The Philosophy of Rick and Morty: What Everyone’s New Favorite Cartoon Has in Common with Albert Camus

“Nobody exists on pur­pose, nobody belongs any­where, every­body’s gonna die.” So, in one episode of Rick and Morty, says the four­teen-year-old Morty Smith, one of the show’s tit­u­lar co-pro­tag­o­nists. With the oth­er, a mad sci­en­tist by the name of Rick Sanchez, who also hap­pens to be Morty’s grand­fa­ther, he con­sti­tutes the ani­mat­ed team that has enter­tained thou­sands and thou­sands of view­ers — and made insa­tiable fans of seem­ing­ly all of them — over the past four years. To those few who haven’t yet seen the show, it may just look like a sil­ly car­toon, but the true fans under­stand that under­neath all of the mem­o­rable gags and quotable lines lies an unusu­al philo­soph­i­cal depth.

“The human desire to ful­fill some spe­cial exis­ten­tial pur­pose has exist­ed through­out his­to­ry,” says video essay­ist Will Schoder in his analy­sis of the phi­los­o­phy of Rick and Morty. But the tit­u­lar duo’s adven­tures through all pos­si­ble real­i­ties of the “mul­ti­verse” ensure that they expe­ri­ence first­hand the utter mean­ing­less­ness of each indi­vid­ual real­i­ty.

When Morty breaks that bleak-sound­ing news to his sis­ter Sum­mer with the now oft-quot­ed line above, he actu­al­ly deliv­ers a “com­fort­ing mes­sage”: once you con­front the ran­dom­ness of the uni­verse, as Rick and Morty con­stant­ly do, “the only option is to find impor­tance in the stuff right in front of you,” and their adven­tures show that “friends, fam­i­ly, and doing what we enjoy are far more impor­tant than any unsolv­able ques­tions about exis­tence.”

Schoder, also the author of a video essay on Rick and Morty co-cre­ator Dan Har­mon’s mytho­log­i­cal sto­ry­telling tech­nique as well as one we’ve pre­vi­ous­ly fea­tured about David Fos­ter Wal­lace’s cri­tique of post­mod­ernism, makes the clear philo­soph­i­cal con­nec­tion to Albert Camus. The philoso­pher and author of The Stranger wrote and thought a great deal about the “con­tra­dic­tion between humans’ desire to find mean­ing in life and the mean­ing­less­ness of the uni­verse,” and the absur­di­ty that results, a notion the car­toon has dra­ma­tized over and over again, with an ever-height­en­ing absur­di­ty. We must, like Sisy­phus eter­nal­ly push­ing his rock uphill, rec­og­nize the true nature of our sit­u­a­tion yet defi­ant­ly con­tin­ue “to explore and search for mean­ing.” Morty, as any fan well knows, offers Sum­mer anoth­er solu­tion to her despair: “Come watch TV.”

Relat­ed Con­tent:

Albert Camus: The Mad­ness of Sin­cer­i­ty — 1997 Doc­u­men­tary Revis­its the Philosopher’s Life & Work

David Fos­ter Wal­lace on What’s Wrong with Post­mod­ernism: A Video Essay

The Phi­los­o­phy of The Matrix: From Pla­to and Descartes, to East­ern Phi­los­o­phy

The Phi­los­o­phy of Bill Mur­ray: The Intel­lec­tu­al Foun­da­tions of His Comedic Per­sona

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

See Mozart Played on Mozart’s Own Fortepiano, the Instrument That Most Authentically Captures the Sound of His Music

I’ve been a fan of the Acad­e­my of Ancient Music since I picked up its per­for­mance of Vivaldi’s The Four Sea­sons as a teenag­er in the UK. Though into rock and prog at the time, I was always try­ing to expand my learn­ing and would occa­sion­al­ly turn the dial from BBC Radio One (for John Peel, late at night) to Radio Four where I tried to make my way in the heady world of clas­si­cal music. It was how the album was pro­mot­ed and sold: you’ve nev­er heard Vival­di until you’ve heard it on the orig­i­nal instru­ments! I mean, this tied right in at the time to the advent of CDs (“hear it as the musi­cians did in the con­trol room!”) and the begin­ning of “from the orig­i­nal mas­ter tapes!” turn­ing up on record­ings. I was all in, and it’s a thrilling record­ing.

