Free: British Pathé Puts Over 85,000 Historical Films on YouTube

in Film, History | April 18th, 2014

British Pathé was one of the lead­ing pro­duc­ers of news­reels and doc­u­men­taries dur­ing the 20th Cen­tu­ry. This week, the com­pa­ny, now an archive, is turn­ing over its entire col­lec­tion — over 85,000 his­tor­i­cal films – to YouTube.

The archive — which spans from 1896 to 1976 – is a gold­mine of footage, con­tain­ing movies of some of the most impor­tant moments of the last 100 years. It’s a trea­sure trove for film buffs, cul­ture nerds and his­to­ry mavens every­where. In Pathé’s playlist “A Day That Shook the World,” which traces an Anglo-cen­tric his­to­ry of the 20th Cen­tu­ry, you will find clips of the Wright Broth­ers’ first flight, the bomb­ing of Hiroshi­ma and Neil Armstrong’s walk on the moon, along­side footage of Queen Victoria’s funer­al and Roger Bannister’s 4‑minute mile. There’s, of course, footage of the dra­mat­ic Hin­den­burg crash and Lind­bergh’s dar­ing cross-Atlantic flight. And then you can see King Edward VIII abdi­cat­ing the throne in 1936, and the even­tu­al Pearl Har­bor attack in Decem­ber 1941 (above).

But the real­ly intrigu­ing part of the archive is see­ing all the ephemera from the 20th Cen­tu­ry, the stuff that real­ly makes the past feel like a for­eign coun­try – the weird hair­styles, the way a city street looked, the breath­tak­ing­ly casu­al sex­ism and racism. There’s a rush in see­ing his­to­ry come alive. Case in point, this doc­u­men­tary from 1967 about the won­ders to be found in a sur­pris­ing­ly mono­chrome Vir­ginia.

Here’s a film about a tech­no­log­i­cal inno­va­tion that curi­ous­ly didn’t take off — an amphibi­ous scoot­er. The look of regal dig­ni­ty on the driver’s face as his vehi­cle moves down the Thames is price­less.

In an ear­ly exam­ple of a polit­i­cal bloop­er, there’s this footage from 1942 of Bess Tru­man try­ing valiant­ly to smash an unyield­ing bot­tle of cham­pagne against the fuse­lage of a brand new bomber.

And then there’s this news­reel from 1938 on the wed­ding between Bil­ly Cur­tis, a 3’7” night­club bounc­er and his 6’4” bur­lesque star bride. The jaun­ty, spec­tac­u­lar­ly un-PC voiceover should prob­a­bly be filed under “things were dif­fer­ent then.”

If you have sev­er­al weeks to kill, you can watch all of the videos here.

Relat­ed Con­tent:

Rare Film: Claude Mon­et at Work in His Famous Gar­den at Giverny, 1915

The Weird World of Vin­tage Sports

The World’s First Mobile Phone Shown on 1922 Vin­tage Film

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.

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“The Periodic Table of Storytelling” Reveals the Elements of Telling a Good Story

in Chemistry, Design, Film, Television, Writing | April 18th, 2014

periodic table storytelling

Dmitri Mendeleev might have designed the orig­i­nal peri­od­ic table – a graph­ic rep­re­sen­ta­tion of all the basic build­ing blocks of the uni­verse – but artist James Har­ris has done some­thing way cool with that tem­plate — the Peri­od­ic Table of Sto­ry­telling.

That’s right. Har­ris has tak­en all the tropes, arche­types and clichés found in movies (not to men­tion TV, com­ic books, lit­er­a­ture, video and even pro­fes­sion­al wrestling) and syn­the­sized them into an ele­gant­ly real­ized chart. Instead of group­ing the ele­ments by noble gas­es or met­als, Har­ris has orga­nized them by sto­ry ele­ments — struc­ture, plot devices, hero arche­types. Each ele­ment is linked to a vast wiki that gives def­i­n­i­tions and exam­ples. For instance, if you click on the ele­ment Chk, you’ll go to a page explain­ing the trope of Chekhov’s Gun. And if you click on Neo, you’ll go to the page for, of course, the Cho­sen One.

