The Great War: Video Series Will Document How WWI Unfolded, Week-by-Week, for the Next 4 Years

This ambi­tious project deserves a men­tion: Medi­akraft Net­works has launched a video series on Youtube that will doc­u­ment how World War I unfold­ed, week-by-week, over a four-year peri­od, from 1914 to 1918. A new video will be released every Thurs­day, and it will reflect on what hap­pened dur­ing the same week 100 years pri­or. Launched in late July, the series has already cov­ered 16 weeks of The Great War, with lat­est video show­ing how World War I became a defen­sive war and trench­es began to scar the land. Host­ed by Indy Nei­dell (read an inter­view with him here), each video fea­tures archival footage from British Pathé, the news­reel archive com­pa­ny that put over 85,000 his­tor­i­cal films on YouTube ear­li­er this year.

the great war video series

You can watch all 16 episodes above, along with a few help­ful primers that explain why the War start­ed in the first place. To view new videos as they get released, keep tabs on this Youtube page. There should even­tu­al­ly be close to 300 episodes. Quite an under­tak­ing!

As a side note, I noticed that a Dutch pod­cast (in Eng­lish) will cov­er “The First World War in 261 weeks.” That’s the title of the pod­cast itself. Find it here.

via Kottke.org

Relat­ed Con­tent:

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

Free Online His­to­ry Cours­es

The His­to­ry of Rome in 179 Pod­casts

Learn The His­to­ry of Phi­los­o­phy in 197 Pod­casts (With More to Come)

Read Joyce’s Ulysses Line by Line, for the Next 22 Years, with Frank Delaney’s Pod­cast

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Martin Scorsese Names the 11 Scariest Horror Films

“When it comes to ripe old fright­en­ers — or to any oth­er over­heat­ed genre — Scors­ese is the most ardent of pros­e­ly­tiz­ers,” writes the New York­er’s Antho­ny Lane in a review of that respect­ed direc­tor’s ripe-old-fright­en­er-fla­vored Shut­ter Island, “so much so that I would pre­fer to hear him enthuse about Ham­mer Hor­ror films, say, than to watch a Ham­mer Hor­ror film.” And though no Ham­mer pro­duc­tions appear on it, Scors­ese, who often seems as much film enthu­si­ast as film­mak­er, has put togeth­er a sol­id list of his per­son­al eleven scari­est hor­ror movies for The Dai­ly Beast. At its very top we have Robert Wise’s The Haunt­ing, whose trail­er you can watch above. Scors­ese promis­ing­ly describes the sto­ry of the film, orig­i­nal­ly bal­ly­hooed with the tagline “You may not believe in ghosts but you can­not deny ter­ror!,” as “about the inves­ti­ga­tion of a house plagued by vio­lent­ly assaultive spir­its.” His full and fright­en­ing list runs as fol­lows:

You can watch clips of all these movies over at The Dai­ly Beast. With only 351 days until next Hal­loween, this should help you plan your next mid­cen­tu­ry-cen­tered, British-inflect­ed hor­ror movie marathon. (And if you sim­ply can’t get enough of the things, see also Time Out Lon­don’s list of the 100 best hor­ror films.) Such tastes make it no sur­prise to see a Hitch­cock film make Scors­ese’s list; so much does Scors­ese love Hitch­cock­’s work — “one of my guid­ing lights,” he calls the mak­er of Psy­cho — that he once spoofed his own fan­boy­ism in a com­mer­cial for Freix­enet sparkling wine. For those who’d pre­fer a more con­ven­tion­al Scors­ese-inspired binge watch, we’ve also fea­tured his list of twelve favorite films over­all and his list of 39 Essen­tial For­eign Films. What­ev­er genre you favor, you could do much worse than tak­ing his rec­om­men­da­tions.

via The Dai­ly Beast

Relat­ed Con­tent:

Mar­tin Scors­ese Reveals His 12 Favorite Movies (and Writes a New Essay on Film Preser­va­tion)

Mar­tin Scorsese’s Very First Films: Three Imag­i­na­tive Short Works

Time Out Lon­don Presents The 100 Best Hor­ror Films: Start by Watch­ing Four Hor­ror Clas­sics Free Online

Mar­tin Scors­ese Brings “Lost” Hitch­cock Film to Screen in Short Faux Doc­u­men­tary

Where Hor­ror Film Began: The Cab­i­net of Dr. Cali­gari

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.

