Hear The Flaming Lips Cover All of The Beatles’ Sgt. Pepper’s: Streaming Free for a Limited Time

In 2012, Rolling Stone issued a revised list of the 500 Great­est Albums of All Time, at the very top of which sits The Bea­t­les’ 1967 recordSgt. Pep­per’s Lone­ly Hearts Club Band. Jus­ti­fy­ing mak­ing the album its num­ber one pick, Rolling Stone wrote:

Sgt. Pep­per’s Lone­ly Hearts Club Band is the most impor­tant rock & roll album ever made, an unsur­passed adven­ture in con­cept, sound, song­writ­ing, cov­er art and stu­dio tech­nol­o­gy by the great­est rock & roll group of all time. From the title song’s regal blasts of brass and fuzz gui­tar to the orches­tral seizure and long, dying piano chord at the end of “A Day in the Life,” the 13 tracks on Sgt. Pep­per’s Lone­ly Hearts Club Band are the pin­na­cle of the Bea­t­les’ eight years as record­ing artists. John Lennon, Paul McCart­ney, George Har­ri­son and Ringo Starr were nev­er more fear­less and uni­fied in their pur­suit of mag­ic and tran­scen­dence.…

Sgt. Pep­per for­mal­ly ush­ered in an unfor­get­table sea­son of hope, upheaval and achieve­ment: the late 1960s and, in par­tic­u­lar, 1967’s Sum­mer of Love. In its iri­des­cent instru­men­ta­tion, lyric fan­tasias and eye-pop­ping pack­ag­ing, Sgt. Pep­per defined the opu­lent rev­o­lu­tion­ary opti­mism of psy­che­delia and instant­ly spread the gospel of love, acid, East­ern spir­i­tu­al­i­ty and elec­tric gui­tars around the globe. No oth­er pop record of that era, or since, has had such an imme­di­ate, titan­ic impact. This music doc­u­ments the world’s biggest rock band at the very height of its influ­ence and ambi­tion.

Giv­en Sgt. Pep­per’s icon­ic sta­tus, it’s hard to imag­ine a con­tem­po­rary band decid­ing to cov­er the entire album. (Can you real­ly improve upon it?) But that’s just what The Flam­ing Lips have done with With a Lit­tle Help From My Fwends. Sched­uled to be released next week, the album fea­tures con­tri­bu­tions by fwends like Moby, My Morn­ing Jack­et, Miley Cyrus, and oth­ers. Pro­ceeds from the album — which is now stream­ing free for a lim­it­ed time at NPR — will go to the Bel­la Foun­da­tion, a non-prof­it that assists low-income, elder­ly or ter­mi­nal­ly ill pet own­ers with the cost of vet­eri­nary care when it can­not be afford­ed. You can pre-order the Flam­ing Lips album on Ama­zon and iTunes.

In oth­er news, Paul McCart­ney announced today that he has unearthed a Wings’ song he played (back in the day) with John Bon­ham on drums. An intrigu­ing idea. Catch it here.

Steven Pinker Identifies 10 Breakable Grammatical Rules: “Who” Vs. “Whom,” Dangling Modifiers & More

The sense of style

We’ve pre­vi­ous­ly fea­tured Har­vard cog­ni­tive sci­en­tist Steven Pinker dis­cussing writ­ing at a Har­vard con­fer­ence on the sub­ject. In that case, the focus was nar­row­ly on aca­d­e­m­ic writ­ing, which, he has uncon­tro­ver­sial­ly claimed, “stinks.” Now—“not con­tent with just poach­ing” in the land of the scribes, writes Charles McGrath at The New York Times Sun­day Book Review—Pinker has dared to “set him­self up as a game­keep­er” with a new book—The Sense of Style: The Think­ing Person’s Guide to Writ­ing in the 21st Cen­tu­ry. The grandiose title sug­gests to McGrath that the sci­en­tist intends to sup­plant that most ven­er­a­ble, and most dat­ed, clas­sic writer’s text by Strunk and White. He’s gone from chid­ing his fel­low schol­ars to writ­ing pre­scrip­tions for us all.

