An Introduction to the Life & Thought of Hannah Arendt: Presented by the BBC Radio’s In Our Time

Unset­tling his­tor­i­cal par­al­lels between the new­ly-devel­op­ing world order and the ter­rors that scourged Europe in the 1930s and 40s now seem unde­ni­able to most informed observers of con­tem­po­rary geopol­i­tics. Euro­peans have their own polit­i­cal crises to weath­er, but all eyes cur­rent­ly seem trained on the mil­i­tary behe­moth that is my own coun­try. “These are not nor­mal times,” admits Jane Chong at Law­fare. Though she cri­tiques Nazi com­par­isons as need­less­ly alarmist, she “sees no rea­son for opti­mism.” While ref­er­ences to his­to­ry’s great­est vil­lain abound, we’ve also seen Aus­tralian sci­en­tist Alan Finkel com­pare the U.S. leader to Joseph Stal­in for the sup­pres­sion and cen­sor­ship of envi­ron­men­tal data.

The dev­as­ta­tion Hitler and Stal­in vis­it­ed upon West­ern and East­ern Europe can hard­ly be overstated—and we still find it near­ly impos­si­ble to com­pre­hend. But not soon after the end of World War II, one of the 20th century’s most prob­ing ana­lysts of polit­i­cal thought attempt­ed to do just that.

Han­nah Arendt’s 1951 The Ori­gins of Total­i­tar­i­an­ism remains one of “sev­er­al sem­i­nal works on tyran­ny and oppres­sion that have recent­ly gained pop­u­lar­i­ty among read­ers,” notes Ali­son Gris­wold at Quartz. And Arendt’s 1963 clas­sic Eich­mann in Jerusalem also con­tin­ues to inform the moment, offer­ing a “sober­ing reflec­tion,” writes Maria Popo­va, on what Arendt called “the fear­some, word-and-thought-defy­ing banal­i­ty of evil.”

Arendt’s renewed rel­e­vance recent­ly prompt­ed Melvyn Bragg, host of the excel­lent BBC Radio pro­gram In Our Time, to bring three guest phi­los­o­phy pro­fes­sors—Robert Eagle­stone, Fris­bee Sheffield, and Lyn­d­sey Stone­bridgeon air to dis­cuss her ideas and influ­ence. Bragg begins with a brief out­line of Arendt’s biog­ra­phy, then turns to Sheffield, a lec­tur­er at Gir­ton Col­lege, Cam­bridge, for elab­o­ra­tion. They imme­di­ate­ly address one of the most con­tro­ver­sial aspects of Arendt’s young life, her affair with her men­tor, Mar­tin Hei­deg­ger, who joined the Nazi par­ty and remained a true believ­er in its ide­ol­o­gy.

But the con­ver­sa­tion quick­ly moves on from there to encom­pass Arendt’s mul­ti-dimen­sion­al thought. “There’s a great range to her writ­ings,” says Sheffield. A trained clas­si­cist, Arendt wrote her dis­ser­ta­tion on the idea of love in St. Augus­tine. Her most philo­soph­i­cal work, The Human Con­di­tion, drew on clas­si­cal con­cepts to rank human activ­i­ty into a hier­ar­chy of labor, work, and action. She “wrote on a great range of top­ics,” Sheffield notes, though “there is a con­sis­tent inter­est in pol­i­tics and polit­i­cal themes through­out her work.”

Yet Arendt reject­ed the label of polit­i­cal philoso­pher and is her­self “hard to pin down” polit­i­cal­ly. Her 1963 book On Rev­o­lu­tion, cri­tiqued left­ist and Marx­ist thought and praised the Amer­i­can Rev­o­lu­tion for its con­sti­tu­tion­al­ism. She was skep­ti­cal of the notion of uni­ver­sal human rights, and her essay On Vio­lence made the argu­ment that vio­lence appears only in the absence of polit­i­cal pow­er, not its ascen­den­cy. As we learn from lis­ten­ing to Bragg’s assem­bled pan­el of guests, Arendt con­sis­tent­ly empha­sized two clas­si­cal con­cepts: the val­ue of a civic and polit­i­cal order and the impor­tance of the “life of the mind,” also the title of a two-vol­ume work pub­lished posthu­mous­ly in 1978.