Below the chart, Har­ris has even cre­at­ed sto­ry mol­e­cules for a few spe­cif­ic movies. Ghost­busters, for exam­ple, is the com­bi­na­tion of an atom con­sist­ing of 5ma (Five Man Band) and Mad (Mad Sci­en­tist) and one con­sist­ing of Iac (Sealed Evil in a Can) and Hil (Hilar­i­ty Ensues).

So if you’re in film school or if you have a copy of Robert McKee’s Sto­ry on your book­shelf or if you’re one of the rough­ly three dozen peo­ple in the Los Ange­les cof­fee shop where I’m writ­ing this arti­cle who are bang­ing out screen­plays, you need to check this table out. But be warned: it will suck away a good chunk of your day.

via No Film School

Relat­ed Con­tent:

Pixar’s 22 Rules of Sto­ry­telling

Ira Glass, the Host of This Amer­i­can Life, Breaks Down the Fine Art of Sto­ry­telling

World’s Small­est Peri­od­ic Table on a Human Hair

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

Free Online Chem­istry Cours­es

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.

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The Ultimate Warrior, Professional Wrestler & Philosopher, Created a Glossary of World Philosophies

in Philosophy, Sports | April 18th, 2014

the-ultimate-warrior

If you run a web site long enough, you end up cov­er­ing top­ics you nev­er thought you’d touch. Like pro­fes­sion­al wrestling. Come to think of it, we did show you once before Andy Warhol mak­ing an unex­pect­ed appear­ance on a 1985 World Wide Wrestling Fed­er­a­tion broad­cast. But today the sub­ject isn’t an artist with a pen­chant for wrestling. It’s a wrestler him­self. More specif­i­cal­ly its The Ulti­mate War­rior (born James Hell­wig) who had a pen­chant for phi­los­o­phy.

A star dur­ing the 1990s in the WWF,  The Ulti­mate War­rior died of heart dis­ease last week at the age of 54. After his retire­ment from wrestling, he became a moti­va­tion­al speak­er and life coach. And, as Dead­spin notes, he main­tained a curi­ous web site that fea­tured a glos­sary of world philoso­phies.

If you want seri­ous def­i­n­i­tions of phi­los­o­phy, I’d sug­gest you vis­it The Stan­ford Ency­clo­pe­dia of Phi­los­o­phy. For some­thing more abbre­vi­at­ed and kooky, you can’t go wrong with The Ulti­mate War­riors’ dic­tio­nary. Let me give you a few quick exam­ples:

Exis­ten­tial­ism
This is a real nasty phi­los­o­phy that asserts man has free will, but exists in an unknow­able, malev­o­lent uni­verse with no knowl­edge of what is right or wrong. The catch is that the indi­vid­ual is respon­si­ble (moral­ly account­able) for all his actions, but has no way of know­ing what actions are cor­rect. The effects on a per­son are dev­as­tat­ing. (See also Skep­ti­cism.)

Kan­tian­ism
This is the exact oppo­site of Objec­tivism. It’s [sic] epis­te­mol­o­gy is faith-eat­en and mys­tic-appeas­ing. It’s [sic] meta­physics is sub­jec­tive, it’s [sic] ethics are altru­is­tic and it’s [sic] pol­i­tics are col­lec­tivis­tic. Kant cre­at­ed the exact oppo­site of what con­sti­tutes a phi­los­o­phy based on rea­son. His “argu­ment” con­sists of equiv­o­ca­tions, elab­o­rate straw-men (the entire Cri­tique of Pure Rea­son for exam­ple), etc. He was quite an evil per­son.

Paci­fism
This asserts a moral absolute (with­out any con­text) that it is wrong to use force. Instead of rec­og­niz­ing the need for self-defense, the paci­fist equates all force with evil, equiv­o­cat­ing. A paci­fist soci­ety would per­ish absolute­ly when the first gang came along.

Tran­scen­den­tal­ism
This is the belief that intu­ition is supe­ri­or to sense-per­cep­tion and rea­son, and is filled with mys­tic gooble-dee-gook. Its epis­te­mol­o­gy is exclu­sive­ly sub­jec­tive. I think this is only pop­u­lar because it has an inter­est­ing sound­ing name. (See also Mys­ti­cism, Sub­jec­tivism, Zen.)

