­preters espouse. He draws a con­clu­sion that is very Chester­ton­ian in its iron­i­cal rever­sal: “The only way to be an athe­ist is through Chris­tian­i­ty.” This is the argu­ment Žižek makes in his lat­est film, The Pervert’s Guide to Ide­ol­o­gy. In the clip above, over footage from Scorsese’s The Last Temp­ta­tion of Christ, Žižek claims:

Chris­tian­i­ty is much more athe­ist than the usu­al athe­ism, which can claim there is no God and so on, but nonethe­less it retains a cer­tain trust into the Big Oth­er. This Big Oth­er can be called nat­ur­al neces­si­ty, evo­lu­tion, or what­ev­er. We humans are nonethe­less reduced to a posi­tion with­in the har­mo­nious whole of evo­lu­tion, what­ev­er, but the dif­fi­cult thing to accept is again that there is no Big Oth­er, no point of ref­er­ence which guar­an­tees mean­ing.

The charge that Chris­tian­i­ty is a kind of athe­ism is not new, of course. It was levied against the ear­ly mem­bers of the sect by Romans, who also used the word as a term of abuse for Jews and oth­ers who did not believe their pagan pan­theon. But Žižek means some­thing entire­ly dif­fer­ent. Rather than using athe­ism as a term of abuse or mak­ing a delib­er­ate attempt to shock or inflame, Žižek attempts to show how Chris­tian­i­ty dif­fers from Judaism in its rejec­tion of “the big oth­er God” who hides his true desires and inten­tions, caus­ing immense anx­i­ety among his fol­low­ers (illus­trat­ed, says Žižek, by the book of Job). This is then resolved by Chris­tian­i­ty in an act of love, a “res­o­lu­tion of rad­i­cal anx­i­ety.”

And yet, says Žižek, this act—the crucifixion—does not rein­state the meta­phys­i­cal cer­tain­ties of eth­i­cal monothe­ism or pop­ulist pagan­ism. “The death of Christ,” says Žižek, “is not any kind of redemp­tion… it’s sim­ply the dis­in­te­gra­tion of the God which guar­an­tees the mean­ing of our lives.” It’s a provoca­tive, if not par­tic­u­lar­ly orig­i­nal, argu­ment that many post-Niet­zschean the­olo­gians have arrived at by oth­er means. Žižek’s read­ing of Chris­tian­i­ty in The Pervert’s Guide to Ide­ol­o­gy—along­side his copi­ous writ­ing and lec­tur­ing on the subject—constitutes a chal­lenge not only to tra­di­tion­al the­is­tic ortho­dox­ies but also to sec­u­lar human­ism, with its qua­si-reli­gious faith in progress and empir­i­cal sci­ence. Of course, his cri­tique of the vul­gar cer­tain­ties of ortho­doxy should also apply to ortho­dox Marx­ism, some­thing Žižek’s crit­ics are always quick to point out. Whether or not he’s suf­fi­cient­ly crit­i­cal of his com­mu­nist vision of real­i­ty, or has any­thing coher­ent to say at all, is a point I leave you to debate.

via Bib­liok­lept

Relat­ed Con­tent:

Slavoj Žižek’s Pervert’s Guide to Ide­ol­o­gy Decodes The Dark Knight and They Live

Noam Chom­sky Slams Žižek and Lacan: Emp­ty ‘Pos­tur­ing’

A Shirt­less Slavoj Žižek Explains the Pur­pose of Phi­los­o­phy from the Com­fort of His Bed

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

Prickly Ernest Hemingway Returns Letter to Critic: “Wipe Your Royal Irish Ass On It. You Are Stupid” (1931)

Despite being the paragon of imper­turbable mas­culin­i­ty of his time, Ernest Hem­ing­way had a high­ly sen­si­tive artis­tic tem­pera­ment. Nowhere did he exhib­it this more than when dis­cussing his writ­ing. Papa did not suf­fer fools glad­ly, and lit­er­ary crit­ics tend­ed to fare even worse. After Max East­man dared to write, “Come out from behind that false hair on your chest, Ernest. We all know you,” Hem­ing­way was report­ed to have slapped him with a book. When Orson Welles—a cin­e­mat­ic fire­brand in his own right—decid­ed to chide Hem­ing­way about his script, the author took a swing.

In this YouTube clip, the crit­ic seems to have got­ten away with mere­ly a ver­bal wal­lop. Although there is no video, the audio is clear, and we hear Hemingway’s mea­sured bari­tone read­ing, then com­ment­ing on, an Irish critic’s review that he had received in 1931:

‘Your book lies upon my table. I have fin­ished read­ing it, and I eye it dubi­ous­ly.’ You’ve got a nice eye, boy!

‘The pages are cut rather uneven­ly.’ Nice work, you’re in there.

‘The stiff cov­ers and the bind­ing are nor­mal, I think.’ Who are you, kid?

‘The sig­na­ture on the cov­er is stamped in gold, or what looks like gold. There is noth­ing print­ed on the back side of the jack­et.’ Your own back­side.