In Our Time’s short, live­ly con­ver­sa­tion pro­vides an excel­lent intro­duc­tion to Arendt’s life and work. To dive more deeply into the Arendt cor­pus, vis­it Bard College’s Han­nah Arendt Cen­ter for Pol­i­tics and Human­i­ties, browse the Library of Congress’s Han­nah Arendt Papers, and read Lyn­d­sey Stonebridge’s short online essay “Han­nah Arendt’s Refugee His­to­ry.” You’ll also find an exten­sive read­ing list of pri­ma­ry and sec­ondary sources at the In Our Time BBC page.

Relat­ed Con­tent:

Han­nah Arendt Explains How Pro­pa­gan­da Uses Lies to Erode All Truth & Moral­i­ty: Insights from The Ori­gins of Total­i­tar­i­an­ism

Han­nah Arendt on “Per­son­al Respon­si­bil­i­ty Under Dic­ta­tor­ship:” Bet­ter to Suf­fer Than Col­lab­o­rate

Han­nah Arendt Dis­cuss­es Phi­los­o­phy, Pol­i­tics & Eich­mann in Rare 1964 TV Inter­view

Han­nah Arendt’s Orig­i­nal Arti­cles on “the Banal­i­ty of Evil” in the New York­er Archive

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

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

“We live in a night­mare that David Fos­ter Wal­lace had in 1994,” said a tweet that put me in stitch­es last sum­mer, but I have a sense that we’ve only sunk deep­er into that hyper­ver­bal, media-obsessed, and deeply fear­ful nov­el­ist’s bad dreams since then. “The Amer­i­can writer in the mid­dle of the 20th cen­tu­ry has his hands full in try­ing to under­stand, and then describe, and then make cred­i­ble much of the Amer­i­can real­i­ty,” Philip Roth argued 55 years ago. “The actu­al­i­ty is con­tin­u­al­ly out­do­ing our tal­ents.” Now, at the begin­ning of the 21st, that actu­al­i­ty out­does not just what the com­par­a­tive­ly tra­di­tion­al Roth could come up with, but even any­thing imag­in­able by Wal­lace’s heirs in the form-break­ing, extrem­i­ty-ori­ent­ed realm of “post­mod­ernism.”

But did Wal­lace con­sid­er him­self post­mod­ernist? Asked by Char­lie Rose in a 1997 inter­view what “post­mod­ernism means in lit­er­a­ture,” he at first replied only that it means “after mod­ernism.” But soon he got into the broad­er cul­tur­al cri­tique for which he’s now remem­bered: “Post­mod­ernism has, to a large extent, run its course,” despite hav­ing made the con­sid­er­able inno­va­tion of pre­sent­ing “the first text that was high­ly self-con­scious, self-con­scious of itself as text, self-con­scious of the writer as per­sona, self-con­scious about the effects that nar­ra­tive had on read­ers and the fact that the read­ers prob­a­bly knew that.” Decades lat­er, Wal­lace saw that “a lot of the schticks of post-mod­ernism — irony, cyn­i­cism, irrev­er­ence — are now part of what­ev­er it is that’s ener­vat­ing in the cul­ture itself.”

“The Prob­lem with Irony,” Will Schoder’s video essay above, draws on Wal­lace’s inter­view with Rose and much oth­er tele­vi­su­al mate­r­i­al besides. That focus may seem slight­ly quaint in the inter­net age, but Wal­lace, a self-con­fessed tele­vi­sion addict who wrote a thou­sand-page nov­el about a video­tape so enter­tain­ing that it kills, looked into the screen and saw a real and pow­er­ful threat. “Irony, pok­er-faced silence, and fear of ridicule are dis­tinc­tive of those fea­tures of con­tem­po­rary U.S. cul­ture (of which cut­ting-edge fic­tion is a part) that enjoy any sig­nif­i­cant rela­tion to the tele­vi­sion whose weird pret­ty hand has my gen­er­a­tion by the throat,” he wrote in the 1993 essay “E Unibus Plu­ram,” blam­ing those qual­i­ties for “a great despair and sta­sis in U.S. cul­ture.”