That thrill nev­er goes away, as demon­strat­ed with the above video of Robert Levin, recent­ly announced as the first Hog­wood Fel­low of the Acad­e­my, play­ing Mozart on Mozart’s own piano. Or rather, Mozart’s fortepi­ano, a small­er and much lighter ver­sion of the piano. It is two octaves short­er, and only sev­en feet long.

Mozart used this fortepi­ano for both com­pos­ing and per­form­ing from 1785 until his death in 1791. He wrote over 50 works on it. The instru­ment dates to 1782, built by Anton Wal­ter, one of the best-known piano mak­ers in Vien­na at that time. In 2012 it final­ly returned to Mozart’s Salzburg home (now a muse­um), hav­ing been in the pos­ses­sion of the Cathe­dral Music Asso­ci­a­tion and Mozar­teum for the major­i­ty of the years since the composer’s death.

“One writes for acousti­cal and aes­thet­ic prop­er­ties of the instru­ments at hand,” Levin says, explain­ing the Academy’s mis­sion and ide­ol­o­gy. Nat­u­ral­ly it fol­lows that Mozart sounds the best on Mozart’s instru­ment. The fortepi­ano is brighter and jaun­tier, and can be a rev­e­la­tion for those with the tal­ent and for­tune to play it. Levin says:

“So sit­ting down at Mozart’s piano, sit­ting down at an organ which Bach played him­self, you under­stand things about the weight of the keys going down and the rep­e­ti­tion and the bal­ance in sound. And all of these things bring you very, very close to the music and make you say ‘A‑ha, that’s why it’s writ­ten that way’, which is not the kind of thing you’re going to get if you’re play­ing on the stan­dard instru­ments that are being man­u­fac­tured today”

Levin is cur­rent­ly record­ing Mozart’s piano sonatas on this very fortepi­ano. The piece he plays in the video is Mozart’s Sonata No. 17 in B flat major KV 570 (3rd move­ment).

via Clas­sic FM

Relat­ed Con­tent:

Hear the Pieces Mozart Com­posed When He Was Only Five Years Old

Watch a Musi­cian Impro­vise on a 500-Year-Old Music Instru­ment, The Car­il­lon

Watch Leonar­do da Vinci’s Musi­cal Inven­tion, the Vio­la Organ­ista, Being Played for the Very First Time

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Pop Art Posters Celebrate Pioneering Women Scientists: Download Free Posters of Marie Curie, Ada Lovelace & More

We all know the name Marie Curie—or at least I hope we do. But for far too many peo­ple, that’s where their knowl­edge of women in sci­ence ends. Which means that thou­sands of young boys and girls who read about Isaac New­ton and Louis Pas­teur nev­er also learn the sto­ry of Car­o­line Her­schel (1750–1848), the first woman to dis­cov­er a comet, pub­lish with the Roy­al Soci­ety, and receive a salary for sci­en­tif­ic work—as the assis­tant to the king’s astronomer, her broth­er, in 19th cen­tu­ry Eng­land. Her­schel dis­cov­ered and cat­a­logued new neb­u­lae and star clus­ters; received a gold medal from the Roy­al Astro­nom­i­cal Soci­ety; and she and her broth­er William “increased the num­ber of known star clus­ters,” writes the Smith­son­ian, “from 100 to 2,500.” And yet, she remains almost total­ly obscure.

Open a math or physics text­book and you may not come across the name Emmy Noe­ther (1882–1935), either, despite the fact that she “proved two the­o­rems,” the San Diego Super­com­put­er Cen­ter (SDSC) notes, “that were basic for both gen­er­al rel­a­tiv­i­ty and ele­men­tary par­ti­cle physics. One is still known as ‘Noether’s The­o­rem.’”