But if this seems out of bounds, wait until you hear what he sug­gests. Instead of issu­ing even more seem­ing­ly arbi­trary, bur­den­some com­mands, Pinker aims to free us from the tyran­ny of the sense­less in grammar—or, as he calls it in an arti­cle at The Guardian, from “folk­lore and super­sti­tion.” Below are five of the ten “com­mon issues of gram­mar” Pinker selects “from those that repeat­ed­ly turn up in style guides, pet-peeve lists, news­pa­per lan­guage columns and irate let­ters to the edi­tor.” In each case, he explains the absur­di­ty of strict adher­ence and offers sev­er­al per­fect­ly rea­son­able excep­tions that require no cor­rec­tion to clar­i­fy their mean­ing.

  1. Begin­ning sen­tences with con­junc­tions

We have almost cer­tain­ly all been taught in some fash­ion or anoth­er that this is a no-no. “That’s because teach­ers need a sim­ple way” to teach chil­dren “how to break sen­tences.” The “rule,” Pinker says, is “mis­in­for­ma­tion” and “inap­pro­pri­ate for adults.” He cites only two exam­ples here, both using the con­junc­tion “because”: John­ny Cash’s “Because you’re mine, I walk the line,” and the stock parental non-answer, “Because I said so.” And yet (see what I did?), oth­er con­junc­tions, like “and,” “but,” “yet,” and “so” may also “be used to begin a sen­tence when­ev­er the claus­es being con­nect­ed are too long or com­pli­cat­ed to fit com­fort­ably into a sin­gle megasen­tence.”

  1. Dan­gling mod­i­fiers

Hav­ing taught Eng­lish com­po­si­tion for sev­er­al years, and thus hav­ing read sev­er­al hun­dred scram­bled stu­dent essays, I find this one dif­fi­cult to con­cede. The dan­gling modifier—an espe­cial­ly easy error to make when writ­ing quickly—too eas­i­ly cre­ates con­fu­sion or down­right unin­tel­li­gi­bil­i­ty. Pinker does admit since the sub­jects of dan­gling mod­i­fiers “are inher­ent­ly ambigu­ous,” they might some­times “inad­ver­tent­ly attract a read­er to the wrong choice, as in ‘When a small boy, a girl is of lit­tle inter­est.’” But, he says, this is not a gram­mat­i­cal error. Here are a few “dan­glers” he sug­gests as “per­fect­ly accept­able”:

“Check­ing into the hotel, it was nice to see a few of my old class­mates in the lob­by.”

“Turn­ing the cor­ner, the view was quite dif­fer­ent.”

“In order to con­tain the epi­dem­ic, the area was sealed off.”

  1. Who and Whom

I once had a stu­dent ask me if “whom” was an archa­ic affec­ta­tion that would make her writ­ing sound forced and unnat­ur­al. I had to admit she had an excel­lent point, no mat­ter what our over­priced text­book said. In most cas­es, even if cor­rect­ly used, whom can indeed sound “for­mal verg­ing on pompous.” Though they seem straight­for­ward enough, “the rules for its prop­er use,” writes Pinker, “are obscure to many speak­ers, tempt­ing them to drop ‘whom’ into their speech when­ev­er they want to sound posh,” and to gen­er­al­ly use the word incor­rect­ly. Despite “a cen­tu­ry of nag­ging by pre­scrip­tive gram­mar­i­ans,” the dis­tinc­tion between “who” and “whom” seems any­thing but sim­ple, and so one’s use of it—as with any tricky word or usage—should be care­ful­ly cal­i­brat­ed “to the com­plex­i­ty of the con­struc­tion and the degree of for­mal­i­ty” the writ­ing calls for. Put plain­ly, know how you’re using “whom” and why, or stick with the unob­jec­tion­able “who.”