The Art of Leo Tolstoy: See His Drawings in the War & Peace Manuscript & Other Literary Texts

War and Peace sketch

Like all great writ­ers, Leo Tol­stoy has inspired a great many visu­al adap­ta­tions of his work, of vary­ing degrees of qual­i­ty. Just this past month, the Vol­gograd Fine Arts Muse­um in Rus­sia held an exhi­bi­tion of “92 graph­ic works from the col­lec­tion of the Yas­naya Polyana Estate-Muse­um,” the author’s coun­try estate and birth­place. Each work of art “recre­ates immor­tal images of the char­ac­ters, recon­structs the his­toric epoch, and reflects the dynam­ics” of his mas­ter­pieces Anna Karen­i­na and War and Peace, as well as his short sto­ries for chil­dren.

ABC sketch

Trav­el to Moscow, how­ev­er, to the Leo Tol­stoy State Muse­um, and you’ll find Tolstoy’s own visu­al art, which he sketched both on the very man­u­script pages of those nov­els and sto­ries and in the note­books that inspired them. At the top of the post, see a man­u­script page of War and Peace with the fig­ures of a boy and a well-dressed woman drawn very faint­ly into the text. Direct­ly above, see a sketch for his ABC book, a primer he cre­at­ed for his peas­ant schools at Yas­naya Polyana.

Jules Verne sketch

Tol­stoy didn’t only illus­trate his own work; he also made some sketch­es of his con­tem­po­rary Jules Verne’s Around the World in Eighty Days—see one above—which he read in French with his chil­dren. These few draw­ings may seem like lit­tle more than doo­dles, but Tol­stoy in fact had a very fine hand, as you can see in the two sketch­es below from note­books he kept dur­ing his time in the Cau­cusus. It was then, while serv­ing in the army, that Tol­stoy began writ­ing, and the note­books he kept would even­tu­al­ly inspire his 1863 nov­el, The Cos­sacks.

Old Man sketch

These draw­ings are so well ren­dered they make me think Tol­stoy could have become a visu­al artist as well as a great writer. But per­haps the exact­ing nov­el­ist was too harsh a crit­ic to allow him­self to pur­sue that course. Over forty years after mak­ing these draw­ings, Tol­stoy pub­lished his thoughts on art in essay called What is Art?. In it, the great Russ­ian writer cre­ates what Gary R. Jahn in The Jour­nal of Aes­thet­ics and Art Crit­i­cism admits are some “unrea­son­ably nar­row, exclu­sive” cri­te­ria for defin­ing art.

Old Man 2 sketch

Tol­stoy also pro­pounds some­thing akin to a meme the­o­ry, which he calls a qual­i­ty of “infec­tious­ness.” Art, he writes, is “a human activ­i­ty con­sist­ing in this, that one man con­scious­ly, by means of cer­tain exter­nal signs, hands on to oth­ers feel­ings he has lived through, and that oth­er peo­ple are infect­ed by these feel­ings and also expe­ri­ence them.” At the cru­cial­ly for­ma­tive peri­od when these draw­ings were made, Tol­stoy obvi­ous­ly decid­ed he could best “infect” oth­ers through writ­ing. That same year, he pub­lished the first part of his auto­bi­o­graph­i­cal tril­o­gy, Child­hood, under a pseu­do­nym, fol­lowed quick­ly by Boy­hood. By the time he retired from the army in 1856 and left the Cau­cusus for St. Peters­burg, he was already a lit­er­ary celebri­ty. See more of Tolstoy’s draw­ings from his Cau­cusus note­books here.

Relat­ed Con­tent:

Leo Tol­stoy Cre­ates a List of the 50+ Books That Influ­enced Him Most (1891)

Rare Record­ing: Leo Tol­stoy Reads From His Last Major Work in Four Lan­guages, 1909

Fyo­dor Dos­to­evsky Draws Elab­o­rate Doo­dles In His Man­u­scripts

The Art of William Faulkn­er: Draw­ings from 1916–1925

The Draw­ings of Jean-Paul Sartre

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

Watch Entr’Acte: René Clair’s Dadaist Masterpiece, Scored by Erik Satie and with Cameos by Marcel Duchamp & Man Ray (1924)

René Clair’s 1924 avant-garde mas­ter­piece Entr’Acte opens with a can­non fir­ing into the audi­ence and that’s pret­ty much a state­ment of pur­pose for the whole movie. Clair want­ed to shake up the audi­ence, throw­ing it into a dis­ori­ent­ing world of visu­al brava­do and nar­ra­tive absur­di­ty. You can watch it above.