If you’re won­der­ing what phi­los­o­phy The War­rior sym­pa­thized with, it seems you need to look no fur­ther than Ayn Rand’s Objec­tivism (sur­prise, sur­prise), which he defined as fol­lows: “In essence, a con­cept where man is a hero­ic being, and his life is an end in itself, with his own hap­pi­ness as the moral pur­pose of his life, with pro­duc­tive achieve­ment as his noblest activ­i­ty, and rea­son as his only absolute.”

For more def­i­n­i­tions, you can dive into the glos­sary right here. This curi­ous item comes to us via Leit­er Reports.

Relat­ed Con­tent:

100 Free Phi­los­o­phy Cours­es Online

The Epis­te­mol­o­gy of Dr. Seuss & More Phi­los­o­phy Lessons from Great Children’s Sto­ries

The His­to­ry of Phi­los­o­phy, from 600 B.C.E. to 1935, Visu­al­ized in Two Mas­sive, 44-Foot High Dia­grams

Ayn Rand Adamant­ly Defends Her Athe­ism on The Phil Don­ahue Show (Cir­ca 1979)

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A Brief Tour of British & Irish Accents: 14 Ways to Speak English in 84 Seconds

in English Language | April 17th, 2014

Amer­i­cans, com­ing from the enor­mous and rel­a­tive­ly recent­ly set­tled place we do, tend to have a hard time with accents, strug­gling to grasp the extent of the vari­ety of region­al ways of speech in small­er, old­er coun­tries, let alone to use them our­selves. Study­ing the Kore­an lan­guage, I’ve found that under­stand­ing a native speak­er from one city does­n’t mean I’ll under­stand any­thing said by anoth­er native speak­er from a city fifty miles away. (Though that holds true even for Kore­ans them­selves; hence the preva­lence of sub­ti­tles on their tele­vi­sion shows.) Vis­it­ing Lon­don a few months ago, eas­i­ly as I could make sense of every­body speak­ing my native tongue, I pre-emp­tive­ly gave up hope of pick­ing up on the nuances of all the accents peo­ple had brought to the city from their home­towns — much less the numer­ous and sub­tle dialects native of Lon­don itself. Every­one I met insist­ed that a Briton’s accent says more about their ori­gin, class, sta­tion in life, and degree of self-regard than any oth­er qual­i­ty, but not know­ing New­cas­tle from Southamp­ton when I first set foot on Eng­lish soil, I had to take them at their word (how­ev­er they hap­pened to pro­nounce it).

The video above, in which pro­fes­sion­al dialect coach Andrew Jack demon­strates four­teen British accents in 84 sec­onds, might help sort things out for my fel­low con­fused coun­try­men. “Received com­mu­ni­ca­tion is the great com­mu­ni­ca­tor,” Jack says, using the accent I assume he grew up with. “As soon as you devi­ate from that and you go into Lon­don speech, for exam­ple, you lose a lit­tle bit of the com­mu­ni­ca­tion.” By that point, Jack has seam­less­ly tran­si­tioned into Cock­ney, from which he then shifts into the accents of East Anglia, the West Coun­try, York­shire, Lan­cashire, Liv­er­pool, North­ern Ire­land, Dublin, the Scot­tish high­lands, Glas­gow, North Wales, and South Wales. The Youtube com­ment box below has, pre­dictably, filled with com­plains about all the accents — the com­menters’ own, dare I imag­ine? — that did­n’t make it into this brief lin­guis­tic tour. Though far from com­pre­hen­sive, the video does in any case put the lie to the notion so many non-Brits seem to have that they can “do a British accent.” If you encounter one of them, don’t ask them to demon­strate it; ask them which British accent they mean. Then you’ll real­ly hear how poor­ly they fare.

via Kot­tke

Relat­ed Con­tent:

Peter Sell­ers Gives a Quick Demon­stra­tion of British Accents

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

Sir Patrick Stew­art Demon­strates How Cows Moo in Dif­fer­ent Eng­lish Accents

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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John Coltrane Plays the Only Live Performance of A Love Supreme (1965)

in Jazz, Music | April 17th, 2014

John Coltrane’s A Love Supreme came out in 1964, an “album-long hymn of praise,” writes Rolling Stone, “tran­scen­dent music per­fect for the high point of the civ­il rights move­ment” as well as Coltrane’s grow­ing spir­i­tu­al awak­en­ing after kick­ing his hero­in habit. The record amazed crit­ics and jazz fans alike and by 1970, it had sold over half-a-mil­lion copies. But lovers of Coltrane would only have only one chance to see him per­form the full four-part suite live, and not in any state­side clubs but in Antibes, France on July 26, 1965, where he played two nights with his quar­tet.

