David Lynch Explains Where His Ideas Come From

Where do great ideas come from? If you ask Neil Gaiman, he’ll tell you that they come from con­scious day­dream­ing and ask­ing the right ques­tions: What if you woke up with wings? What if your sis­ter turned into a mouse?

Pose that ques­tion to Rod Ser­ling, cre­ator of The Twi­light Zone, and he’ll tell you, very emphat­i­cal­ly, that “They come from the Earth… They’re in the air. And, to put them on paper, you bleed!”

Now run the same ques­tion by David Lynch, and you’ll get a dif­fer­ent answer: “An idea comes, and you see it, and you hear it, and you know it.” “It comes, like, on a TV in your mind.”  That’s how Lynch summed things up in late April, while speak­ing at the Brook­lyn Acad­e­my of Music (BAM) with mas­ter inter­view­er Paul Hold­en­gräber. Clos­ing his eyes, con­cen­trat­ing, Lynch elab­o­rat­ed, explain­ing that the big ideas start small. You start with just a frag­ment of an idea, and that frag­ment becomes “bait” that attracts oth­er frag­ments, and then more more frag­ments. And, before too long, you have an entire script. Or a paint­ing. If you want to delve fur­ther into Lynch’s cre­ative process, see our relat­ed post: David Lynch Explains How Med­i­ta­tion Enhances Our Cre­ativ­i­ty.

Relat­ed Con­tent:

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

David Lynch Teach­es You to Cook His Quinoa Recipe in a Weird, Sur­re­al­ist Video

David Lynch Lists His Favorite Films & Direc­tors, Includ­ing Felli­ni, Wilder, Tati & Hitch­cock

Such Sweet Thunder: Duke Ellington & Billy Strayhorn’s Musical Tribute to Shakespeare (1957)

The great Duke Elling­ton and his long­time musi­cal part­ner Bil­ly Stray­horn per­formed such musi­cal feats of strength togeth­er over the course of near­ly three decades that they can seem to dwarf many of their con­tem­po­raries. The two co-com­posers had a knack for turn­ing pop­u­lar music—jazz, rag­time, the blues—into high art, then trans­mut­ing it right back into pop again, via three-minute blasts of swing like their most famous tune “Take the A Train.” In some respects, Elling­ton and Stray­horn’s com­po­si­tions are like that of writ­ers who har­mo­nize hip ver­nac­u­lar, pop­u­lar idiom, and The Great Tra­di­tion into works that feel thrilling­ly fresh and time­less all at once. And so it makes per­fect sense that Elling­ton and Stray­horn would com­pose a suite of songs based on scenes from William Shake­speare, that most skill­ful of lit­er­ary alchemists, and that it would turn out to be, in the words of poet and music crit­ic A.B. Spell­man, “one of the most remark­able orches­tral pieces in all of Amer­i­can music.”

That piece, Such Sweet Thun­der, found its impe­tus in Shakespeare’s most mag­i­cal play, A Mid­sum­mer Night’s Dream, notably in a line that so well cap­tures the har­mo­nious clash­ing of styles and lan­guages in both the Duke and the Bard: “I nev­er heard so musi­cal a dis­cord, such sweet thun­der.” Dan­ger­ous Minds quotes Elling­ton, who called the piece his “attempt to par­al­lel the vignettes of some of the Shake­speare­an char­ac­ters in miniature—sometimes to the point of car­i­ca­ture.” The suite of songs pre­miered at New York’s Town Hall in April, 1957, at a con­cert called “Music for Mod­erns.” Its final num­ber had yet to be writ­ten. Soon after, at the Ravinia Music Fes­ti­val out­side Chica­go, Elling­ton intro­duced the first broad­cast per­for­mance, which you can hear in full above. See below for the titles of each song and list of soloists.

1:48 Son­net For Sis­ter Kate [solo: Quentin Jack­son]
4:53 Up And Down. Up And Down [solo: Clark Ter­ry]
8:04 Star-Crossed Lovers [solo: John­ny Hodges]
12:38 Mad­ness In Great Ones [solo: Cat Ander­son]
16:25 Half The Fun [solo: John­ny Hodges]
20:42 Cir­cle Of Fourths [solo: Paul Gon­salves]
23:23 Jam With Sam [solos: Willie Cook, Paul Gon­salves, Britt Wood­man, Rus­sell Pro­cope, Cat Ander­son]