The film was orig­i­nal­ly designed to be screened between two acts of Fran­cis Picabia’s 1924 opera Relâche. Picabia report­ed­ly wrote the syn­op­sis for the film on a sin­gle sheet of paper while din­ing at the famous Parisian restau­rant Maxim’s and sent it to Clair. While that hand­writ­ten note was the gen­e­sis of what we see on screen, it’s Clair sheer cin­e­mat­ic inven­tive­ness that is why the film is still shown in film schools today.

Clair sought to cre­ate a work of “pure cin­e­ma,” so he filled the film with just about every cam­era trick in the book: slow motion, fast motion, split screen and super­im­po­si­tions among oth­ers. The cam­era is unbound and wild­ly kinet­ic. At one point, Clair mounts the cam­era upside down to the front of a roller­coast­er.

In true Dadaist fash­ion, Clair cre­ates a series of strik­ing images – an upskirt shot of a leap­ing bal­le­ri­na; a funer­al pro­ces­sion bound­ing down the street in slow motion; a corpse spring­ing out of a cof­fin – that seem to cry out for an expla­na­tion but remain mad­den­ing­ly, fre­quent­ly hilar­i­ous­ly obscure.

The movie also serves as a class por­trait of the Parisian avant-garde scene of the ear­ly ‘20s. Picabia and Erik Satie – who scored the movie – are the ones who fired that can­non. In anoth­er scene, Mar­cel Duchamp and Man Ray can be seen play­ing chess with each oth­er on a Parisian rooftop.

Com­pared to Luis Bunuel and Sal­vador Dali’s noto­ri­ous 1928 short Un Chien Andalou – a movie that is still quite shock­ing today – Entr’Acte is a much lighter, fun­nier work, one that looks to thwart bour­geois expec­ta­tions of nar­ra­tive log­ic but doesn’t quite try to shock them into indig­nant out­rage. In fact, to mod­ern eyes, the movie feels at times like a par­tic­u­lar­ly unhinged Mon­ty Python skit. Picabia him­self once assert­ed that Entr’acte “respects noth­ing except the right to roar with laugh­ter.” So watch, laugh and pre­pare to be con­fused.

Entr’Acte will be added to our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent: 

Two Vin­tage Films by Sal­vador Dalí and Luis Buñuel: Un Chien Andalou and L’Age d’Or

The Seashell and the Cler­gy­man: The World’s First Sur­re­al­ist Film

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

A Tour Inside Sal­vador Dalí’s Labyrinthine Span­ish Home

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. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

‘You Are Done’: The Chilling “Suicide Letter” Sent to Martin Luther King by the F.B.I.

mlk uncovered letter

In Novem­ber of 1964, Mar­tin Luther King received a chill­ing let­ter, pur­port­ed­ly from a dis­il­lu­sioned mem­ber of the African-Amer­i­can com­mu­ni­ty. “King, look into your heart,” writes MLK’s crit­ic. “You know you are a com­plete fraud and a great lia­bil­i­ty to all of us Negroes.”

The let­ter then turns men­ac­ing. It gives the civ­il rights leader a choice. Com­mit sui­cide or get killed:

You are done.

King, there is only one thing left for you to do. You know what it is. You have just 34 days in which to do it (this exact num­ber has been select­ed for a spe­cif­ic rea­son, it has def­i­nite prac­ti­cal sig­nif­i­cance). You are done. There is but one way out for you. You bet­ter take it before your filthy, abnor­mal fraud­u­lent self is bared to the nation.

Straight from the begin­ning, King knew the real author behind the “sui­cide let­ter,” as it’s now called. It was the FBI, led by J. Edgar Hoover, who har­bored a deep and abid­ing hatred for King. For years, the pub­lic only had access to redact­ed copies of the let­ter. The redac­tions obscured the meth­ods of the FBI — the way the agency tried to “frac­ture move­ments and pit lead­ers against one anoth­er,” writes the Elec­tron­ic Fron­tier Foun­da­tion, and the way it used sur­veil­lance to invade King’s per­son­al life and then black­mailed him with the infor­ma­tion it gath­ered. That’s what’s hap­pen­ing in the para­graph that begins “No per­son can over­come the facts, not even a fraud like your­self.”