You can see twelve of those mirac­u­lous min­utes above, con­sist­ing of the first two move­ments of the suite, “Acknowl­edge­ment” and “Res­o­lu­tion.” This is a gor­geous per­for­mance, cap­tur­ing what sax­o­phon­ist David Lieb­man describes as “an end and a new musi­cal begin­ning” for Coltrane.

The sec­ond evening’s per­for­mance, below, begins with “Naima,” on which, Lieb­man says, “Trane solos com­bin­ing a strik­ing lyri­cal approach off­set by mul­ti-not­ed, dense­ly packed runs.” If you’ve ever won­dered what Ira Gitler meant in describ­ing Coltrane’s style as “sheets of sound,” these per­for­mances will clear up the mys­tery.

The mid-six­ties was a piv­otal time for jazz—before the elec­tron­ic fusion exper­i­ments to come, as hard bop and free jazz com­bined with the dis­so­nance of ear­ly 20th cen­tu­ry con­tem­po­rary clas­si­cal music, which had “per­me­at­ed jazz for at least a hand­ful of artists.”  Coltrane still spoke the “com­mon language”—the “stan­dard reper­toire stem­ming from the Amer­i­can song book and/or orig­i­nal com­po­si­tions with sim­i­lar and pre­dictable har­mon­ic move­ment,” yet in his case, he “added modal­i­ty to the mix,” a trick picked up from Miles Davis.

Coltrane sad­ly died from liv­er can­cer in 1967 at age 40 and did not live to see the strange, sur­pris­ing turns jazz would take in the decade to come. How his brash, yet enchant­i­ng play­ing would have trans­lat­ed in the 70s is anyone’s guess. Yet, like so many artists who die young and in their prime, he left us with a body of work almost mys­ti­cal in its inten­si­ty and beauty—so much so that his more reli­gious fol­low­ers made him a saint after his death. Watch­ing these too-brief record­ings above, it’s not hard to see why.

The sec­ond night’s per­for­mances from the Antibes Jazz Fes­ti­val were issued as a live album in 1988. The first night’s live show­case of A Love Supreme has seen sev­er­al releas­es, and if you’re one of those who pro­fess­es devo­tion to this amaz­ing piece of work, you’d do well to pick up a copy, if you don’t own one already. “The inten­si­ty if the Antibes live per­for­mance,” writes Lieb­man in his 2011 lin­er notes to the Jazz Icons/Mosaic release of the Coltrane Live at Antibes 1965 DVD, “far exceeds the stu­dio record­ing” of the album. And that’s say­ing some­thing.

Relat­ed Con­tent:

John Coltrane’s Hand­writ­ten Out­line for His Mas­ter­piece A Love Supreme

Watch John Coltrane and His Great Quin­tet Play ‘My Favorite Things’ (1961)

The World Accord­ing to John Coltrane: His Life & Music Revealed in Heart­felt 1990 Doc­u­men­tary

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

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The Secret of Life and Love, According to Ray Bradbury (1968)

in Life, Literature, Writing | April 16th, 2014

“Jump off the cliff and build your wings on the way down.” This—writes Sam Weller in his intro­duc­tion to a 2010 inter­view with sci-fi and fan­ta­sy lumi­nary Ray Brad­bury—was the author’s “life­long cre­do.” Weller writes of dis­cov­er­ing an unpub­lished Paris Review inter­view from the 1970s in Bradbury’s garage, with a note from edi­tor George Plimp­ton that read “a bit infor­mal in places, maybe over­ly enthu­si­as­tic.” The irony of this judg­ment is that it is Bradbury’s enthu­si­asm, his lack of for­mal­i­ty, which make him so com­pelling and so copi­ous a writer and speak­er. Brad­bury didn’t self-edit or sec­ond guess much—his approach is best char­ac­ter­ized as fear­less and pas­sion­ate, just as he describes his writ­ing process:

I type my first draft quick­ly, impul­sive­ly even. A few days lat­er I retype the whole thing and my sub­con­scious, as I retype, gives me new words. Maybe it’ll take retyp­ing it many times until it is done. Some­times it takes very lit­tle revi­sion.