Even as “a cer­tain sub­genre of pop-con­scious post­mod­ern fic­tion, writ­ten most­ly by young Amer­i­cans, has late­ly arisen and made a real attempt to trans­fig­ure a world of and for appear­ance, mass appeal, and tele­vi­sion [ … ] tele­vi­su­al cul­ture has some­how evolved to a point where it seems invul­ner­a­ble to any such trans­fig­ur­ing assault.” But as that cul­ture moved on from the likes of David Let­ter­man (to Wal­lace’s mind, “the iron­ic eight­ies’ true Angel of Death”) and Sein­feld to those of Jon Stew­art and Com­mu­ni­ty, Schold­er argues, its atti­tudes de-ironized some­what: “The best shows of our age aren’t find­ing humor in the gaps that have devel­oped between peo­ple. They find humor in the absurd and awk­ward attempts by peo­ple try­ing to bridge those gaps. They want to show us that humans can have real con­nec­tions and sin­cer­i­ty for each oth­er.”

And yet human­i­ty’s pas­siv­i­ty remains wor­ri­some. “Today, the aver­age week­ly screen time for an Amer­i­can adult – brace your­self; this is not a typo – is 74 hours (and still going up),” writes Andrew Post­man, son of media the­o­rist and Amus­ing Our­selves to Death author Neil Post­man, in a Guardian piece just last week. “We watch when we want, not when any­one tells us, and usu­al­ly alone, and often while doing sev­er­al oth­er things. The sound­bite has been replaced by viral­i­ty, meme, hot take, tweet.” Post­man includes Wal­lace with his father in the group of observers who “warned of what was com­ing”: a time when few can be shocked by, among oth­er cur­rent phe­nom­e­na, “the rise of a real­i­ty TV star, a man giv­en to loud, inflam­ma­to­ry state­ments, many of which are spec­tac­u­lar­ly untrue but vir­tu­al­ly all of which make for what used to be called ‘good tele­vi­sion.’ ” Stay tuned, if you must.

Relat­ed Con­tent:

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

David Fos­ter Wal­lace: The Big, Uncut Inter­view (2003)

David Fos­ter Wal­lace Talks About Lit­er­a­ture (and More) in an Inter­net Cha­t­room: Read the 1996 Tran­script

Ani­ma­tions Revive Lost Inter­views with David Fos­ter Wal­lace, Jim Mor­ri­son & Dave Brubeck

David Fos­ter Wal­lace Sub­scribes to the The Believ­er Mag­a­zine with a Lit­tle Humor & Snark (2003)

Noam Chom­sky Calls Post­mod­ern Cri­tiques of Sci­ence Over-Inflat­ed “Poly­syl­lab­ic Tru­isms”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Free Coloring Books from World-Class Libraries & Museums: The Met, New York Public Library, Smithsonian & More

Call­ing all col­or­ing book lovers. You can now take part in #Col­or­Our­Col­lec­tions 2017–a cam­paign where muse­ums and libraries world­wide will make avail­able free col­or­ing books, let­ting you col­or art­work from their col­lec­tions and then share it on Twit­ter and oth­er social media plat­forms. When shar­ing, use the hash­tag #Col­or­Our­Col­lec­tions.

Below you can find a col­lec­tion of free col­or­ing books, which you can down­load and con­tin­ue to enjoy. If you see any that we’re miss­ing, please let us know in the com­ments, and we’ll do our best to update the page. To see the free col­or­ing books that were offered up in 2016, click here.

Col­or Our Col­lec­tions is orga­nized by The New York Acad­e­my of Med­i­cine Library. So please give them thanks.

Look­ing for free, pro­fes­­sion­al­­ly-read audio books from Audible.com? Here’s a great, no-strings-attached deal. If you start a 30 day free tri­al with Audible.com, you can down­load two free audio books of your choice. Get more details on the offer here.