  1. Very unique

Often­times we find the most innocu­ous-sound­ing, com­mon sense usages called out by uptight pedants as ungram­mat­i­cal when there’s no seem­ing rea­son why they should be. The phrase “very unique,” a descrip­tion that may not strike you as exces­sive­ly weird or back­ward, hap­pens to be “one of the com­mon­est insults to the sen­si­bil­i­ty of the purist.” This is because, such nar­row thinkers claim, as with oth­er cat­e­gor­i­cal expres­sions like “absolute” or “incom­pa­ra­ble,” some­thing either is or it isn’t, in the same way that one either is or isn’t preg­nant: “refer­ring to degrees of unique­ness is mean­ing­less,” says the log­ic, in the case of absolute adjec­tives. Of course, it seems to me that one can absolute­ly refer to degrees of preg­nan­cy. In any case, writes Pinker, “unique­ness is not like preg­nan­cy […]; it must be defined rel­a­tive to some scale of mea­sure­ment.” Hence, “very unique,” makes sense, he says. But you should avoid it on aes­thet­ic grounds. “’Very,’” he says, “is a sog­gy mod­i­fi­er in the best of cir­cum­stances.” How about “rather unique?” Too posh-sound­ing?

  1. That and which

I breathed an audi­ble sigh on encoun­ter­ing this one, because it’s a rule I find par­tic­u­lar­ly irk­some. Of note is that Pinker, an Amer­i­can, is writ­ing in The Guardian, a British pub­li­ca­tion, where things are much more relaxed for these two rel­a­tive pro­nouns. In U.S. usage, “which” is reserved for nonrestrictive—or option­al claus­es: “The pair of shoes, which cost five thou­sand dol­lars, was hideous.” For restric­tive claus­es, those “essen­tial to the mean­ing of the sen­tence,” we use “that.” Pinker takes the exam­ple of a sen­tence in a doc­u­men­tary on “Imel­da Marcos’s vast shoe col­lec­tion.” In such a case, of course, we would need that bit about the price; hence, “The pair of shoes that cost £5,000 was hideous.”

It’s a rea­son­able enough dis­tinc­tion, and “one part of the rule,” Pinker says, “is cor­rect.” We would rarely find some­one writ­ing “The pair of shoes, that cost £5,000…” after all. It prob­a­bly looks awk­ward to our eyes (though I’ve seen it often enough). But there’s sim­ply no good rea­son, he says, why we can’t use “which” freely, as the Brits already do, to refer to things both essen­tial and non-. “Great writ­ers have been using it for cen­turies,” Pinker points out, cit­ing who­ev­er (or “whomev­er”) trans­lat­ed that “ren­der unto Cae­sar” bit in the King James Bible and Franklin Roosevelt’s “a day which will live in infamy.” QED, I’d say. And any­way, “which” is so much love­li­er a word than “that.”

See Pinker’s Guardian piece for his oth­er five anti-rules and free your­self up to write in a more nat­ur­al, less stilt­ed way. That is, if you already have some mas­tery of basic Eng­lish. As Pinker right­ly observes, “any­one who has read an inept stu­dent paper [um-hm], a bad Google trans­la­tion, or an inter­view with George W. Bush can appre­ci­ate that stan­dards of usage are desir­able in many areas of com­mu­ni­ca­tion.” How do we know when a rule is use­ful and when it impedes “clear and grace­ful prose?” It’s real­ly no mys­tery, Pinker says. “Look it up.” It sounds like his book might help put things into bet­ter per­spec­tive than most writ­ing guides, how­ev­er. You can also hear him dis­cuss his acces­si­ble and intu­itive writ­ing advice in the KQED inter­view with Michael Kras­ny above.

Relat­ed Con­tent:

Steven Pinker Uses The­o­ries from Evo­lu­tion­ary Biol­o­gy to Explain Why Aca­d­e­m­ic Writ­ing is So Bad

Steven Pinker Explains the Neu­ro­science of Swear­ing (NSFW)

Steven Pinker: “Dear Human­ists, Sci­ence is Not Your Ene­my”

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

The Electric Rise and Fall of Nikola Tesla: As Told by Technoillusionist Marco Tempest

A cou­ple of years back, Mar­co Tem­pest, a tech­noil­lu­sion­ist from Switzer­land, retold the life sto­ry of inven­tor Niko­la Tes­la using the prin­ci­ples of Tana­gra the­ater, a form of the­ater pop­u­lar in Europe near­ly a cen­tu­ry ago. A good descrip­tion of this for­got­ten form of the­atre is sur­pris­ing­ly hard to come by. Per­haps the best I encoun­tered comes from this aca­d­e­m­ic web site:

