Why do I check into Metafilter every day? Just so that I don’t miss a post like this. A Metafilter community member who goes by the name of “Going to Maine” has pulled together a list of Thirty Errol Morris movies that can be streamed on YouTube. The list includes some of Morris’ major documentaries, but also many excellent short films (and interviews) directed by Morris over the years. Above, you can see “Team Spirit,” a bizarre little film Morris made for ESPN about fans who are deadly serious about sports. In fact, they take their love of sports right to the grave. Below, you can find various other Morris films we’ve featured over the years. They otherwise reside in our collection of Free Documentaries, a subset of our Free Movies collection.
You surely heard plenty about Shakespeare’s birthday yesterday. But did you hear about Shakespeare’s beehive? No, the Bard didn’t moonlight as an apiarist, though in his main line of work as a poet and dramatist he surely had to consult his dictionary fairly often. The question of whether humanity has an identifiable copy of such an illustrious reference volume gets explored in the new book Shakespeare’s Beehive: An Annotated Elizabethan Dictionary Comes to Lightby bookseller-scholars George Koppelman and Daniel Wechsler. In their study, they reveal that they may have come into possession of Shakespeare’s very own copy of Baret’s Alvearie, a popular classical quote-laden English-Latin-Greek-French dictionary the man who wrote King Lear would have found “the perfect tool, a honey-combed beehive of possibilities that may not have formed his way of thinking, but certainly fed his appetite and nourished his selection.” He would have, at least, if indeed he owned it. Some solid Shakespeare scholarship points toward his owning a copy of Baret’s Alvearie, but did he own this one, the richly annotated one these guys found on eBay?
Experts haven’t exactly stepped forward in force to back up their claim. Plausible objections include, as Adam Gopnik puts it in a (subscribers-only) New Yorker piece on this Alvearie in particular and humanity’s desire for Shakespearean artifacts in general: “the handwriting just doesn’t look like Shakespeare’s,” “since Shakespeare wrote Elizabethan English, any work of Elizabethan English is going to contain echoes of Shakespeare,” and, of all possible annotators of this particular physical book, Shakespeare “is a prime candidate only because we don’t know the names of all the other bird-loving, inquisitive readers who also liked their dabchicks and their French verbs.” Still, in a striking act of openness, Koppelman and Wechsler have made their — and Shakespeare’s? — Alvearie available for your digital perusal on their site. You have to register as a member first, but then you can draw your own conclusions about Koppelman and Weschler’s discovery — or, as even they call it, their “leap of faith.” Overenthusiastic words, perhaps, but seldom do either successful antiquarian book dealers or dedicated Shakespeare fans lack enthusiasm.
It was only a matter of time before the folks at Google Cultural Institute wandered down the road in Mountain View to visit the Computer History Museum. Together they’ve taken on a slim little subject, Revolution: The First 2000 Years of Computing
Unlike the best Cultural Institute exhibits (the fall of the Iron Curtain and the dazzling array of other art and history collections come to mind) this one doesn’t do enough to leverage video to bring the material to life. It’s a breezy little tour from the humble (but effective) abacus to punched cards, magnetic discs and the dawn of miniaturization and networking.
But nothing about how the Internet developed, leading to the Web and, now, the Internet of Everything?
I’ll admit that I learned a few things. I hadn’t heard of the design-forward Cray 1 supercomputer with its round tower (to minimize wire lengths) and bench to discretely hide power supplies. The Xerox Alto came with consumer friendly features including a mouse, email and the capacity to print exactly what was on the screen. The unfortunate acronym for this asset wasWYSIWYG (What You See Is What You Get).
I had also never heard about the Utah teapot, a picture of a gleaming white ceramic urn used for 20 years as the benchmark for realistic light, shade and color in computer-generated images.
“>http://youtu.be/amRQ-xfCuR4
More interesting, and up to the Cultural Institute’s standards, is the exhibit built in partnership with the National Museum of Computing in Buckinghamshire, England. It’s a fascinating piece of history, focusing on Hitler’s efforts to encrypt messages during the war and stump the Allied forces. He commissioned construction of a super-sophisticated machine (not Enigma, if you’re thinking of that). The machine was called Lorenz and it took encryption to an entirely new level.
“>http://youtu.be/knXWMjIA59c
British linguists and others labored to manually decipher the messages. Attempts to speed the process led to development of Colossus, the world’s first electronic comuter. The project was kept secret by the British government until 1975.