The review­er, one Wal­ter H. McK­ay, fails to probe beyond the book’s bind­ing, and Hem­ing­way, in his typ­i­cal style, terse­ly rips him a new one (bonus points if you noticed Hem’s Joycean turn of phrase).

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture writer. Fol­low him at @iliablinderman

Relat­ed Con­tent: 

Hem­ing­way to Fitzger­ald: “Kiss My Ass”

Ernest Hem­ing­way Cre­ates a Read­ing List for a Young Writer, 1934

Ernest Hemingway’s Favorite Ham­burg­er Recipe

Watch The New America, a Stop Motion Animation Starring 800+ Laser Engraved Wood Blocks

A Pacif­ic North­west artist becomes infat­u­at­ed with the process of laser engrav­ing wood and hatch­es a plan for a stop motion ani­ma­tion fea­tur­ing hun­dreds of engraved maple blocks that can lat­er be mailed as rewards to his pro­jec­t’s Kick­starter donors.

Fans of the tele­vi­sion show Port­landia may find them­selves expe­ri­enc­ing a false sense of deja vu. Remark­ably, Nan­do Cos­ta is not the inven­tion of come­di­an Fred Armisen. He’s a real per­son, and two years ago, whilst liv­ing in Port­land, he glee­ful­ly embarked on what proved to be a very ambi­tious and time-con­sum­ing project.

The sort of project a guy with his skills and expe­ri­ence could have knocked out in a cou­ple of months had the cho­sen mate­ri­als been mag­ic mark­ers or clay.

Two years and some 800 wood blocks lat­er, The New Amer­i­ca is final­ly avail­able for view­ing, all two min­utes and 37 sec­onds of it. Cos­ta describes the abstract sto­ry­line as “a union between con­cepts and exper­i­ments born dur­ing the Sit­u­a­tion­ist move­ment and real life events expe­ri­enced dur­ing the last few years in Amer­i­can soci­ety. Par­tic­u­lar­ly the dual­i­ty between the eco­nom­ic down­turn and the shift in val­ues and beliefs of many cit­i­zens.”

In oth­er words, it’s unlike­ly to cap­ture the pub­lic’s imag­i­na­tion in the same way as Worst Twerk Fail EVER — Girl Catch­es Fire!

Respond­ing to well wishers—many of whom backed the project on Kickstarter—Costa is gracious…and exhaust­ed.

“It was a lot of hard work and stress,” he tells one admir­er in the com­ments sec­tion of his vimeo chan­nel, adding that more plan­ning would go into any future efforts. Despite his suc­cess­ful Kick­starter cam­paign the project went way over bud­get, and his wife was not thrilled to be shar­ing her home with all those 8 x 4.5 inch maple pan­els. (A few of them are avail­able for pur­chase on etsy, but it’s artist’s choice. Remem­ber what hap­pened when Bart Simp­son stole his dad’s cred­it card to order a gen­uine Itchy and Scratchy ani­ma­tion cel off the Impulse Buy­ing Net­work.)

For now, Cos­ta is con­tent to focus on a new job and set­tling into a new house after a recent move to Seat­tle. After that, per­haps an ani­ma­tion that would involve laser-cut paper, but that, he says, would require research.

Relat­ed Con­tent:

“The Peri­od­ic Table Table” — All The Ele­ments in Hand-Carved Wood

Vin­tage Footage of Picas­so and Jack­son Pol­lock Paint­ing … Through Glass

Watch Cab­bit: A Hand­made Ani­ma­tion by Cross­hatch Artist, Soo­gie

Ayun Hal­l­i­day dreams of ani­mat­ing some­thing or oth­er with dry erase mark­ers one of these days. Fol­low her @AyunHalliday

80s Pop Singer Jimmy Somerville Surprises German Street Musician as the Busker Sings Somerville’s Hit

The 80s saw a num­ber of hits by most­ly UK synth-pop and new wave bands with promi­nent gay mem­bers (whether their fans knew it or not) like Cul­ture Club, Soft Cell, Frankie Goes to Hol­ly­wood, and Wham!. One of the most impres­sive­ly tal­ent­ed singers on this bur­geon­ing 80s dance scene was Scot­tish musi­cian Jim­my Somerville who defined the tremu­lous falset­to dis­co sound of bands like Bron­s­ki Beat and the Com­mu­nards. Somerville’s first hit, 1984’s “Small­town Boy,” was some­thing of an ear­ly “It Gets Bet­ter” mes­sage cou­pled with a hard-edged dance-pop sound and a very auto­bi­o­graph­i­cal video (below). The song, writes All­mu­sic, dealt open­ly with Somerville’s sex­u­al­i­ty, “a recur­ring theme [in his work] that met with sur­pris­ing­ly lit­tle com­mer­cial resis­tance.”