Tana­gra The­atres exist­ed in many Euro­pean cities in the years 1910–1920. The name comes from the fig­ures exca­vat­ed at Tana­gra in the 1890s whose name became syn­ony­mous with per­fect liv­ing minia­tures, par­tic­u­lar­ly female. The sideshow illu­sion con­sist­ed of a minia­ture stage where liv­ing actors appeared as real but tiny fig­ures, through an arrange­ment of plain and con­cave mir­rors. Its devel­op­ment as a sideshow attrac­tion came about as a by-prod­uct of research into opti­cal instru­ments which could bet­ter sus­tain the per­cep­tion of depth. The use of con­cave mir­rors has a long his­to­ry in mag­ic but for the Tana­gra the stronger light of elec­tric­i­ty was essen­tial.

In his pre­sen­ta­tion, Tem­pest takes the con­cepts of Tana­gra to a whole new lev­el, com­bin­ing pro­jec­tion map­ping and intri­cate pop-up art. As you watch the show, you might find your­self intrigued as much by the method as by the sto­ry itself. If that’s the case, you will want to watch the “behind-the-scenes” video below. Tem­pest also gave his pre­sen­ta­tion at TED. You can watch it here.

Relat­ed Con­tent:

 Thomas Edi­son and Niko­la Tes­la Face Off in “Epic Rap Bat­tles of His­to­ry”

Elec­tric Pho­to of Niko­la Tes­la, 1899

Free Com­ic Books Turns Kids Onto Physics: Start With the Adven­tures of Niko­la Tes­la

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Kevin Spacey Is the Rainforest, Julia Roberts is Mother Nature: Actors Play Nature in Environmental Shorts

When Hol­ly­wood’s for­mi­da­ble pro­mo­tion­al wing dis­cov­ered it could announce a movie by not just telling you a big star is in it, but that a big star is it, they had a decades-long field day with the idea that con­tin­ues, tire­some­ly, to the present moment. Right now, many of the bill­boards up around Los Ange­les insist upon telling me that “Keanu Reaves is John Wick,” but give it a few weeks and they’ll tell us some­one else we know is some­one else we don’t (unless, of course, we buy a tick­et). Con­ser­va­tion Inter­na­tion­al has tak­en this mar­ket­ing trope and spun it into a series of shorts fea­tur­ing “A‑list” actors, the most famous of the famous, play­ing the earth­ly enti­ties with which we should, per­haps, have more famil­iar­i­ty than we do. At the top of the post, Kevin Spacey is the rain­for­est. Just below, Julia Roberts is Moth­er Nature. At the bot­tom, Har­ri­son Ford is the ocean.

“I’m most of this plan­et,” Ford-as-ocean intones with his sig­na­ture (and increas­ing­ly gruff) gruff­ness. “I shaped it. Every stream, every cloud, and every rain­drop — it all comes back to me.” But as Moth­er Nature, Roberts makes impres­sive claims of her own: “I’ve been here for over four and a half bil­lion years — 22,500 times longer than you. I don’t real­ly need peo­ple, but peo­ple need me.” Not to be out­done, Kevin Spacey’s ever-giv­ing rain­for­est issues a chal­lenge to us all: “Humans, they’re so smart. So smart. Such big brains and oppos­able thumbs. They know how to make things — amaz­ing things. Now why would they need an old for­est like me any­more? Well, they do breathe air, and I make air. Have they thought about that?”

You can watch the entire series of films, enti­tled “Nature is Speak­ing,” on a sin­gle Youtube playlist. The rest of the line­up includes Edward Nor­ton as the soil, Pene­lope Cruz as water (o, hablan­do en español, como Agua), and Robert Red­ford as, suit­ably, the red­wood. (You can also see clips from behind the scenes fea­tur­ing Nor­ton and Ford assum­ing their ele­men­tal roles in the record­ing stu­dio.) They all com­bine this con­sid­er­able amount of vocal star pow­er with equal­ly strik­ing footage of the part of the envi­ron­ment from whom we hear, and some­times of its destruc­tion. They car­ry one over­all mes­sage, which Con­ver­sa­tion Inter­na­tion­al has unshy­ly spelled out: “Nature doesn’t need peo­ple. Peo­ple need nature.” Still, it comes off less heavy-hand­ed than most of the envi­ron­men­tal mes­sages I remem­ber from the films of my 1990s youth. If, for the next series, they get Reeves on board (speak­ing of pieces of my 90s youth), can they find a suit­ably laid-back ele­ment to pair him with? For more infor­ma­tion on the cam­paign, please vis­it the Nature is Speak­ing site.