Noe­ther fought hard for recog­ni­tion in life. She received her Ph.D. in math­e­mat­ics from the Uni­ver­si­ty of Göt­tin­gen in 1907, and she even­tu­al­ly sur­passed her sci­en­tist father and broth­ers. But at first, she could only secure work at the Math­e­mat­i­cal Insti­tute of Erlan­gen in a posi­tion with­out title or pay. And despite her bril­liance, she was only allowed to teach at Göt­tin­gen Uni­ver­si­ty as the assis­tant to David Hilbert, also with­out a salary.

Noe­ther suf­fered dis­crim­i­na­tion in Ger­many “owing not only to prej­u­dices against women, but also because she was a Jew, a Social Demo­c­rat, and a paci­fist.” Oth­er promi­nent women in sci­en­tif­ic his­to­ry have encoun­tered sim­i­lar­ly inter­sect­ing forms of dis­crim­i­na­tion, and con­tin­ue to do so. Much has changed since the times of Her­schel and of Noe­ther, but “there is much work to be done,” writes Eamon O’Flynn of the Perime­ter Insti­tute for The­o­ret­i­cal Physics. “Part of mak­ing pos­i­tive change includes cel­e­brat­ing the con­tri­bu­tions women have made to sci­ence, espe­cial­ly those women over­looked in their time.” For this rea­son, the Perime­ter Insti­tute has cre­at­ed a poster series, called “Forces of Nature,” for “class­rooms, dorm rooms, liv­ing rooms, offices, and physics depart­ments.”

The posters fea­ture Curie, Noe­ther, com­put­ing pio­neer Ada Lovelace, stel­lar astronomer Annie Jump Can­non, and “first lady of physics” Chien-Shi­ung Wu. Should you want one or all of these as high-res­o­lu­tion images print­able up to 24”x36”, vis­it the Perime­ter Institute’s site and fol­low the links to fill out a short form. Whether you’re a par­ent, teacher, or mentor—these strik­ing pop art posters seem like an excel­lent way to get a con­ver­sa­tion about women in sci­ence start­ed. Fol­low up with the Smithsonian’s “Ten His­toric Female Sci­en­tists You Should Know,” SDSC’s Women in Sci­ence project, Rachel Ignotofsky’s Women in Sci­ence: 50 Fear­less Pio­neers Who Changed the World, and—for a con­tem­po­rary view of women work­ing in every pos­si­ble STEM field—the Asso­ci­a­tion for Women in Sci­ence.

Relat­ed Con­tent:

Marie Curie Attend­ed a Secret, Under­ground “Fly­ing Uni­ver­si­ty” When Women Were Banned from Pol­ish Uni­ver­si­ties

How Ada Lovelace, Daugh­ter of Lord Byron, Wrote the First Com­put­er Pro­gram in 1842–a Cen­tu­ry Before the First Com­put­er

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

The Art of the Japanese Teapot: Watch a Master Craftsman at Work, from the Beginning Until the Startling End

Peo­ple all over the world enjoy Japan­ese tea, but few of them have wit­nessed a prop­er Japan­ese tea cer­e­mo­ny — and see­ing as a prop­er Japan­ese tea cer­e­mo­ny can last up to four hours, many prob­a­bly imag­ine they don’t have the endurance. But Japan­ese tea cul­ture holds up metic­u­lous­ness as a high virtue for the pre­par­er, the drinker, and even more so the crafts­man who makes the tea ware both of them use. In the video above, you can see one such mas­ter named Shimizu Gen­ji at work in his stu­dio in Tokon­ame, a city known as a ceram­ics cen­ter for hun­dreds and hun­dreds of years.

Shimizu, writes the pro­pri­etor of pot­tery site Artisticnippon.com about a vis­it to his work­shop, “throws a block of clay onto the wheel, cre­at­ing the teapot’s body, han­dle, spout and lid one after anoth­er, all from the same block. It real­ly is quite mes­meris­ing and awe-inspir­ing to watch.”