Today, Somerville lives in Berlin with his dog, and he’s still got that tremen­dous set of pipes. A Berlin street musi­cian found this out recent­ly while busk­ing “Small­town Boy” on an acoustic gui­tar, and bystanders hap­pened to catch it on video (at top). As the young street per­former hits the cho­rus, up walks Somerville to casu­al­ly join in. The singer starts over and they fin­ish the song in har­mo­ny. The more cyn­i­cal cor­ners of the inter­net swear the whole thing’s staged, per­haps for a Somerville come­back, but I like to think it’s gen­uine serendip­i­ty, espe­cial­ly at the end as the Ger­man busker sud­den­ly has a flash of recog­ni­tion: “it’s you?” he asks. “It’s me,” says Somerville, “it’s a hit.”

via Gawk­er

Relat­ed Con­tent:

Lenny Kravitz Over­hears High School Kids Play­ing His Music and Sur­pris­es Them by Join­ing In

Street Artist Plays Leonard Cohen’s “Hal­lelu­jah” With Crys­tal Glass­es

Neil Young Busk­ing in Glas­gow, 1976: The Sto­ry Behind the Footage

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

James Brown Saves Boston After Martin Luther King’s Assassination, Calls for Peace Across America (1968)

Dr. Mar­tin Luther King, Jr.’s death could not have been more dev­as­tat­ing to African Amer­i­can com­mu­ni­ties across the coun­try hop­ing to see the civ­il rights leader live to build on the suc­cess­es of the move­ment. Despite King’s painful­ly prophet­ic “I’ve Been to the Moun­tain­top” speech the day before his assas­si­na­tion in Mem­phis Ten­nessee, most peo­ple hoped to see him fin­ish the work he’d begun. Those hopes were dashed on April, 4 1968. After King’s death, embit­tered and embat­tled minori­ties in cities North and South erupt­ed in riot­ing. Boston—a city of de fac­to seg­re­ga­tion to rival Birmingham’s—seemed poised to blow up as well  in the Spring of ’68, its “race rela­tions… already on a short fuse.” As pub­lic radio pro­gram Week­end Amer­i­ca describes the con­di­tions:

The ten­sion had been esca­lat­ing in the mid-60s as the city began to deseg­re­gate its pub­lic schools. The may­oral race in 1967 pit­ted a lib­er­al reformer, Kevin White, against Louise Day Hicks, an oppo­nent of deseg­re­ga­tion. Hicks ran under the eva­sive slo­gan “You know where I stand.” White won the race by less than 12,000 votes.

In this stark­ly divid­ed city, James Brown went onstage to per­form the day after King’s death, and it seems, whether that impres­sion is his­tor­i­cal­ly accu­rate or not, that Brown sin­gle-hand­ed­ly quelled Boston’s unrest before it spilled over into riot­ing.

The city’s politi­cians may have had some­thing to do with it as well. Before Brown took the micro­phone, the nar­row­ly-elect­ed May­or White addressed the rest­less crowd (top), ask­ing them to pledge that “no mat­ter what any oth­er com­mu­ni­ty might do, here in Boston, we will hon­or Dr. King’s lega­cy in peace.” After Coun­cilor Tom Atk­in’s lengthy intro­duc­tion and the may­or’s short speech, the audi­ence seems recep­tive, if eager to get the show on.

The archival footage was shot by Boston’s WGBH, who broad­cast Brown’s per­for­mance that night. (The clip comes from a VH1 “rock­u­men­tary” called, fit­ting­ly, “The Night James Brown Saved Boston.”) Not long after the band kicked in, the scene became chaot­ic after a Boston police offi­cer shoved a young man off the stage. Brown inter­vened, calm­ing the cops and the crowd. His drum­mer John Starks remem­bers it this way: “It was almost at a point where some­thing bad was going to hap­pen. And he said [to the police] ‘Let me talk to them.’ He had that pow­er.” In the clip above, watch con­cert­go­ers and oth­er band­mem­bers describe their impres­sions of Brown’s “pow­er” to reach the crowd.

Brown’s calm­ing effect went beyond this par­tic­u­lar gig. See him in the footage above address an audi­ence in Wash­ing­ton, D.C. two days after King’s death. “Edu­ca­tion is the answer,” he says, and sets up his own excep­tion­al boos­t­rap­ping rise from pover­ty as a mod­el to emu­late (“today, I own that radio sta­tion”). And WFMU’s Beware of the Blog brings us the audio below, from the year before King’s death—a time still fraught with spo­radic riots and nation­wide unrest against a sys­tem increas­ing­ly per­ceived as oppres­sive, cor­rupt, and beyond reform.

On the record, which was “prob­a­bly dis­trib­uted to radio sta­tions only,” Brown makes an impas­sioned plea for “black peo­ple, poor peo­ple” to “orga­nize” against their con­di­tions, rather than riot. While the mes­sage from “Soul Broth­er Num­ber One”—a title he accepts with humil­i­ty above—failed to douse the flames in cities like Wash­ing­ton, DC, Detroit, Chica­go, and Louisville, KY, and over 100 oth­ers after King’s mur­der, in Boston, the audi­ence at his con­cert and the peo­ple watch­ing at home on tele­vi­sion seemed to heed his calls for non­vi­o­lence. “Boston,” writes Week­end Amer­i­ca, “remained qui­et.”

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