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:

The First Adult Col­or­ing Book: See the Sub­ver­sive Exec­u­tive Col­or­ing Book From 1961

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

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

Dr. Seuss Draws Anti-Japan­ese Car­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

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Bruce Springsteen and the E Street Band Improvises and Plays, Completely Unrehearsed, Chuck Berry’s “You Never Can Tell,” Live Onstage (2013)

Most musi­cians have lit­tle chance of achiev­ing last­ing wealth and fame. It’s a pro­fes­sion in which only a tiny per­cent­age of peo­ple ever “make it”—at least accord­ing to the impos­si­bly high stan­dards of celebri­ty we tend to apply. So why do peo­ple stick with it, year after year, through health scares, finan­cial crises, and all the oth­er grown-up hard­ships that kill many a child­hood dream?

We often mor­bid­ly focus on rock and roll casu­al­ties. Look, how­ev­er, at the stars who do sur­vive the busi­ness decade after decade. Though music may not stave off aging, it clear­ly has the pow­er to pre­serve youth­ful enthu­si­asm long into what some still call retire­ment years. The exam­ples are too numer­ous to list; we could hard­ly do bet­ter than to look at the late career of Bruce Spring­steen.

Like many of his gen­er­a­tion, Spring­steen was turned on to rock and roll by see­ing Elvis, then lat­er the Bea­t­les, on The Ed Sul­li­van Show. And like bud­ding musi­cians still today, he received his first gui­tar at 16 as a gift from his moth­er. (He lat­er wrote a song about it.) Over 50 years lat­er, he’s still got the wide-eyed won­der of his six­teen-year-old self. Or at least he’s will­ing to take teenage risks, pulling out one song every night dur­ing a recent tour with the E Street Band “that we haven’t played since we were, I don’t know, six­teen, or maybe nev­er.”

It takes a youth­ful degree of fearlessness—or recklessness—to stand on stage in front of thou­sands of fans and play a total­ly unre­hearsed tune, espe­cial­ly one as wordy and fine­ly-tuned as Chuck Berry’s “You Nev­er Can Tell.” We know Bruce and the band have chops, so watch­ing them run through a few dif­fer­ent keys before they dig in does­n’t pro­duce too much anx­i­ety. Nonethe­less, their abil­i­ty to throw them­selves into the total unknown, just for fun, makes the per­for­mance seem like the kind of stunt most of us only attempt before we’re taught to set­tle into much more pre­dictable grown-up rou­tines.

How well do they pull off the Berry clas­sic on the spot and unre­hearsed? See for your­self, and then com­pare it to the eter­nal­ly youth­ful man him­self, who at 90 years of age will soon release his first new album in 38 years.

Relat­ed Con­tent:

Bruce Spring­steen Nar­rates Audio­book Ver­sion of His New Mem­oir (and How to Down­load It for Free)

Bruce Spring­steen Lists 20 of His Favorite Books: The Books That Have Inspired the Song­writer & Now Mem­oirist

Bruce Spring­steen Plays East Berlin in 1988: I’m Not Here For Any Gov­ern­ment. I’ve Come to Play Rock

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

How to Respond to the Challenges of Our Time?: Jazz Legends Herbie Hancock & Wayne Shorter Give 10 Pieces of Advice to Young Artists, and Everyone Else

Some moments in his­to­ry strike us as dra­mat­ic rup­tures. Cer­tain­ties are super­seded, thrown into chaos by a seis­mic event, and we find our­selves adrift and anx­ious. What are artists to do? Gripped by the same fears as every­one else, the same sense of urgency, writ­ers, musi­cians, film­mak­ers, painters, etc. may find them­selves unable to “breathe with uncon­di­tion­al breath / the uncon­di­tioned air,” as Wen­dell Berry once described the cre­ative process.

We might remem­ber the rad­i­cal break with tra­di­tion when the shock­ing car­nage of World War I sent poets and painters into fright­en­ing places they had pre­vi­ous­ly left unex­plored. Vir­ginia Woolf summed up the sit­u­a­tion in her essay The Lean­ing Tow­er: “sud­den­ly like a chasm in a smooth road, the [Great] war came.” Shat­tered as they were, her gen­er­a­tion over­came their paral­y­sis. Mod­ernists of the ear­ly 20th cen­tu­ry were able to speak to their bro­ken age in ways that con­tin­ue to speak to ours.