Elling­ton, the CBS radio announc­er at the begin­ning informs us, was first spurred by his atten­dance at the Strat­ford Ontario Shake­speare Fes­ti­val in 1956. But he had been a devo­tee of the­ater, and of Shake­speare, for many years. Stray­horn, it seems, was even more so. Spell­man tells us that Stray­horn “was deep into Shake­speare […] could quote whole sec­tions of plays [….], vast num­bers of son­nets from mem­o­ry, at the drop of a hat.” Immersed not only in the­ater, but in clas­si­cal music, Strayhorn’s first ambi­tion was to become a clas­si­cal com­pos­er. While the col­or bar­ri­er sti­fled that dream, his move into jazz was cer­tain­ly no com­pro­mise. Stray­horn and Elling­ton “were so attuned to one anoth­er musi­cal­ly,” writes a biog­ra­phy com­pan­ion to Ken Burn’s Jazz, “that it is now impos­si­ble to estab­lish the exact extent of the former’s con­tri­bu­tion to Ellington’s oeu­vre.” (Elling­ton called Stray­horn “my right arm, my left arm, all the eyes in the back of my head.”) Giv­en Strayhorn’s deep knowl­edge of Shakespeare’s work, it’s prob­a­bly fair to assume that his con­tri­bu­tion to Such Sweet Thun­der was sig­nif­i­cant. Above, see selec­tions from a 1959 per­for­mance in Switzer­land, and just below, see a 1960 avant-garde bal­let chore­o­graphed to Elling­ton and Strayhorn’s Shake­speare suite by Mau­rice Béjart, anoth­er artist with a par­tic­u­lar tal­ent for bring­ing high art themes and styles to pop­u­lar audi­ences.

via Dan­ger­ous Minds

Relat­ed Con­tent:

Duke Ellington’s Sym­pho­ny in Black, Star­ring a 19-Year-old Bil­lie Hol­i­day

Duke Elling­ton Plays for Joan Miró in the South of France, 1966: Bassist John Lamb Looks Back on the Day

Thelo­nious Monk Plays Duke Elling­ton: Solo Piano, Berlin 1969

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

Watch a Restored Version of Un Chien Andalou: Luis Buñuel & Salvador Dalí’s Surreal Film (1929)


When we talk about exper­i­men­tal film, we talk, soon­er or lat­er, about Un Chien Andalou. One can hard­ly over­state the for­ma­tive impact that Luis Buñuel and Sal­vador Dalí’s short film had on all cin­e­ma, whether “alter­na­tive,” “artis­tic,” or oth­er­wise askew. Loosed upon the unsus­pect­ing film­go­ing world back in 1929, it’s 16 to 21 min­utes (depend­ing on the ver­sion) of pure sur­re­al­i­ty have been viewed by many, even those of us with no patience for the avant-garde. For the most part, we’ve seen ver­sions of bad­ly infe­ri­or qual­i­ty. Infe­ri­or to what, you might ask, and I would direct you to the supe­ri­or ver­sion at the top of the post, a 21st-cen­tu­ry restora­tion by the Fil­mote­ca Españo­la, which offers an Un Chien Andalou not quite like those you’ve seen before, whether in a film stud­ies class, on late-night tele­vi­sion, or in some cor­ner or anoth­er of the inter­net.

Video artist and blog­ging cinephile Blake Williams had that impres­sion, find­ing what he calls “a marked­ly dif­fer­ent ver­sion of this clas­sic than what I came to know on Youtube.” The film “plays in ‘actu­al time’, slow­ing down the hyper, 16 min­utes cut to a more delib­er­ate­ly paced 21+ min­utes” with visu­als “less con­trast-blown than any ver­sion I have seen, not to men­tion that it is no longer heav­i­ly cropped. The score, too, is dif­fer­ent, drop­ping the now icon­ic tan­go back-and-forth with Wag­n­er.” If you’ve long since grown used to all the images in Un Chien Andalou’s once-shock­ing pro­ces­sion — the drag­ging piano, the ants in the palm, the rot­ting don­keys, the immor­tal eye­ball slice — pre­pare to feel at least sur­prised by them once again. Though they have become much clean­er, they’ve also become no less trou­bling for it.

For more clas­sic films, please see our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

(H/T: Israel Nava, who worked on the restora­tion.)