Once he assem­bles these for­mi­da­bly sol­id-look­ing but decep­tive­ly light pieces, he dries them out over three days, a process that offers “just one exam­ple of the time and care invest­ed in the craft­ing of exquis­ite Tokon­ame teapots.” Final­ly comes the sea­weed, of which cer­tain pieces get a lay­er applied before fir­ing. After­ward, the traces left by the sea­weed cre­ate a “charred” pat­tern­ing called mogake.

We would sure­ly wel­come any of Shimizu’s prod­ucts, or those by the oth­er respect­ed prac­ti­tion­ers of his tra­di­tion, into our home. But as with all Japan­ese crafts honed over count­less gen­er­a­tions, the process counts for just as much as the prod­uct, or even more so. Take, for instance, Shimizu’s process as cap­tured by this video: we appre­ci­ate the con­cen­tra­tion, delib­er­a­tion, and sen­si­tiv­i­ty shown at each and every stage, and the pieces of the teapot as they come into exis­tence don’t look half bad either. But if we become too attached to the final result we’ve been antic­i­pat­ing over these four­teen min­utes — well, suf­fice it to say that the mas­ter crafts­man has a les­son in imper­ma­nence in store for us.

Relat­ed Con­tent:

Japan­ese Crafts­man Spends His Life Try­ing to Recre­ate a Thou­sand-Year-Old Sword

The Mak­ing of Japan­ese Hand­made Paper: A Short Film Doc­u­ments an 800-Year-Old Tra­di­tion

Watch a Japan­ese Crafts­man Lov­ing­ly Bring a Tat­tered Old Book Back to Near Mint Con­di­tion

The Art of Col­lo­type: See a Near Extinct Print­ing Tech­nique, as Lov­ing­ly Prac­ticed by a Japan­ese Mas­ter Crafts­man

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

25 Million Images From 14 Art Institutions to Be Digitized & Put Online In One Huge Scholarly Archive

Dig­i­tal art archives, says Thomas Gae­ht­gens, direc­tor of the Get­ty Research Insti­tute, are “Sleep­ing Beau­ties, and they are wait­ing to be dis­cov­ered and kissed.” It’s an odd metaphor, espe­cial­ly since the archive to which Gae­ht­gens refers cur­rent­ly con­tains pho­to­graph­ic trea­sures like that of Medieval Chris­t­ian art from the Nether­lands Insti­tute for Art His­to­ry. But soon, Pharos, the “Inter­na­tion­al Con­sor­tium of Pho­to Archives,” will host 25 mil­lion images, Ted Loos reports at The New York Times, “17 mil­lion of them art­works and the rest sup­ple­men­tal mate­r­i­al.” The archive aims to have 7 mil­lion online by 2020.

Pharos is the joint effort of 14 dif­fer­ent insti­tu­tions, includ­ing the Get­ty and the Frick, the Nation­al Gallery of Art, the Yale Cen­ter for British Art, Rome’s Bib­lio­the­ca Hertziana, the Cour­tauld Insti­tute, and more. Even­tu­al­ly “users will be able to search the restora­tion his­to­ry of the works, includ­ing dif­fer­ent states of the same piece over time… past own­er­ship; and even back­ground on relat­ed works that have been lost or destroyed.” As Art­net puts it, “art his­to­ry just got a lot more acces­si­ble.”

Once the pri­ma­ry domain of well-appoint­ed pro­fes­sors with insti­tu­tion­al con­nec­tions and the bud­get to fly around the world, the dis­ci­pline can soon be pur­sued by any­one with an inter­net con­nec­tion, though there is, of course, no vir­tu­al sub­sti­tute yet for engag­ing with art in three-dimen­sions. Claire Voon explains at Hyper­al­ler­gic, “Pharos’s data­base is pri­mar­i­ly aimed at scholars—although it is freely avail­able for all to use—and is ded­i­cat­ed to upload­ing a work’s attri­bu­tion and prove­nance as well as con­ser­va­tion, exhi­bi­tion, and bib­li­o­graph­ic his­to­ries.” All of the infor­ma­tion, in oth­er words, required for seri­ous research.