But we should tem­per our belief that bad times make good art by not­ing that the most vision­ary cre­ative minds are not sim­ply reac­tive, respond­ing to tragedy like reporters on a crime scene. As Wayne Short­er and Her­bie Han­cock— two of the 20th century’s most con­sis­tent­ly inno­v­a­tive musicians—suggest, artists at all times need a set of guid­ing prin­ci­ples. (See the two play “Mem­o­ry of Enchant­ment” above in 2002.) There is always a lot of per­son­al work to do. And in “tur­bu­lent and unpre­dictable times,” the two jazz greats advise, “the answer to peace is sim­ple; it begins with you.”

A plat­i­tude, per­haps, but one they illus­trat­ed near­ly a year ago in an open let­ter at Nest HQ with some pro­found, if chal­leng­ing, pre­scrip­tions for our present cul­tur­al ill­ness­es. Short­er and Hancock’s coun­sel is not a reac­tion to the rup­ture of the pres­i­den­tial elec­tion, but a response to the events that pre­ced­ed it, “the hor­ror at the Bat­a­clan… the upheaval in Syr­ia and the sense­less blood­shed in San Bernardi­no.” Not pas­sive­ly wait­ing to find out where the past few years’ vio­lence and unrest would lead, the two have made eth­i­cal, philo­soph­i­cal, and spir­i­tu­al inter­ven­tions, pre­sent­ing their phi­los­o­phy and ethics through jazz, Bud­dhism, sci­ence, art, and lit­er­a­ture.

Below, you can read their ten pieces of advice “to the next gen­er­a­tion of artists,” or at least excerpts there­of. They begin with a reas­sur­ing pref­ace: “As an artist, cre­ator and dream­er of this world, we ask you not to be dis­cour­aged by what you see but to use your own lives, and by exten­sion your art, as vehi­cles for the con­struc­tion of peace…. You mat­ter, your actions mat­ter, your art mat­ters.” That said, they also want to assure read­ers that “these thoughts tran­scend pro­fes­sion­al bound­aries and apply to all peo­ple, regard­less of pro­fes­sion.”

First, awak­en to your human­i­ty

You can­not hide behind a pro­fes­sion or instru­ment; you have to be human. Focus your ener­gy on becom­ing the best human you can be. Focus on devel­op­ing empa­thy and com­pas­sion. Through the process you’ll tap into a wealth of inspi­ra­tion root­ed in the com­plex­i­ty and curios­i­ty of what it means to sim­ply exist on this plan­et.

Embrace and con­quer the road less trav­eled

Don’t allow your­self to be hijacked by com­mon rhetoric, or false beliefs and illu­sions about how life should be lived. It’s up to you to be the pio­neers.

Wel­come to the Unknown

Every rela­tion­ship, obsta­cle, inter­ac­tion, etc. is a rehearsal for the next adven­ture in life. Every­thing is con­nect­ed. Every­thing builds. Noth­ing is ever wast­ed. This type of think­ing requires courage. Be coura­geous and do not lose your sense of exhil­a­ra­tion and rev­er­ence for this won­der­ful world around you.

Under­stand the True Nature of Obsta­cles

We have this idea of fail­ure, but it’s not real; it’s an illu­sion. There is no such thing as fail­ure. What you per­ceive as fail­ure is real­ly a new oppor­tu­ni­ty, a new hand of cards, or a new can­vas to cre­ate upon.

Don’t Be Afraid to Inter­act with Those Who Are Dif­fer­ent from You

The world needs more one-on-one inter­ac­tion among peo­ple of diverse ori­gins with a greater empha­sis on art, cul­ture and edu­ca­tion. Our dif­fer­ences are what we have in com­mon…. We need to be con­nect­ing with one anoth­er, learn­ing about one anoth­er, and expe­ri­enc­ing life with one anoth­er. We can nev­er have peace if we can­not under­stand the pain in each other’s hearts.

Strive to Cre­ate Agen­da-Free Dia­logue

Art in any form is a medi­um for dia­logue, which is a pow­er­ful tool… we’re talk­ing about reflect­ing and chal­leng­ing the fears, which pre­vent us from dis­cov­er­ing our unlim­it­ed access to the courage inher­ent in us all.

Be Wary of Ego

Cre­ativ­i­ty can­not flow when only the ego is served.