Relat­ed Con­tent:

Envi­ron­ment & Nat­ur­al Resources: Free Online Cours­es

E.O. Wilson’s Life on Earth Released as a Free eBook and Free Course on iTunes

Har­vard Thinks Green: Big Ideas from 6 All-Star Envi­ron­ment Profs

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.

Stephen Colbert Explains How The Colbert Report Is Made in a New Podcast

Stephen_Colbert_Work

“I do the show in char­ac­ter, he’s an idiot, he’s will­ful­ly igno­rant of what you know and care about, please hon­est­ly dis­abuse me of my igno­rance and we’ll have a great time.” 

This secret speaks to the heart of come­di­an and fake-pun­dit Stephen Colbert’s wild­ly pop­u­lar Col­bert Report. But how exact­ly does he man­age to pull this rab­bit from his hat, night after night gru­el­ing night?

The nuts and bolts of Colbert’s work­ing day make for a fas­ci­nat­ing inau­gur­al episode of Work­ing, a new Slate pod­cast host­ed by David Plotz. It shares a title with radio per­son­al­i­ty Studs Terkel’s famous non-fic­tion­al exam­i­na­tion, but Plotz’s project is more process ori­ent­ed. Soup-to-nuts-and-bolts, if you will.

Col­bert is hap­py to oblige with a Lit­tle Red Hen-like corn metaphor in which alco­hol, not bread, is the ulti­mate goal.

His morn­ing begins with a deep rum­mage through the headlines—Google News, Red­dit, Slate, The Drudge Report, Fox News, Buz­zfeed, The Huff­in­g­ton Post… imag­ine if this stack was made of paper. When does he have the time to google ex-girl­friends?

When­ev­er pat­terns and trends emerge, Col­bert and his hard work­ing team fer­ret out ways to impose his char­ac­ter onto them. Occa­sion­al­ly some lucky non-sto­ry will find itself ele­vat­ed to Queen for a Day, if it speaks to some­thing Col­bert-the-char­ac­ter would care about pas­sion­ate­ly. The pro­posed ban on horse car­riages in Cen­tral Park, the Col­orado VA’s mar­i­jua­na stance, and the self-declared les­bian trou­ple are three that have borne fruit of late.

From pitch meet­ing through read-aloud and rewrites, the school hours por­tion of Colbert’s day resem­bles that of oth­er dead­line-dri­ven shows. He’s quick to acknowl­edge the con­tri­bu­tions of a ded­i­cat­ed and like-mind­ed staff, includ­ing exec­u­tive pro­duc­er Tom Pur­cell and head writer Opus—as in Bloom Coun­ty—Moreschi.

As show­time approach­es, Col­bert swaps his jeans for a Brooks Broth­ers suit, and leaves the homey, dog-friend­ly town­house where the bulk of the writ­ing takes place for the stu­dio next door.

There are last minute rewrites, a guest to greet, a Bic pen to be nib­bled

Ide­al­ly, he’ll get at least 10 min­utes of head­space to become the mon­ster of his own mak­ing, lib­er­al America’s favorite will­ful­ly igno­rant idiot. (Most of lib­er­al Amer­i­ca, any­way. My late-moth­er-in-law refused to believe it was an act, but it is.)

A bit of schtick with the make­up artist serves as a lit­mus test for audi­ence respon­sive­ness.

When the cam­eras roll, Col­bert sticks close to his prompter, fur­ther proof that the char­ac­ter is a con­struct. Any impro­vi­sa­tion­al impuls­es are unleashed dur­ing one-on-one inter­ac­tions with the guest. With some 10,000 hours of com­e­dy under his belt, his instincts tend toward the unerr­ing.

At days end, he thanks the audi­ence, the guest and every­one back­stage except for one guy who gets a mere wave. The show is then edit­ed at a zip squeal pace, and will hope­ful­ly fall into the “yay!” cat­e­go­ry. (The oth­er choic­es are “sol­id” or “wrench to the head.”)