Cur­rent­ly fea­tur­ing almost 100,000 images and over 60,000 sep­a­rate art­works, Pharos con­tains clas­si­cal and Byzan­tine art and mosaics from the Frick; ear­ly Chris­t­ian art from the Nation­al Gallery; many pho­tographs of Roman pot­tery, sculp­ture, and stat­u­ary from the Bib­lio­the­ca Hertziana, and much more. The Frick com­pris­es the bulk of the col­lec­tion, and the muse­um is Pharos’s pri­ma­ry part­ner and “home to the very first pho­toarchive in the Unit­ed States, thanks to the ini­tia­tive of its founder’s daugh­ter.” (Most of the images cur­rent­ly in the Frick archive are in black and white.)

While the cur­rent insti­tu­tions are all based in North Amer­i­ca and Europe, the “data­base will even­tu­al­ly expand,” writes Voon, “to include records from more pho­toarchives around the world.” Schol­ars and art lovers world­wide may not nec­es­sar­i­ly think of these trea­sures as kiss­able “sleep­ing beau­ties,” but their plen­ti­ful appear­ance in such rich detail and easy acces­si­bil­i­ty may indeed seem like a fairy tale come true.

Enter the Pharos data­base here.

via Hyper­al­ler­gic

Relat­ed Con­tent:

The British Muse­um Cre­ates 3D Mod­els of the Roset­ta Stone & 200+ Oth­er His­toric Arti­facts: Down­load or View in Vir­tu­al Real­i­ty

The Smith­son­ian Design Muse­um Dig­i­tizes 200,000 Objects, Giv­ing You Access to 3,000 Years of Design Inno­va­tion & His­to­ry

1,000+ His­toric Japan­ese Illus­trat­ed Books Dig­i­tized & Put Online by the Smith­son­ian: From the Edo & Meji Eras (1600–1912)

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

The Philosophy of “Optimistic Nihilism,” Or How to Find Purpose in a Meaningless Universe

In one account of human affairs, an all-pow­er­ful deity rules over every­thing. Noth­ing can occur with­out the knowl­edge and sanc­tion of the omnipo­tent cre­ator god. In a much more recent iter­a­tion, we inhab­it an unimag­in­ably com­plex com­put­er sim­u­la­tion, in which every thing—ourselves included—has been cre­at­ed by all-pow­er­ful pro­gram­mers. The first sce­nario gives mil­lions of peo­ple com­fort, the sec­ond… well, maybe only a hand­ful of cult-like Sil­i­con Val­ley techo-futur­ists. But in either case, the ques­tion inevitably aris­es: how is it pos­si­ble that there is any such thing as true free­dom? The idea that free will is an illu­sion has haunt­ed philo­soph­i­cal thought for at least a cou­ple thou­sand years.

But in the exis­ten­tial­ist view, the real fear is not that we may have too lit­tle free­dom, but that we may have too much—indeed that we may have the ulti­mate free­dom, that of con­scious beings who appeared in the uni­verse unbid­den and by chance, and who can only deter­mine for them­selves what form and direc­tion their being might take. This was the ear­ly view of Jean-Paul Sartre. “We are left alone, with­out excuse”—he famous­ly wrote in his 1946 essay “Exis­ten­tial­ism is a Human­ism”—“This is what I mean when I say that man is con­demned to be free.” Free­dom is a bur­den; with­out gods, dev­ils, or soft­ware engi­neers to fault for our actions, or any pre­de­ter­mined course of action we might take, each of us alone bears the full weight of respon­si­bil­i­ty for our lives and choic­es.