Kate Rix writes about education and digital media. Follow her on Twitter.
From the 20/20 point of view of the present, Joseph Stalin was one of the 20th century’s great monsters. He terrified the Soviet Union with campaign after campaign of political purges, he moved whole populations into Siberia and he arguably killed more people than Hitler. But it took decades for the scope of his crimes to get out, mostly because, unlike Hitler, Stalin stuck to killing his own people.
In early 1930s, however, Stalin was considered by many to be the leader of the future. That period was, of course, the nadir of the Great Depression. Capitalism seemed to be coming apart at the seams. The USSR promised a new society ruled not by the oligarchs of Wall Street but by the people — a society where everyone was equal.
Wells opens the piece by stating that he speaks for the common people. While that point is debatable — Stalin calls him out on that assertion – Wells does speak in a manner that is readily understandable. Stalin, in contrast, speaks in fluent Politburo. The blandness of his speech, choked with Communist boilerplate, seems designed to make the listener tune out. But then he drops little bon mots into his monologues that hint at the violence he has unleashed on his country. Take this line for instance:
Revolution, the substitution of one social system for another, has always been a struggle, a painful and a cruel struggle, a life-and-death struggle.
It’s a chilling line. Especially when you consider that at the time of this interview, Stalin was just starting to launch his first wave of political purges and he was plotting to assassinate his main political rival Sergei Kirov.
As the interview unfolds, you can imagine Wells growing increasingly frustrated by Stalin’s narrow, dogmatic view of the world. The Soviet leader, as Wells later wrote in his autobiography, “has little of the quick uptake of President Roosevelt and none of the subtlety and tenacity of Lenin. … His was not a free impulsive brain nor a scientifically organized brain; it was a trained Leninist-Marxist brain.”
At several points in the interview Wells challenges Stalin: “I object to this simplified classification of mankind into poor and rich,” the author fumes.
And when Stalin doesn’t agree with Wells that the Capitalist system was on its last legs, the author actually chides him for not being revolutionary enough. “It seems to me that I am more to the Left than you, Mr. Stalin; I think the old system is nearer to its end than you think.” Now that’s chutzpah.
In the end, the interview presents a dueling version of the future of the left. Wells believed, in essence, that the Capitalist world only needed to be reformed, albeit drastically, to achieve economic justice. And Stalin argued that Capitalism had to be torn down completely before any other reform could take place.
In spite of their differences, Wells left the interview with a positive impression of the Soviet leader. “I have never met a man more fair, candid, and honest,” he wrote.
Wells died in 1946 before the worst of Stalin’s crimes became known to the outside world. Stalin died in 1953. Following a stroke, his body remained on the floor in a pool of urine for hours before a doctor was called. His minions were terrified that he might wake up and order their execution.
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.
Last summer we told you that the J. Paul Getty Museum launched its Open Content Program by taking 4600 high-resolution images from the Getty collections, putting them into the public domain, and making them freely available in digital format. We also made it clear — there would be more to come.
Yesterday, the Getty made good on that promise, adding another 77,000 images to the Open Content archive. Of those images, 72,000 come from the Foto Arte Minore collection, a rich gallery of photographs of Italian art and architecture, taken by the photographer and scholar Max Hutzel (1911–1988).
All images in the Getty Open Content program — now 87,000 in total — can be downloaded and used without charge or permission, regardless of whether you’re a scholar, artist, art lover or entrepreneur. The Getty only asks that you give them attribution.
You can start exploring the complete collection by visiting the Getty Search Gateway. Images can also be accessed via the Museum’s Collection webpages. Be sure to look for the “download” link near the images.
For more information on the Open Content program, please visit this page. For more open content from museums, see the links below.
The true fan of a writer desires not just that writer’s complete works, even if they all come signed and in first editions. No — the enthusiast most dedicated to their literary luminary of choice must have, in addition, the books written by that author, those owned by that author, preferably anointed with liberal quantities of revealing marginalia. In the case of such relatively recently deceased writers as David Markson, the whole of whose well-annotated personal library got donated to The Strand shortly after his passing, you can sometimes actually come to possess such treasures. In the case of poet Sylvia Plath, part of a page of whose copy of F. Scott Fitzgerald’s The Great Gatsby you see above, you might have a trickier time getting your hands on them. Justin Ray’s post at Complex, which quotes Plath as calling Fitzgerald “a word painter with a vivid palette” who chooses words with “jewel-cut precision,” has more on the book and its markings.