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

Watch the Great­est Silent Films Ever Made in Our Col­lec­tion of 101 Free Silent Films Online

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 Evolution of London: 2,000 Years of Change Animated in 7 Minutes

Give “The Lon­don Evo­lu­tion Ani­ma­tion” sev­en min­utes, and it will show you the his­tor­i­cal devel­op­ment of Lon­don over the course of 2,000 years. The ani­ma­tion moves from the Roman port city of Lon­dini­um (cir­ca 50 AD) through the Anglo-Sax­on, Tudor, Stu­art, Ear­ly Geor­gian, Late Geor­gian, Ear­ly Vic­to­ri­an and Late Vic­to­ri­an peri­ods. It then brings you through the Ear­ly 20th Cen­tu­ry and into Post­war Lon­don. Devel­oped by The Bartlett Cen­tre for Advanced Spa­tial Analy­sis, the ani­ma­tion was made with his­tor­i­cal data about Lon­don’s road net­works and build­ings. The video recent­ly appeared at the “Almost Lost” Exhi­bi­tion in Lon­don, an exhi­bi­tion that con­tem­plat­ed how dig­i­tal maps can help us rethink the past, present and future of great cities.

If you find it dif­fi­cult to read the text in the ani­ma­tion, you can view the video in a larg­er for­mat here.

And in case you’re won­der­ing, the enlarg­ing yel­low dots show “the posi­tion and num­ber of statu­to­ri­ly pro­tect­ed build­ings and struc­tures built dur­ing each peri­od.” More infor­ma­tion on the ani­ma­tion can be found here.

via Metafil­ter

Relat­ed Con­tent:

Prize-Win­ning Ani­ma­tion Lets You Fly Through 17th Cen­tu­ry Lon­don

The Curi­ous Sto­ry of London’s First Cof­fee­hous­es (1650–1675)

Syn­chro­nized, Time­lapse Video Shows Train Trav­el­ing from Lon­don to Brighton in 1953, 1983 & 2013

700 Free eBooks: Fiction, Poetry & Non-Fiction for Kindle, iPad & Other Devices

ipadreader

If you’re look­ing for a free read today, let us turn your atten­tion to our col­lec­tion, 800 Free eBooks for iPad, Kin­dle & Oth­er Devices. Arendt, Asi­mov, Austen, Balzac, Baude­laire, Brad­bury, Bukows­ki, Calvi­no, Chekhov, Clarke (as in Arthur C.), Dante, Dick (as in Philip K.), Dick­ens, Dick­in­son, Dos­to­evsky, Faulkn­er, Fitzger­ald, Flaubert, Freud, Gaiman, Gins­berg, Gogol, Hem­ing­way, Hux­ley, Joyce, Kaf­ka, Kierkegaard, Love­craft, Melville, Nabokov, Niet­zsche, Oates (as in Joyce Car­ol), Orwell, Plath, Poe, Pound, Proust, Rus­sell (as in Bertrand), Sartre, Shake­speare, Stein, Tol­stoy, Twain, DFW, Wells (as in H.G.), Whit­man, Zola — they’re all on the list.

If you’re an iPad/iPhone user, the down­load process is super easy. Just click the “iPad/iPhone” links and you’re good to go. Kin­dle users will gen­er­al­ly want to click the “Kin­dle + Oth­er For­mats links” to down­load ebook files, but we’d sug­gest watch­ing this instruc­tion­al video (not made by us) before­hand to take full advan­tage of the col­lec­tion. And, if down­load­ing files seems like a bur­den, fear not. We often give you the abil­i­ty to sim­ply read texts online.

Find our full col­lec­tion here: 700 Free eBooks for iPad, Kin­dle & Oth­er Devices. You might equal­ly enjoy our relat­ed col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free. Enjoy.

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The Animals of Chernobyl: An Inside Look at the Toll That Radiation Took on Animals & Wildlife

On April 26, 1986, the num­ber 4 reac­tor at the Cher­nobyl nuclear pow­er plant blew up in what is now Ukraine. The site spewed a cloud of radioac­tive mate­r­i­al that spread over much of Europe. The area imme­di­ate­ly around Cher­nobyl received more than 400 times the radi­a­tion as Hiroshi­ma and won’t be safe­ly inhab­it­able for about 20,000 years. The gov­ern­ment set up a 1,000 square mile exclu­sion zone around the site. While short vis­its to the zone are pos­si­ble with­out too much dan­ger, liv­ing there is not advis­able. Can­cer is a real prob­lem for the cou­ple hun­dred elder­ly stal­warts who still make the zone their home.

With­in the zone, nature has tak­en its own course, dis­man­tling the Sovi­et-era bru­tal­ist ten­e­ments of the sur­round­ing aban­doned cities and turn­ing it into what at first blush looks more and more like a prelap­sar­i­an Eden. The truth proves to be more com­pli­cat­ed.