Work Towards a Busi­ness with­out Bor­ders

The med­ical field has an orga­ni­za­tion called Doc­tors With­out Bor­ders. This lofty effort can serve as a mod­el for tran­scend­ing the lim­i­ta­tions and strate­gies of old busi­ness for­mu­las which are designed to per­pet­u­ate old sys­tems in the guise of new ones.

Appre­ci­ate the Gen­er­a­tion that Walked Before You

Your elders can help you. They are a source of wealth in the form of wis­dom…. Don’t waste time repeat­ing their mis­takes.

Last­ly, We Hope that You Live in a State of Con­stant Won­der

As we accu­mu­late years, parts of our imag­i­na­tion tend to dull. Whether from sad­ness, pro­longed strug­gle, or social con­di­tion­ing, some­where along the way peo­ple for­get how to tap into the inher­ent mag­ic that exists with­in our minds. Don’t let that part of your imag­i­na­tion fade away.

Whether you’re a jazz fan, musi­cian, artist, writer, accoun­tant, cashier, truck­er, teacher, or what­ev­er, I can’t think of a wis­er set of guide­lines with which to con­front the suf­fo­cat­ing epi­dem­ic of cyn­i­cism, delu­sion­al think­ing, ram­pant big­otry, hatred, and self-absorp­tion of our time. Read Short­er and Hancock’s full open let­ter at Nest HQ.

Relat­ed Con­tent:

Her­bie Han­cock Presents the Pres­ti­gious Nor­ton Lec­tures at Har­vard Uni­ver­si­ty: Watch Online

Philoso­pher Jacques Der­ri­da Inter­views Jazz Leg­end Ornette Cole­man: Talk Impro­vi­sa­tion, Lan­guage & Racism (1997)

Jean-Paul Sartre on How Amer­i­can Jazz Lets You Expe­ri­ence Exis­ten­tial­ist Free­dom & Tran­scen­dence

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

The Map of Mathematics: Animation Shows How All the Different Fields in Math Fit Together

Back in Decem­ber, you hope­ful­ly thor­ough­ly immersed your­self in The Map of Physics, an ani­mat­ed video–a visu­al aid for the mod­ern age–that mapped out the field of physics, explain­ing all the con­nec­tions between clas­si­cal physics, quan­tum physics, and rel­a­tiv­i­ty.

You can’t do physics with­out math. Hence we now have The Map of Math­e­mat­ics. Cre­at­ed by physi­cist Dominic Wal­li­man, this new video explains “how pure math­e­mat­ics and applied math­e­mat­ics relate to each oth­er and all of the sub-top­ics they are made from.” Watch the new video above. You can buy a poster of the map here. And you can down­load a ver­sion for edu­ca­tion­al use here.

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:

Free Online Math Cours­es, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties

Free Math Text­books

Math­e­mat­ics Made Vis­i­ble: The Extra­or­di­nary Math­e­mat­i­cal Art of M.C. Esch­er

Cit­i­zen Maths: A Free Online Course That Teach­es Adults the Math They Missed in High School

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Discover the 1126 Books in John Cage’s Personal Library: Foucault, Joyce, Wittgenstein, Virginia Woolf, Buckminster Fuller & More

Image by or Rob Bogaerts/Fotocollectie Ane­fo

To prop­er­ly hon­or your cul­tur­al role mod­els, don’t try to do what they did, or even to think what they thought, but to think how they thought. This goes at least dou­ble for John Cage, the exper­i­men­tal com­pos­er whose inno­v­a­tive works can be, and often are, re-staged (go on, have four min­utes and 33 sec­onds of silence to your­self), but it takes a dif­fer­ent kind of effort alto­geth­er to cul­ti­vate the kind of mind that would come up with them in the first place. As a means of acti­vat­ing your own inner Cage­ness, you could do much worse than read through his per­son­al library, a list of whose books you’ll find at johncage.org.

The vol­umes num­ber 1126 in total, and if you load the library’s main page, it will present you with a list of ten ran­dom­ly select­ed books. (You can get a list of all of them by select­ing the “See Entire Library” option on the left side­bar.)