“Plath studied a crap-ton of literature in school,” Ray writes. “It isn’t immediately clear whether she was in high school or college when she annotated Gatsby,” but whenever she did it, she underlined “Daisy’s prediction of what her daughter will be like” with the word “L’Ennui,” a word she would use to name an early poem that reflects “a post romanticism and the death of idealism, two ideas also in Gatsby, according to an essay by Anna Journey.” Elsewhere, you can also read “Princess Daisy,” Park Bucker’s piece on Plath’s annotated Gatsby. “The volume represents a fascinating piece of evidence of Fitzgerald’s rising reputation and influence in the early 1950s, as well as the academic background and tastes of a major American poet,” writes Bucker. “Although Sylvia Plath and F. Scott Fitzgerald rarely inhabit the same sentence, their association should not appear strained. A young, intense poet would naturally be drawn to the lyric quality of Fitzgerald’s prose.” And just imagine its value to die-hard fans of both of those tragic pillars of American letters — a group in which, if you’ve read this post and everything to which it links, you should perhaps consider counting yourself.
A quick fyi: Indie Cindy, the Pixies’ first album since 1991, will be released on April 29th. But thanks to NPR’s First Listen site, you can stream the entire LP online for free, for a limited time. Though the band might not sound the same without Kim Deal, Pixies fans will instantly recognize the “disarming beauty nestled against dissonant snarls.” Above, you can listen to the album’s title track. Here you can stream the entire album or the individual tracks — or pre-order it on iTunes or over at Amazon.
While theorist and provocateur Slavoj Žižek tends to get characterized—especially in a recent, testy exchange with Noam Chomsky—as obscurantist and muddle-headed, I’ve always found him quite readable, especially when compared to his mentor, psychoanalytic philosopher Jacques Lacan. As an interpreter of Lacan’s theories, Žižek always does his reader the courtesy of providing specific, concrete examples to anchor the theoretical jargon (where Lacan gives us pseudo-mathematical symbols). In the short Big Think clip above, Žižek’s examples range from the history of physics to the Declaration of Independence to the familiar “male chauvinist” scenario of a man, his wife, and his mistress. Žižek’s point, the point of psychoanalysis, he alleges, is that “people do not really want or desire happiness.”
This seems counterintuitive. Happiness—our own and others—is after all the goal of our loftiest endeavors, no? This seems to be the pop-psych rendition of, say, Maslow’s theory of self-actualization. But no, says Zizek, happiness is an integral part of fantasy. Like the philanderer’s mistress, the object of desire must be kept at a distance, he says. Once it is achieved, we no longer want it: “We don’t really want what we think we desire.” And in keeping with Žižek’s example of infidelity—which may or may not involve the chauvinist killing his wife—he tells us that for him, “happiness is an unethical category.” I find this statement intriguing, and persuasive, though Žižek doesn’t elaborate on it above.
He does in much of his writing however—explaining in Lacanian terms in his essay collection Interrogating the Real that our desire for something we think will bring us happiness can be construed as a kind of envy: “I desire an object only insofar as it is desired by the Other.” Furthermore, he writes, “what I desire is determined by the symbolic network within which I articulate my subjective position.” In other words, what we think we want is determined by ideology—by the cultural products we consume, the soup of mass media and advertising in which we are permanently immersed, and the political ideals we are taught to revere. What does authentic “self-actualization” look like for Slavoj Žižek? He tells us above—it means being “ready to suffer” for the creative realization of a goal: “Happiness doesn’t enter into it.”
Žižek cites the example of nuclear scientists who willingly exposed themselves to radiation poisoning in pursuit of discovery, but he could just as well have pointed to artists and writers who sacrifice comfort and pleasure for lives of profound uncertainty, religious figures who practice all kinds of austerities, or athletes who push their bodies past all ordinary limits. While there are several degrees of pleasure involved in these endeavors, it seems shallow at best to describe the goals of such people as happiness. It seems that many, if not most, of the people we admire and strive to emulate lead lives characterized by great risk—by the willingness to suffer; lives often containing little in the way of actual happiness.
Whatever stock one puts in psychoanalytic theory, it seems to me that Žižek raises some vital questions: Do we really want what we think we want, or is the “pursuit of happiness” an unethical ideological fantasy? What do you think, readers?
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