This sum­mer, while research­ing at the Nation­al Archives, Bev­er­ly Gage, a pro­fes­sor of Amer­i­can his­to­ry at Yale, stum­bled upon an unredact­ed copy. You can read it above. On Tues­day, Gage wrote about the let­ter and its his­tor­i­cal sig­nif­i­cance in The New York Times. The unredact­ed let­ter was also pub­lished in the Times.

via Boing­Bo­ing/EFF

Relat­ed Con­tent:

Read Mar­tin Luther King and The Mont­gomery Sto­ry: The Influ­en­tial 1957 Civ­il Rights Com­ic Book

200,000 Mar­tin Luther King Papers Go Online

The Exis­ten­tial­ism Files: How the FBI Tar­get­ed Camus, and Then Sartre After the JFK Assas­si­na­tion

Free Online His­to­ry Cours­es

David Foster Wallace’s Syllabus for His 2008 Creative Nonfiction Course: Includes Reading List & Footnotes

The_best_people_you_will_ever_know

Pho­to cour­tesy of Clau­dia Sher­man.

The term “cre­ative non­fic­tion” has picked up a great deal of trac­tion over the past decade — per­haps too much, depend­ing upon how valid or invalid you find it. Mean­ing­ful or not, the label has come into its cur­rent pop­u­lar­i­ty in part thanks to the essays of nov­el­ist David Fos­ter Wal­lace: whether writ­ing non­fic­tion­al­ly about the Illi­nois State Fair, David Lynch, pro­fes­sion­al ten­nis, or a sev­en-night Caribbean cruise, he did it in a way unlike any oth­er man or woman of let­ters. While nobody can learn to write quite like him — this we’ve seen when Wal­lace-imi­ta­tors write pas­tich­es of their own — he did spend time teach­ing the art of cre­ative non­fic­tion as he saw it,

a broad cat­e­go­ry of prose works such as per­son­al essays and mem­oirs, pro­files, nature and trav­el writ­ing, nar­ra­tive essays, obser­va­tion­al or descrip­tive essays, gen­er­al-inter­est tech­ni­cal writ­ing, argu­men­ta­tive or idea-based essays, gen­er­al-inter­est crit­i­cism, lit­er­ary jour­nal­ism, and so on. The term’s con­stituent words sug­gest a con­cep­tu­al axis on which these sorts of prose works lie. As non­fic­tion, the works are con­nect­ed to actu­al states of affairs in the world, are “true” to some reli­able extent. If, for exam­ple, a cer­tain event is alleged to have occurred, it must real­ly have occurred; if a propo­si­tion is assert­ed, the read­er expects some proof of (or argu­ment for) its accu­ra­cy. At the same time, the adjec­tive cre­ative sig­ni­fies that some goal(s) oth­er than sheer truth­ful­ness moti­vates the writer and informs her work. This cre­ative goal, broad­ly stat­ed, may be to inter­est read­ers, or to instruct them, or to enter­tain them, to move or per­suade, to edi­fy, to redeem, to amuse, to get read­ers to look more close­ly at or think more deeply about some­thing that’s worth their atten­tion… or some combination(s) of these.

This comes straight from the syl­labus of Eng­lish 183D, a work­shop Wal­lace taught at Pomona Col­lege in the spring of 2008, which you can read in its entire­ty at Salon (reprint­ed from The David Fos­ter Wal­lace Read­er). As you may remem­ber from the pre­vi­ous Wal­lace syl­labus we fea­tured, from a 1994 semes­ter of Eng­lish 102 — Lit­er­ary Analy­sis I: Prose Fic­tion at Illi­nois State Uni­ver­si­ty, the man could real­ly assem­ble a read­ing list. For his cre­ative non­fic­tion course, he had stu­dents read Jo Ann Beard’s “Wern­er,” Stephen Elliott’s “Where I Slept,” George Orwell’s clas­sic “Pol­i­tics and the Eng­lish Lan­guage,” Don­na Steiner’s “Cold,” David Gessner’s “Learn­ing to Surf,” Kathryn Harrison’s “The For­est of Mem­o­ry,” Hes­ter Kaplan’s “The Pri­vate Life of Skin,” and George Saunders’s “The Brain­dead Mega­phone.”