Hit­ting refresh a few times will give you a sense of the breadth of Cage’s read­ing: Emma Gold­man on anar­chism, Chi­nese poet­ry gath­ered by Ken­neth Rexroth, M. Con­rad Hyers’ Zen and the Com­ic Spir­it (two of Cage’s dri­ving forces if ever I’ve heard them), How to Play Backgam­mon, essays on Ulysses (an inter­est shared with Mar­i­lyn Mon­roe), and even essays on John Cage. Here we’ve assem­bled a list of ten books from Cage’s library of par­tic­u­lar inter­est to the Open Cul­ture read­er:

To those who know any­thing of Cage’s life and inter­ests, his shelves on healthy eating—on which Din­ing Nat­u­ral­ly in Japan: A Restau­rant Guide to Whole­some Food also appears, as, nat­u­ral­ly giv­en the era and Cage’s acquired north­ern-Cal­i­for­ni­an­ness, The Tas­sa­jara Bread Bookand espe­cial­ly the eat­ing of mush­rooms, come as no sur­prise, nor might his incli­na­tion toward phi­los­o­phy. But we should note what looks like a par­tic­u­lar fas­ci­na­tion with the work of Lud­wig Wittgen­stein, evi­denced by 22 of the books in his library: his best-known works like the Trac­ta­tus Logi­co-Philo­soph­i­cus, but also his let­ters, lec­tures, and note­books, as well as biogra­phies, com­men­taries, and Wittgen­stein and Bud­dhism, which Cage must have con­sid­ered an excit­ing find indeed.

In one of his most quotable quotes, Cage describes col­lege as “two hun­dred peo­ple read­ing the same book. An obvi­ous mis­take. Two hun­dred peo­ple can read two hun­dred books.” And indeed, 1126 peo­ple can read 1126 books—or many more peo­ple can each read a dif­fer­ent sub­set of those books. While you could method­i­cal­ly read your way through Cage’s entire library, and would sure­ly learn a great deal in the process, would­n’t mak­ing use of the unthink­ing guid­ance of the ten-ran­dom-books func­tion, sur­ren­der­ing the direc­tion of this infor­mal edu­ca­tion to the kind of chance that places Paul Bowles next to the com­mon fun­gi of North Amer­i­can and Charles Ives next to Ital­ian futur­ism, be a much more Cagean way of going about it?

(h/t @lrlarson)

Relat­ed Con­tent:

Avant-Garde Com­pos­er John Cage’s Sur­pris­ing Mush­room Obses­sion (Which Began with His Pover­ty in the Depres­sion)

The Music of Avant-Garde Com­pos­er John Cage Now Avail­able in a Free Online Archive

John Cage Unbound: A New Dig­i­tal Archive Pre­sent­ed by The New York Pub­lic Library

Jorge Luis Borges Selects 74 Books for Your Per­son­al Library

The 321 Books in David Fos­ter Wallace’s Per­son­al Library: From Blood Merid­i­an to Con­fes­sions of an Unlike­ly Body­builder

A Look Inside Han­nah Arendt’s Per­son­al Library: Down­load Mar­gin­a­lia from 90 Books (Hei­deg­ger, Kant, Marx & More)

The 430 Books in Mar­i­lyn Monroe’s Library: How Many Have You Read?

Darwin’s Per­son­al Library Goes Dig­i­tal: 330 Books Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear a 4 Hour Playlist of Great Protest Songs: Bob Dylan, Nina Simone, Bob Marley, Public Enemy, Billy Bragg & More

When I was grow­ing up, protest music meant Pub­lic Ene­my, Rage Against the Machine, and—for some few Amer­i­cans and very many Brits—Billy Bragg: an artist “at home with both social­ist pol­i­tics and heart­break,” writes All­mu­sic, “styled on the solo attack of ear­ly Dylan and the pas­sion of the Clash.” Known for his pro-labor, anti-Thatch­er, anti-war, pro “Sex­u­al­i­ty” stances, Bragg has been a stal­wart cam­paign­er for peace and jus­tice since the 1980s.