Dr. Tim­o­thy Mousseau, a biol­o­gist from the Uni­ver­si­ty of South Car­oli­na, has been exam­in­ing the wildlife around Cher­nobyl for fif­teen years. He’s dis­cov­ered that the radi­a­tion that has been bathing the area for almost 30 years is chang­ing nature. As you can see in the New York Times Op-Doc video above, birds are devel­op­ing tumors, bugs have abnor­mal spots and spi­der webs seem much more freeform than usu­al. Get more on the sto­ry over at the Times.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Scenes from HBO’s Cher­nobyl v. Real Footage Shot in 1986: A Side-By-Side Com­par­i­son

Joseph Stal­in, a Life­long Edi­tor, Wield­ed a Big, Blue, Dan­ger­ous Pen­cil

How to Spot a Com­mu­nist Using Lit­er­ary Crit­i­cism: A 1955 Man­u­al from the U.S. Mil­i­tary

Tarkovsky Films Now Free Online

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.

Download 55 Free Online Literature Courses: From Dante and Milton to Kerouac and Tolkien

milton and kerouac

Here at Open Cul­ture, we don’t just fea­ture edu­ca­tion in your rec­om­mend­ed dai­ly serv­ings of cul­tur­al­ly wide-rang­ing video, audio, text, and image — we also fea­ture it in a form that goes deep: whole cours­es you can down­load to your com­put­er or mobile device of choice and expe­ri­ence at your own pace. If you nev­er quite stud­ied all the lit­er­a­ture you want­ed to — or if you sim­ply can’t get enough study of the stuff — pay a vis­it to our col­lec­tion of over 50 free lit­er­a­ture cours­es online. Some of them may even cov­er the same tex­tu­al ground as the class­es you felt curi­ous about tak­ing in col­lege but could nev­er quite fit into your sched­ule: “Dante in Trans­la­tion” (Free Online Video — Free iTunes Audio - Free iTunes Video — Course Mate­ri­als), for instance, or “Intro­duc­tion to The­o­ry of Lit­er­a­ture” (Free Online Video — Free iTunes Audio – Free iTunes Video — Course Mate­ri­als), or “Intro­duc­tion to World Lit­er­a­ture (Free Online Video).

Our col­lec­tion offers cours­es with rel­a­tive­ly broad lit­er­ary sub­ject mat­ter, such as “Amer­i­can Pas­sages: A Lit­er­ary Sur­vey” (Free Online Video) and “Con­tem­po­rary Lit­er­a­ture” (Free Online Video – Free Video Down­load), and oth­ers spe­cif­ic to one peri­od or even one writer, like “Oscar Wilde” (Free Online Audio ). and the Allen Gins­berg-taught “Jack Ker­ouac” (Free Online Audio Part 1 and Part 2). Oth­er offer­ings in our col­lec­tion more close­ly resem­ble the cours­es you may have always want­ed to take, but nev­er found offered, like these from “Tolkien Pro­fes­sor” Corey Olsen:

And yes, for those tru­ly intent on con­tin­u­ing their edu­ca­tion in Mid­dle-Earth, Olsen also offers a “Sil­mar­il­lion Sem­i­nar” (Free Online Video & Audio). If none of these appeal to your own intel­lec­tu­al curios­i­ty, how­ev­er, do vis­it the col­lec­tion’s page for more options from exis­ten­tial­ism to George Eliot to Shake­speare. (Nor should you miss our com­plete list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties, which includes oth­er sub­jects like phi­los­o­phycom­put­er sci­encepsy­chol­o­gy, physics, reli­gion and more.) And if you feel like some­thing lighter, might I sug­gest John Green’s crash course on lit­er­a­ture?

Relat­ed Con­tent:

Down­load 100 Free Online Phi­los­o­phy Cours­es & Start Liv­ing the Exam­ined Life

Crash Course on Lit­er­a­ture: Watch John Green’s Fun Intro­duc­tions to Gats­by, Catch­er in the Rye & Oth­er Clas­sics

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

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.