Emerg­ing from com­fort­ing visions of human­i­ty as the cen­ter of the universe—says the nar­ra­tor in the video above from philo­soph­i­cal ani­ma­tion chan­nel Kurzge­sagt—“we learned that the twin­kling lights are not shin­ing beau­ti­ful­ly for us, they just are. We learned that we are not at the cen­ter of what we now call the uni­verse, and that it is much, much old­er than we thought.” We learned that we are alone in the cos­mos, on a com­plete­ly insignif­i­cant speck of space dust, more or less. Even the con­cepts we use to explain this over­whelm­ing sit­u­a­tion are total­ly arbi­trary in the face of our pro­found igno­rance. Add to this the prob­lem of our infin­i­tes­i­mal­ly brief lifes­pans and inevitable death and you’ve got the per­fect recipe for exis­ten­tial dread.

For this con­di­tion, Kurzge­sagt rec­om­mends a rem­e­dy: “Opti­mistic Nihilism,” a phi­los­o­phy that posits ulti­mate free­dom in the midst of, and sole­ly enabled by, the utter mean­ing­less­ness of exis­tence: “If our life is the only thing we get to expe­ri­ence, then it’s the only thing that mat­ters. If the uni­verse has no prin­ci­ples, then the only prin­ci­ples rel­e­vant are the ones we decide on. If the uni­verse has no pur­pose, then we get to dic­tate what its pur­pose is.” This is more or less a para­phrase of Sartre, who made vir­tu­al­ly iden­ti­cal claims in what he called his “athe­is­tic exis­ten­tial­ism,” but with the added force in his “doc­trine” that “there is no real­i­ty except in action… Man is noth­ing else but what he pur­pos­es, he exists only in so far as he real­izes him­self.” We not only get to deter­mine our pur­pose, he wrote, we have to do so, or we can­not be said to exist at all.

In the midst of this fright­en­ing­ly rad­i­cal free­dom, Sartre saw the ulti­mate oppor­tu­ni­ty: to make of our­selves what we will. But this dizzy­ing pos­si­bil­i­ty may send us run­ning back to com­fort­ing pre­fab illu­sions of mean­ing and pur­pose. How ter­ri­ble, to have to decide for your­self the pur­pose of the entire uni­verse, no? But the phi­los­o­phy of “Opti­mistic Nihilism” goes on to expound a the­sis sim­i­lar to that of the Zen pop­u­lar­iz­er, Alan Watts, who has soothed many a case of exis­ten­tial dread with his response to the idea that we are some­how sep­a­rate from the uni­verse, either hov­er­ing above it or crushed beneath it. Humans are not, as Watts col­or­ful­ly wrote, “iso­lat­ed ‘egos’ inside bags of skin.” Instead, as the video goes on, “We are as much the uni­verse as a neu­tron star, or a black hole, or a neb­u­la. Even bet­ter, actu­al­ly, we are its think­ing and feel­ing part, the sen­so­ry organs of the uni­verse.”

Nei­ther Sartre nor Watts, with their very dif­fer­ent approach­es to the same set of exis­ten­tial con­cerns, would like­ly endorse the tidy sum­ma­tion offered by the phi­los­o­phy of “Opti­mistic Nihilism.” But just as we would be fool­ish to expect a six-minute ani­mat­ed video to offer a com­plete phi­los­o­phy of life, we would be painful­ly naïve to think of free­dom as a con­di­tion of com­fort and ease, built on ratio­nal cer­tain­ties and absolute truths. For all of the dis­agree­ment about what we should do with rad­i­cal exis­ten­tial free­dom, every­one who rec­og­nizes it agrees that it entails rad­i­cal uncertainty—the ver­tig­i­nous sense of unknow­ing that is the source of our con­stant free-float­ing anx­i­ety.

If we are to act in the face of doubt, mys­tery, igno­rance, and the immen­si­ty of seem­ing­ly gra­tu­itous suf­fer­ing, we might heed John Keats’ pre­scrip­tion to devel­op “Neg­a­tive Capa­bil­i­ty,” the abil­i­ty to remain “con­tent with half-knowl­edge.” This was not, as Lionel Trilling writes in an intro­duc­tion to Keats’ let­ters, advice only for artists, but “a cer­tain way of deal­ing with life”—one in which, Keats wrote else­where, “the only means of strength­en­ing one’s intel­lect,” and thus a sense of iden­ti­ty, mean­ing, and pur­pose in life, “is to make up one’s mind about nothing—to let the mind be a thor­ough­fare for all thoughts.”