A vet­er­an activist who made appear­ances at Occu­py Wall Street and the recent Women’s March in Lon­don, Bragg late­ly lament­ed the state of protest music. “Look at what’s hap­pen­ing in the world,” he told The Guardian in 2011, “When I was first ply­ing my trade, peo­ple were will­ing to talk about these issues. Now they’d rather write about get­ting blast­ed than chang­ing the world.”

Much has changed since 2011, I don’t need to tell you. And the protest song has returned, from Anohni’s beau­ti­ful, haunt­ing 2016 album Hope­less (see “Drone Bomb Me” above) to Pussy Riot’s fright­en­ing­ly pre­scient “Make Amer­i­ca Great Again,” released just before the elec­tion. We’ve heard it said that “protest songs are point­less,” but they’ve car­ried many a move­ment through many a seem­ing­ly hope­less moment. Bragg him­self, still ply­ing his trade, rewrote the lyrics to Bob Dylan’s clas­sic “The Times They Are A‑Changing” as “The Times They Are A‑Changing Back” (at the top), just thir­ty min­utes after the inau­gur­al speech, and “with apolo­gies” to Dylan.

Bragg clear­ly has deep roots in the genre, but are Anohni and Pussy Riot’s melod­ic provo­ca­tions protest music? What about the empow­er­ing anthems of Bey­on­cé or the poet­ic rumi­na­tions of Solange? Just what makes a protest song? Every gen­er­a­tion will have their own cri­te­ria, and their own pan­theon of polit­i­cal artists. Whether you look back to the wry folk songs of Woody Guthrie, to the Gold­en Age of Dylan, Odet­ta, Joan Baez, and Pete Seeger; to the Bea­t­les or Neil Young; or to punk rock, hip-hop, reg­gae, or the funk soul of Mar­vin Gaye, you will find a few favorites on the Spo­ti­fy playlist above. It fea­tures 58 tracks and runs about 4 hours and 15 min­utes. If you want a direct link to the playlist, click here. If you need Spo­ti­fy’s soft­ware, please down­load it here.

To pro­duce the playlist, we culled through best-of lists from Radio X, Rolling Stone, Amnesty Inter­na­tion­al, the Rock and Roll Hall of Fame, the Coun­cil on For­eign Rela­tions, and the blog Music to Die For, who in 2007 cre­at­ed some strict def­i­n­i­tions of a protest song:

– A piece of music that is a great song in its own right. Good words and fine sen­ti­ments are not enough. The music must move us.

– A song that has a pur­pose. A song that doesn’t con­fine itself to com­ment­ing on or bemoan­ing the ills of the world, but seeks in some small way to change things. It may do this by call­ing direct­ly for some­thing to hap­pen – “free Nel­son Man­dela”, by inform­ing us, by appeal­ing to our hearts and our emo­tions, or by chal­leng­ing com­mon­ly held ideas.

– It fol­lows from this that a true protest song should address a spe­cif­ic issue or issues that are cur­rent. Songs about wars and rev­o­lu­tions in days long gone are not includ­ed here.

– Final­ly the song should pro­voke the lis­ten­er : shock us, unset­tle us, amaze us, inspire us, make us angry, make us sad or make us opti­mistic. If it doesn’t do any of these things, it hard­ly deserves to be called a protest song. So be warned : there’s a lot of anger and a lot of emo­tion in these songs.

I’ll admit, I take issue with some of these criteria—I’d argue, for exam­ple, that Black Sabbath’s “War Pigs” is a time­less protest song that doesn’t ref­er­ence any spe­cif­ic event or offer a solu­tion (except “judg­ment day”). But you are free to dis­agree. Some of the songs on our playlist came from read­er sug­ges­tions. We’d love to hear some oth­ers. What would you add to the list? And how do you define a “protest song”? Feel free to add your thoughts and sug­ges­tions in the com­ments sec­tion below.

Relat­ed Con­tent:

Theodor Adorno’s Rad­i­cal Cri­tique of Joan Baez and the Music of the Viet­nam War Protest Move­ment

Bob Dylan Plays First Live Per­for­mance of “Hur­ri­cane,” His Song Defend­ing Rubin “Hur­ri­cane” Carter (RIP) in 1975

Bed Peace Revis­its John Lennon & Yoko Ono’s Famous Anti-Viet­nam Protests

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

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