Martin Heidegger Talks Philosophy with a Buddhist Monk on German Television (1963)

Mar­tin Hei­deg­ger is often called the most impor­tant philoso­pher of the 20th cen­tu­ry. I’m not in a posi­tion to eval­u­ate this claim, but his influ­ence on con­tem­po­rary and suc­ces­sive Euro­pean and Amer­i­can thinkers is con­sid­er­able. That influ­ence spread all the way to Thai­land, where Bud­dhist monk and uni­ver­si­ty pro­fes­sor Bhikku Maha Mani came to think of Hei­deg­ger as “the Ger­man philoso­pher.” (A con­cep­tion, writes Otto Poggel­er in an essay on Hei­deg­ger and East­ern thought, that may have “per­vert­ed the monk’s want­i­ng to talk” to the philoso­pher, “since phi­los­o­phy nev­er lets itself be embod­ied in an idol.”) The Bud­dhist monk, also a radio pre­sen­ter who lat­er left his order to work for Amer­i­can tele­vi­sion, met the Ger­man philoso­pher in 1963 for an inter­view on Ger­man TV sta­tion SWR. Maha Mani asks his ques­tions in Eng­lish, Hei­deg­ger responds in Ger­man. See the first part of the inter­view above, the sec­ond below.

This was not at all the first time the Ger­man philoso­pher had dia­logued with an East Asian thinker. In a study on the Bud­dhist and Taoist influ­ences on Heidegger’s work, Rein­hold May writes that Heidegger’s “direct con­tact with East Asian thought dates back at least as far as 1922” when he began con­ver­sa­tions with sev­er­al major Japan­ese thinkers. Nonethe­less, Hei­deg­ger appar­ent­ly had lit­tle to say on the cor­re­spon­dences between his ideas and those of East­ern philoso­phers until the 1950s, and the lit­tle that he did say seems mar­gin­al at best to his main body of work.

May’s claims of “hid­den influ­ence” may be high­ly exag­ger­at­ed, yet Hei­deg­ger was famil­iar with Bud­dhist thought, and, in the inter­view, he makes some inter­est­ing dis­tinc­tions and com­par­isons. In answer to the Bhikku’s first, very gen­er­al, ques­tion, Hei­deg­ger launch­es into his famil­iar refrain—“one ques­tion was nev­er asked [in “Occi­den­tal” phi­los­o­phy], that is, the ques­tion of Being.” Hei­deg­ger defines “the human being” as “this essence, that has lan­guage,” in con­trast to “the Bud­dhist teach­ings,” which do not make “an essen­tial dis­tinc­tion, between human beings and oth­er liv­ing things, plants and ani­mals.” For Hei­deg­ger, consciousness—“a know­ing rela­tion to Being” through language—is the exclu­sive pre­serve of humans.

In the sec­ond part of the inter­view (read a tran­script here), Bhikku Maha Mani asks Hei­deg­ger what he thinks about the con­tra­dic­to­ry West­ern ten­den­cy to iden­ti­fy peo­ple with­out reli­gion as “com­mu­nists” and those who live “accord­ing to reli­gious rules” as insane. Hei­deg­ger responds that reli­gion, in its most rad­i­cal sense, sim­ply means “a bond­ing-back to pow­ers, forces and laws, that super­sede human capa­bil­i­ty.” In this respect, he says, “no human being is with­out reli­gion,” whether it be “the belief in sci­ence” of com­mu­nists or “an athe­is­tic reli­gion, name­ly Bud­dhism, that knows no God.” Hei­deg­ger goes on to explain why he sees lit­tle pos­si­bil­i­ty of “imme­di­ate and sim­ple under­stand­ing” between peo­ple of dif­fer­ent reli­gions, philoso­phies, and polit­i­cal groups. While it may be tempt­ing to view Heidegger’s work—and that of oth­er phe­nom­e­no­log­i­cal, exis­ten­tial, or skep­ti­cal philosophers—as work­ing in tan­dem with much East­ern thought, as per­haps “the” Ger­man philoso­pher him­self would cau­tion, the dif­fer­ences are sig­nif­i­cant. In the inter­view above, Hei­deg­ger large­ly faults Ger­many and “all of Europe in gen­er­al” for a gen­er­al lack of human har­mo­ny: “We do not have any clear, com­mon and sim­ple rela­tion to real­i­ty and to our­selves,” he says. “That is the big prob­lem of the West­ern world.”

Cours­es on Hei­deg­ger’s phi­los­o­phy can be found in our col­lec­tion of Free Online Phi­los­o­phy Cours­es, part of our larg­er col­lec­tion of 950 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Mar­tin Hei­deg­ger Talks About Lan­guage, Being, Marx & Reli­gion in Vin­tage 1960s Inter­views

Human, All Too Human: 3‑Part Doc­u­men­tary Pro­files Niet­zsche, Hei­deg­ger & Sartre

Exis­ten­tial­ism with Hubert Drey­fus: Four Free Phi­los­o­phy Cours­es

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

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