Keats’ is a very Zen sen­ti­ment, a moody ver­sion of the “don’t-know mind” that rec­og­nizes empti­ness and suf­fer­ing as hall­marks of exis­tence, and finds in them not a rea­son for opti­mism but for the indef­i­nite sus­pen­sion of judge­ment. Still, the approach of Roman­tic poets and Bud­dhist monks is not for every­one, and even Sartre even­tu­al­ly turned to ortho­dox Marx­ism to impose a mean­ing upon exis­tence that claimed depen­dence on the hard facts of mate­r­i­al con­di­tions rather than the unbound­ed abstrac­tions of the intel­lect.

Per­haps we are are free, at least, to com­mit to an ide­ol­o­gy to assuage our exis­ten­tial dread. We are also free to adopt the trag­ic defi­ance of anoth­er Marx­ist, Anto­nio Gram­sci, who con­fessed to some­thing of an “Opti­mistic Nihilism” of his own. Only he referred to it as a “pes­simism of the intel­lect” and “opti­mism of the will”—an atti­tude that rec­og­nizes the severe social and mate­r­i­al lim­its imposed on us by our often painful, short, seem­ing­ly mean­ing­less exis­tence in a mate­r­i­al world, and that strives nonethe­less toward impos­si­ble ideals.

Relat­ed Con­tent:

Free Online Phi­los­o­phy Cours­es

A Crash Course in Exis­ten­tial­ism: A Short Intro­duc­tion to Jean-Paul Sartre & Find­ing Mean­ing in a Mean­ing­less World

Alan Watts Explains the Mean­ing of the Tao, with the Help of the Great­est Nan­cy Pan­el Ever Drawn

Are We Liv­ing Inside a Com­put­er Sim­u­la­tion?: An Intro­duc­tion to the Mind-Bog­gling “Sim­u­la­tion Argu­ment”

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

A Free Trial Offer for The Great Courses Plus: A Special Deal for Open Culture Readers

We’ve told you about the Great Cours­es Plus (now called Won­dri­um)  before–a new video sub­scrip­tion ser­vice that lets you watch free cours­es (about 8,000 lec­tures in total) across a wide range of sub­jects, all taught by some of the best lec­tur­ers in the coun­try. The top­ics cov­er every­thing from His­to­ry, Phi­los­o­phy, Lit­er­a­ture, and Eco­nom­ics, to Math, Sci­ence, Pro­fes­sion­al Devel­op­ment, Cook­ing, and Pho­tog­ra­phy. And you can binge-watch entire col­lege cours­es in a mat­ter of days by watch­ing videos on your TV, tablet, lap­top and smart phone, with the help of apps designed for Apple, Google Play, Kin­dle Fire, and Roku.

Inter­est­ed in try­ing out this ser­vice? Right now, the Great Cours­es Plus/Won­dri­um is offer­ing a spe­cial deal for Open Cul­ture read­ers. If you click here, and sign up for a free tri­al, you can use this ser­vice for 30 days … for free. And then, if you would like, you can con­tin­ue to sub­scribe and pay their nor­mal prices. If you have time on your hands, this is a great way to keep your mind engaged and stream what PC Mag­a­zine has called “an excel­lent library of col­lege-lev­el lec­tures.”