Col­bert will only watch the show if there was a prob­lem.

And then? The day begins again.

After peer­ing through this win­dow onto Colbert’s world, we’re stoked for future episodes of Work­ing, when guests as var­ied as a rock musi­cian, a hos­pice nurse, and porn star Jes­si­ca Drake walk Plotz through a typ­i­cal day.

Relat­ed Con­tent:

Stephen Col­bert & Louis CK Recite The Get­tys­burg Address, With Some Help from Jer­ry Sein­feld

Stephen Col­bert Tries to Make Sense of MOOCs with the Head of edX

A Seri­ous Stephen Col­bert Gives Advice on Love & Life to Teenage Girls

Ayun Hal­l­i­day is the cre­ator of The Mermaid’s Legs, a trau­ma-filled Hans Chris­t­ian Ander­sen reboot pre­mier­ing this week in NYC. See it! And fol­low her @AyunHalliday

How Wolves Change Rivers

In nature, every­thing is con­nect­ed — con­nect­ed in ways you might not expect. The short video above is nar­rat­ed by George Mon­biot, an Eng­lish writer and envi­ron­men­tal­ist, who now con­sid­ers him­self a “rewil­d­ing cam­paign­er.” The con­cept of rewil­d­ing and how it can save ecosys­tems in gen­er­al, and how wolves changed Yel­low­stone Nation­al Park in par­tic­u­lar, is some­thing Mon­biot explains in greater detail in his 2013 TED Talk below, and in his new book — Fer­al: Search­ing for Enchant­ment on the Fron­tiers of Rewil­d­ing.

Relat­ed Con­tent:

Envi­ron­ment & Nat­ur­al Resources: Free Online Cours­es

E.O. Wilson’s Life on Earth Released as a Free eBook and Free Course on iTunes

How Cli­mate Change Is Threat­en­ing Your Dai­ly Cup of Cof­fee

New Google-Pow­ered Site Tracks Glob­al Defor­esta­tion in ‘Near-Real-Time’

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IAI Academy Now Offers Free Courses: From “The Meaning of Life” to “A Brief Guide to Everything”

iai academy

This month, The Insti­tute of Art and Ideas (IAI), an orga­ni­za­tion com­mit­ted to fos­ter­ing “a pro­gres­sive and vibrant intel­lec­tu­al cul­ture in the UK,” launched IAI Acad­e­my — a new online edu­ca­tion­al plat­form that fea­tures cours­es in phi­los­o­phy, sci­ence and pol­i­tics. The ini­tial line­up includes 12 cours­es cov­er­ing every­thing from the­o­ret­i­cal physics, the mean­ing of life, the future of fem­i­nism, the often vexed rela­tion­ship between sci­ence and reli­gion, and more.

IAI Acad­e­my offers its cours­es for free. But, like oth­er course providers, they charge a nom­i­nal fee (right now about $25) if you would like a Ver­i­fied Cer­tifi­cate when you’ve suc­cess­ful­ly com­plet­ed a course. Here’s the ini­tial line­up:

  • A Brief Guide to Every­thing — Web Video — John Ellis, King’s Col­lege Lon­don, CBE 
  • The Mean­ing of Life — Web Video — Steve Fuller, Uni­ver­si­ty of War­wick
  • New Adven­tures in Space­time — Web Video — Eleanor Knox, King’s Col­lege Lon­don
  • Minds, Moral­i­ty and Agency — Web Video — Mark Row­lands, Uni­ver­si­ty of Mia­mi
  • Nine Myths About Schiz­o­phre­nia — Web Video — Richard Ben­tall, Uni­ver­si­ty of Liv­er­pool
  • The His­to­ry of Fear — Web Video — Frank Fure­di, Uni­ver­si­ty of Kent
  • Physics: What We Still Don’t Know — Web Video — David Tong, Cam­bridge
  • Sci­ence vs. Reli­gion — Web Video — Mark Ver­non, Journalist/Philosopher
  • Sex­u­al­i­ty and Pow­er — Web Video — Veronique Mot­ti­er, Uni­ver­si­ty of Lau­sanne
  • The Infi­nite Quest — Web Video — Peter Cameron, Queen Mary Uni­ver­si­ty of Lon­don.
  • End of Equal­i­ty — Web Video — Beat­rix Camp­bell — Writer/Activist
  • Rethink­ing Fem­i­nism — Web Video — Finn Mack­ay — Fem­i­nist Activist & Researcher
  • For more ever­green cours­es that you can down­load and enjoy when­ev­er you want, don’t miss our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

    For MOOCs being pro­vid­ed in real-time, see our list of MOOCs from Great Uni­ver­si­ties.