It’s that unfet­tered expres­sion of his sub­con­scious that Brad­bury dis­cuss­es in the short clip above, in which he re-invig­o­rates all the sort of carpe diem clichés one hears so often by fram­ing them not as self-help sug­ges­tions but as imper­a­tives for a full and healthy life. Respond­ing in the moment, says Brad­bury, refus­ing to “put off till tomor­row… what I must do, right now,” allows him to “find out what my secret self needs, wants, desires with all its heart.” For Brad­bury, writ­ing is much more than a for­mal exer­cise or a spe­cial­ized craft—it is a vital expres­sion of his full human­i­ty and a means of “cleans­ing the stream” of his mind: “We belong only by doing,” he says, “and we own only by doing, and we love only by doing…. If you want an inter­pre­ta­tion of life and love, that would be the clos­est thing I could come to.”

Brad­bury doesn’t lim­it his phi­los­o­phy to the writ­ing life; he advo­cates for every­one an unabashed emo­tion­al engage­ment with the world. For him, the man (and woman, we might pre­sume), who can­not “laugh freely,” cry, or “be violent”—which he defines in sub­li­mat­ing terms as any phys­i­cal or cre­ative activity—is a “sick man.” Bradbury’s “over­ly enthu­si­as­tic” explo­rations of cre­ative pas­sion were almost as much a part of his out­put as his fic­tion. His inter­views, tele­vised and in print, are inspir­ing for this rea­son: he is nev­er coy or pre­ten­tious but push­es oth­ers to aspire to the same kind of authen­tic joy he seemed to take in every­thing he did.

By the way, the first per­son we see above is leg­endary Warn­er Bros. ani­ma­tor Chuck Jones (as one Youtube com­menter says, we get in this clip “two vision­ar­ies for the price of one”). Bradbury’s “vital­i­ty,” says Jones, “rubs off on the peo­ple who work with him.” And, he might have added, all of the peo­ple who read and lis­ten to him, too.

Relat­ed Con­tent:

Ray Brad­bury: “The Things That You Love Should Be Things That You Do.” “Books Teach Us That”

Ray Brad­bury: Sto­ry of a Writer 1963 Film Cap­tures the Para­dox­i­cal Late Sci-Fi Author

Ray Brad­bury Gives 12 Pieces of Writ­ing Advice to Young Authors (2001)

Ray Brad­bury: Lit­er­a­ture is the Safe­ty Valve of Civ­i­liza­tion

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

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Two Artificial Intelligence Chatbots Talk to Each Other & Get Into a Deep Philosophical Conversation

in Philosophy, Technology | April 16th, 2014

The folks at the Cor­nell Cre­ative Machines Lab are “inter­est­ed in robots that cre­ate and are cre­ative.” Here’s one such exam­ple of robots get­ting cre­ative. Above, the lab lets two chat­bots (essen­tial­ly com­put­er pro­grams designed to sim­u­late an intel­li­gent con­ver­sa­tion) start chat­ting with one anoth­er. They start by exchang­ing pleas­antries. Then things get deeply philo­soph­i­cal, fair­ly quick­ly.  It’s fun to watch it play out.

via Giz­mo­do

Relat­ed Con­tent:

Down­load 100 Free Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

Learn to Code with Harvard’s Intro to Com­put­er Sci­ence Course And Oth­er Free Tech Class­es

Noam Chom­sky Explains Where Arti­fi­cial Intel­li­gence Went Wrong

 