In some ways, Wal­lace syl­labi them­selves count as pieces of cre­ative non­fic­tion. What oth­er pro­fes­sor ever had the prose chops to make you actu­al­ly want to read any­thing under the “Class Rules & Pro­ce­dures” head­ing? In the ninth of its thir­teen points, he lays out the work­shop’s oper­a­tive belief:

that you’ll improve as a writer not just by writ­ing a lot and receiv­ing detailed crit­i­cism but also by becom­ing a more sophis­ti­cat­ed and artic­u­late crit­ic of oth­er writ­ers’ work. You are thus required to read each of your col­leagues’ essays at least twice, mak­ing help­ful and spe­cif­ic com­ments on the man­u­script copy wher­ev­er appro­pri­ate. You will then com­pose a one-to-three-page let­ter to the essay’s author, com­mu­ni­cat­ing your sense of the draft’s strengths and weak­ness­es and mak­ing clear, spe­cif­ic sug­ges­tions for revi­sion.

But what­ev­er the rig­ors of Eng­lish 183D, Wal­lace would have suc­ceed­ed, to my mind, if he’d instilled noth­ing more than this in the minds of his depart­ing stu­dents:

In the grown-up world, cre­ative non­fic­tion is not expres­sive writ­ing but rather com­mu­nica­tive writ­ing. And an axiom of com­mu­nica­tive writ­ing is that the read­er does not auto­mat­i­cal­ly care about you (the writer), nor does she find you fas­ci­nat­ing as a per­son, nor does she feel a deep nat­ur­al inter­est in the same things that inter­est you.

True to form, DFW’s syl­labus comes com­plete with foot­notes.

1 (A good dic­tio­nary and usage dic­tio­nary are strong­ly rec­om­mend­ed. You’re insane if you don’t own these already.)

You can read the Cre­ative Non­fic­tion syl­labus in full here.

Relat­ed Con­tent:

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the Web

David Fos­ter Wallace’s 1994 Syl­labus: How to Teach Seri­ous Lit­er­a­ture with Light­weight Books

Read David Fos­ter Wallace’s Notes From a Tax Account­ing Class, Tak­en to Help Him Write The Pale King

David Fos­ter Wal­lace Breaks Down Five Com­mon Word Usage Mis­takes in Eng­lish

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.

Photos of a Very Young Frida Kahlo, Taken by Her Dad

 Young Frida Kahlo (4)

Ay que lin­da! 

Long before the tumul­tuous mar­riage to Diego Rivera and the mor­ti­fi­ca­tions of the flesh occa­sioned by a hor­rif­ic bus acci­dent, and longer still before the avalanche of Fri­da-cen­tric kitsch and tchotchkes and the Julie Tay­mor biopic star­ring Salma Hayek, there was a cheru­bic lit­tle girl named Mag­dale­na Car­men Frie­da Kahlo y Calderón.

Wit­ness these pho­tos of young Mag­dale­na Car­men Frie­da, tak­en by her Hun­gar­i­an Jew­ish father, Guiller­mo, over a peri­od of twen­ty years.

Young Frida Kahlo (1)

The 2‑year-old Fri­da is mer­ry, chub­by, and bare­ly rec­og­niz­able.

Young Frida Kahlo 2

The pierc­ing gaze starts com­ing into focus around age 5.  Kid looks like an artist already!

Young Frida Kahlo (6)

The famous eye­brows have filled in by 12, when she faces the cam­era in a sailor suit and giant hair bow.

Young Frida Kahlo (9)

The 18-year-old pre-med stu­dent adopt­ing an unsmil­ing pose in 1926—the year of the accident—is unapolo­getic, intense, and unmis­tak­ably Fri­da Kahlo.

Vis­it Vin­tage Every­day for more of Guiller­mo Kahlo’s images of his sec­ond-to-last daugh­ter.

Relat­ed Con­tent:

Fri­da Kahlo Writes a Per­son­al Let­ter to Geor­gia O’Keeffe After O’Keeffe’s Ner­vous Break­down (1933)

Fri­da Kahlo and Diego Rivera Vis­it Leon Trot­sky in Mex­i­co, 1938

A Quick Ani­ma­tion of Fri­da Kahlo’s Famous Self Por­trait

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Charles & Ray Eames’ A Communications Primer Explains the Key to Clear Communication in the Modern Age (1953)

You might think that a movie about infor­ma­tion from 1953 couldn’t pos­si­bly be rel­e­vant in the age of iPhone apps and the Inter­net but you’d be wrong. A Com­mu­ni­ca­tions Primer, direct­ed by that pow­er cou­ple of design Charles and Ray Eames, might refer to some hope­less­ly quaint tech­nol­o­gy – com­put­er punch cards, for instance – but the under­ly­ing ideas are as cur­rent as any­thing you’re like­ly to see at a TED talk. You can watch it above.