    Relat­ed Con­tent:

    Take First-Class Phi­los­o­phy Cours­es Any­where with Free Oxford Pod­casts

    Down­load 100 Free Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

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    The C.I.A.‘s “Bestiary of Intelligence Writing” Satirizes Spook Jargon with Maurice Sendak-Style Drawings

    CIA 1

    Ten years in acad­e­mia gave me a healthy dis­like of clichéd jar­gon, as well as an appre­ci­a­tion for jokes about it. There are a few, like the aca­d­e­m­ic sen­tence gen­er­a­tor and Ph.D. Comics, that cap­ture a bit of what it’s like to go to school and work in high­er ed. Cor­po­rate drones, of course, have Office Space and Dil­bert. But what about the spooks, those name­less, face­less agents who work tire­less­ly away in the base­ment of Lan­g­ley, doing who knows what to whom? Where does the C.I.A. go to laugh at its pecu­liar brand of hack­neyed dou­ble­s­peak? Not that we were sup­posed to know this, but per­haps many of them turn to an arti­cle called “the Bes­tiary of Intel­li­gence Writ­ing” in a 1982 copy of inter­nal agency newslet­ter Stud­ies in Intel­li­gence.

    CIA 2

    Medi­um describes this odd piece as a “zoo of fic­tion­al fau­na,” and like that strange lit­er­ary form, the medieval Euro­pean bes­tiary (often a source of satire and cri­tique), this 17-page arti­cle, with foot­notes, sin­gles out the most offen­sive spook buzz­words as though they were car­di­nal sins—naming 15 mem­bers of “the Col­lec­tion” in all, each one rep­re­sent­ed by its own Mau­rice Sendak-like pen­cil-drawn beast and a descrip­tion of its habits. The two-head­ed beast at the top, Mul­ti­dis­ci­pli­nary Analy­sis, is a “hybrid—the fruit of the casu­al mat­ing of stan­dard forms of Analy­sis.” Just above, we have Height­ened Ten­sions, “the adult form of Con­ven­tion­al Tensions—Tensions that have acquired stilts by thriv­ing on a rich diet of pover­ty, mal­nu­tri­tion and espe­cial­ly alien­ation.” Sounds like rough work, this spy game….

    CIA 3

    Most of the beasts are cud­dly enough, some mis­chie­vous, some per­haps dead­ly. Above, we have Dire Straits and below, Para­me­ters. “The Agency author and artist detailed 15 mon­sters in all—complete with illus­tra­tions,” writes Medi­um, “Both of their names are redact­ed in the doc­u­ment. We’ll nev­er know just which CIA agents turned their hand towards snarky polit­i­cal satire.” The doc­u­ment comes to us via a cache of records declas­si­fied in a law­suit filed by for­mer agency employ­ee Jef­fry Scud­der. We do know that the two anony­mous lam­poon­ists were inspired by A Polit­i­cal Bes­tiary, book by James Kil­patrick, car­toon­ist Jeff Mac­Nel­ly, and for­mer sen­a­tor and pres­i­den­tial can­di­date Eugene McCarthy. See the full, bone dry arti­cle here, and think about the work talk that might dri­ve you to such cre­ative extremes.

    CIA 4

    Relat­ed Con­tent:

    The CIA’s Style Man­u­al & Writer’s Guide: 185 Pages of Tips for Writ­ing Like a Spy

    How the CIA Secret­ly Fund­ed Abstract Expres­sion­ism Dur­ing the Cold War

    How the CIA Turned Doc­tor Zhiva­go into a Pro­pa­gan­da Weapon Against the Sovi­et Union

    Declas­si­fied CIA Doc­u­ment Reveals That Ben Franklin (and His Big Ego) Put U.S. Nation­al Secu­ri­ty at Risk

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

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