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Read Hundreds of Free Sci-Fi Stories from Asimov, Lovecraft, Bradbury, Dick, Clarke & More

in Literature, Sci Fi | April 16th, 2014

I-Mars-Bradbury

“We think audio is the best medi­um for Sci­ence Fic­tion lit­er­a­ture and dra­ma,” says the “About” page at SFFaudio.com. “We’re not against the dead tree, cath­ode ray, and cel­lu­loid ver­sions, we just know them to be the infe­ri­or medi­um for trans­mis­sion of sto­ry, mood, and ideas.” A strong posi­tion indeed, but one won­ders: what do they think of the dig­i­tal dis­play of text as a means of sci-fi con­veyance? They must har­bor more than a lit­tle love for it, giv­en that on their site, oth­er­wise a rich trove of the gen­re’s lit­er­a­ture and dra­ma in free audio form, they’ve also cul­ti­vat­ed a robust col­lec­tion of equal­ly free books and sto­ries avail­able as PDFs, many scanned straight from the orig­i­nal dead-tree mag­a­zines in which they first appeared. “The sto­ries list­ed below are, to the best of my research, all PUBLIC DOMAIN in the Unit­ed States,” writes the col­lec­tor in an intro­duc­tion to the long list, a quick scan of which reveals a who’s who of respect­ed names in sci­ence fic­tion from the mid-twen­ti­eth cen­tu­ry and ear­li­er, from Piers Antho­ny to John Wyn­d­ham.

In between those two sci-fi emi­nences, you’ll also encounter a few pos­si­bly unex­pect­ed names, like Hen­ry James, Jack Lon­don, Guy de Mau­pas­sant — yes, the very same Hen­ry James, Jack Lon­don, and Guy de Mau­pas­sant, who seem to have used just enough of the adven­tur­ous and the super­nat­ur­al in their fic­tion to fit into the spir­it of the col­lec­tion, if not quite into the genre bound­aries. But even if you want to stick to sci-fi and sci-fi only, you’ll cer­tain­ly find plen­ty of the finest short­er-form work with which to treat your­self. Per­haps “I, Mars” by none oth­er than Mr. Mar­t­ian Chron­i­cles him­self, Ray Brad­bury? Alter­na­tive­ly, if you pre­fer the “hard­er” side of the tra­di­tion, behold the offer­ings from Foun­da­tion series author Isaac Asi­mov:

  • “The Joke­ster” |PDF| 15 pages
  • “Let’s Get Togeth­er” |PDF| 18 pages
  • “Liv­ing Space” |PDF| 15 pages
  • “Sil­ly Ass­es” |PDF| 2 pages

Or those from Arthur C. Clarke, he of Ren­dezvous with Rama and 2001: A Space Odyssey:

  • “The Deep Range” |PDF| 10 pages
  • “The Nine Bil­lion Names Of God” |PDF| 8 pages
  • “The Par­a­site” |PDF| 12 pages
  • “Sec­ond Dawn” |PDF| 24 pages
  • “The Star” |PDF| 9 pages
  • “The Stroke Of The Sun” |PDF| 8 pages
  • “A Walk In The Dark” |PDF| 8 pages

For anoth­er vin­tage entire­ly, see also their for­mi­da­ble line­up of over forty pieces from H.G. Wells, prog­en­i­tor of so much of what we think of as sci­ence fic­tion today, which includes “The Island of Dr. More­au,” “The War of the Worlds,” and “The Time Machine.” Just about as many of the sto­ries of H.P. Love­craft, a man with a now sim­i­lar­ly clas­sic body of work but one with an entire­ly dif­fer­ent sen­si­bil­i­ty alto­geth­er, also appear. You can sam­ple his spe­cial brand of the unspeak­able in tales like “The Shunned House,” “The Name­less City,” and “The Hor­ror at Red Hook.” Then there are the works of Philip K. Dick, many of which have been aggre­gat­ed in our col­lec­tion: 33 Great Sci-Fi Sto­ries by Philip K. Dick: Down­load as Free Audio Books & Free eBooks.

Relat­ed Con­tent:

100 Great Sci-Fi Sto­ries by Women Writ­ers (Read 20 for Free Online)

Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond

Down­load 33 Great Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books & Free eBooks

Free: Down­load 151 Sci-Fi & Fan­ta­sy Sto­ries from Tor.com

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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