In fact, the film made for IBM was the result of the first ever mul­ti-media pre­sen­ta­tions that Charles Eames devel­oped for the Uni­ver­si­ty of Geor­gia and UCLA. Using slides, music, nar­ra­tion and film, Eames broke down some ele­men­tal aspects of com­mu­ni­ca­tions for the audi­ence. Cen­tral to the film is an input/output dia­gram that was laid out by Claude Shan­non, the father of infor­ma­tion the­o­ry, in his 1949 book, The Math­e­mat­i­cal The­o­ry of Com­mu­ni­ca­tion. As the per­haps over­ly sooth­ing nar­ra­tor intones, any mes­sage is trans­mit­ted by a sig­nal through a chan­nel to its receiv­er. While in the chan­nel, the sig­nal is altered and degrad­ed by noise. The key to effec­tive com­mu­ni­ca­tion is to reduce “noise” (con­strued broad­ly) that inter­feres with the mes­sage and to gen­er­al­ly sim­pli­fy things.

The issue of sig­nal vs noise is prob­a­bly more rel­e­vant now in this age of per­pet­u­al dis­trac­tion than it was dur­ing the Eisen­how­er admin­is­tra­tion. Every email, text mes­sage or Buz­zfeed arti­cle seen indi­vid­u­al­ly is clear­ly a sig­nal. Yet for some­one try­ing to work, say on an arti­cle about a short film by Charles and Ray Eames, they are def­i­nite­ly noise.

The Eames use the terms “sig­nal,” “noise,” and “com­mu­ni­ca­tion” quite broad­ly. Not only do they use these terms to describe, say, a radio broad­cast or a mes­sage being relayed by Morse code but also the cre­ation of archi­tec­ture, design and even visu­al art.

The source of a paint­ing is the mind and expe­ri­ence of the painter. Mes­sage? His con­cept of a par­tic­u­lar paint­ing. Trans­mit­ter? His tal­ent and tech­nique. Sig­nal? The paint­ing itself. Receiv­er? All the eyes and ner­vous sys­tems and pre­vi­ous con­di­tion­ing of those who see the paint­ing. Des­ti­na­tion? Their minds, their emo­tions, their expe­ri­ence. Now in this case, the noise that tends to dis­rupt the sig­nal can take many forms. It can be the qual­i­ty of the light. The col­or of the light. The prej­u­dices of the view­er. The idio­syn­crasies of the painter.

Of course, a paint­ing — or a poem, or a film by Andrei Tarkovsky — is a dif­fer­ent kind of sig­nal than an email. It’s mes­sage is mul­ti­lay­ered and mul­ti­va­lent. And while a gen­er­a­tion of cul­tur­al the­o­rists would no doubt chafe at Eames’s reduc­tive, Mod­ernist view of art, it is still inter­est­ing to think of a paint­ing in the same man­ner as smoke sig­nals.

The film’s nar­ra­tor con­tin­ues:

But besides noise, there are oth­er fac­tors that can keep infor­ma­tion from reach­ing its des­ti­na­tion in tact. The back­ground and con­di­tion­ing of the receiv­ing appa­ra­tus may so dif­fer from that of the trans­mit­ter that it may be impos­si­ble for the receiv­er to pick up the sig­nal with­out dis­tor­tion.

That’s about as good a descrip­tion of cable new pun­dits as I’ve ever seen.

A Com­mu­ni­ca­tions Primer will be added to our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent: 

Design­ers Charles & Ray Eames Cre­ate a Pro­mo­tion­al Film for the Ground­break­ing Polaroid SX-70 Instant Cam­era (1972)

Charles & Ray Eames’ Icon­ic Film Pow­ers of Ten (1977) and the Less­er-Known Pro­to­type from 1968

Charles and Ray Eames’ Pow­ers of Ten: The Clas­sic Film Re-Imag­ined By 40 Artists

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. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

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