Note: The Great Cours­es is a part­ner with Open Cul­ture. So if you sign up for a free tri­al, it ben­e­fits not just you and Great Cours­es Plus. It ben­e­fits Open Cul­ture too. So con­sid­er it win-win-win.

by | Permalink | Make a Comment ( 8 ) |

Hear 15 Hours of Frank Zappa’s Legendary 1977 Halloween Performances at New York’s Palladium

What do you give the Zap­pa fan who has every­thing? Why, of course, the three-disc set, Frank Zap­pa Hal­loween 77—a doc­u­ment of Zap­pa per­for­mances at New York’s Pal­la­di­um in 1977 dur­ing a Hal­loween week­end stint—just released only a few days ago in an offi­cial form, as well as in a box set fea­tur­ing 158 tracks and a Zap­pa mask and cos­tume. Ah, it is too late! Too late! you say. The day is upon us! Tru­ly, it is, but a Zap­pa cos­tume nev­er goes out of style—it can be worn year-round with­out embar­rass­ment. And while you wait for the swag to arrive, light up your Hal­loween night with 15 hours of tracks from the four-night engage­ment in the Spo­ti­fy playlist below.

By the time of these record­ings, Zappa’s Hal­loween shows were “already the stuff of leg­ends,” we learn from the offi­cial source, Zappa.com. “While the shows began in the late ‘60s, around 1972, these mon­u­men­tal per­for­mances would become annu­al events, ini­tial­ly in Pas­sa­ic, NJ and Chica­go IL before mov­ing to New York City in 1974, where they’d remain…. From Octo­ber 28–31, Zap­pa and his band played six his­toric shows at the 3,000 capac­i­ty Pal­la­di­um. All the per­for­mances were record­ed with four being filmed, result­ing in Zappa’s mam­moth film project, ‘Baby Snakes.’”

The 1979 film failed to find an audi­ence beyond Zappa’s rabid­ly loy­al cult fol­low­ing, or a dis­trib­u­tor beyond Zap­pa him­self. Many of the songs Zap­pa and his band played dur­ing the series of con­certs appeared that same year on Sheik Yer­bouti (say it out loud), an album that made sure to piss peo­ple off. The song “Bob­by Brown” was banned from the radio in the U.S.; The Anti-Defama­tion League demand­ed an apol­o­gy, which Zap­pa refused, for the song “Jew­ish Princess,” which was only per­formed once, dur­ing the ’77 Hal­loween shows; and the album’s major hit, “Dancin’ Fool,” made audi­ences dance to a song that made fun of them.

Zappa’s anti-social antics were not bugs but features—he main­tained a rabid fan­base no mat­ter what he did because he was a phe­nom­e­nal­ly tal­ent­ed, irre­press­ibly cre­ative musi­cian who attract­ed the best play­ers in the busi­ness. The 1977 Hal­loween show band—including mad­man drum­mer Ter­ry Bozzio and King Crim­son gui­tarist Adri­an Belew—could not have been in fin­er form. Zappa’s arro­gance may have rubbed non-fans of his music the wrong way, but to those who couldn’t get enough of his vir­tu­oso prog-rock car­ni­val, he had every rea­son to hold such peo­ple in con­tempt.

Zap­pa inspired so much devo­tion among fel­low musi­cians that a num­ber of them have agreed to tour with a holo­gram of the late gui­tarist-band­leader, to be pro­duced by Eye­l­lu­sion, “live music’s pre­mier holo­gram pro­duc­tion com­pa­ny,” explains the offi­cial Zap­pa site. The project has proven, in the words of Belew, who signed on then dropped out of the tour, “caus­tic and divi­sive.” It may also, whether you’re a fan of Zap­pa or not, seem more than a lit­tle spooky, and not in the fun trick-or-treat way. Maybe you, or your Zap­pa fan, would pre­fer to remem­ber him as he was, in the flesh, sneer­ing and shred­ding at the Pal­la­di­um on Hal­loween night, 1977.

via @jhoffman

Relat­ed Con­tent:

Frank Zappa’s Amaz­ing Final Con­certs: Prague and Budapest, 1991

Hear the Musi­cal Evo­lu­tion of Frank Zap­pa in 401 Songs

Frank Zap­pa Explains the Decline of the Music Busi­ness (1987)

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

« Go BackMore in this category... »
Quantcast