Browse Every Art Exhibition Held at MoMA Since 1929 with the New “MoMA Exhibition Spelunker”

More and more, muse­ums around the world are open­ing up their vast archives for free on the inter­net. We can browse broad col­lec­tions, or dig down deep into col­lec­tions and exam­ine indi­vid­ual works, or we can down­load hi-res­o­lu­tion jpgs of famous works and slap them on our new desk­top as wall­pa­per. (Dis­cus­sion: does this triv­i­al­ize a work or help us appre­ci­ate it?)

Indeed, Open­Cul­ture has linked to many of these and I’ve fol­lowed. And I’ve often returned over­whelmed or dis­ap­point­ed, not by the art, but by bad web design. Good inten­tions are one thing, but insti­tu­tions often turn to coders first, not design­ers. And there’s a dif­fer­ence.

Recent­ly we told you how the Met­ro­pol­i­tan Muse­um of Art has put most of its near­ly 90 years of exhi­bi­tions online. Our own Col­in Mar­shall said:

The archive offers, in the words of Chief of Archives Michelle Ellig­ott, “free and unprece­dent­ed access to The Muse­um of Mod­ern Art’s ever-evolv­ing exhi­bi­tion his­to­ry” in the form of “thou­sands of unique and vital mate­ri­als includ­ing instal­la­tion pho­tographs, out-of-print exhi­bi­tion cat­a­logues, and more, begin­ning with MoMA’s very first exhi­bi­tion in 1929.”

Yet the inter­face is quite lack­ing, show­ing a blank search bar with no clue to how much lies beneath. Where to start, if you just want to browse?

Enter the data visu­al­iza­tion firm of Good, Form & Spec­ta­cle, who excel at pre­sent­ing archives in dif­fer­ent ways. Com­mis­sioned by MoMA to make some­thing from the data, the firm’s “MoMA Exhi­bi­tion Spe­lunk­er” offers 60 years of exhi­bi­tion data that can then be searched by “cura­tors, arrangers, design­ers, artists, and oth­ers” with con­nec­tions avail­able at every lev­el.

For exam­ple, the sec­ond ever MoMA exhib­it, “Painters by 19 Liv­ing Amer­i­cans” (1929 — 1930), fea­tured Edward Hop­per. The offi­cial archive will show you the exhi­bi­tion cat­a­log and press release. But go spelunk­ing and we dis­cov­er that up until 1989 (the end of the archive for now), Hop­per was fea­tured in 61 exhi­bi­tions, includ­ing 1943 where he was fea­tured in four exhibits in one year. What were those exhibits? Well, down the rab­bit hole you go.

Coder (and, full dis­clo­sure, friend since high school) Phil Gyford spoke about his work on the page:
A spe­lunk­er, accord­ing to Cham­bers, is “a per­son who explores caves as a hob­by” and we aimed to explore MoMA’s raw data and make it more vis­i­ble and pen­e­tra­ble by every­one else. It’s hard to get a decent sense of the shape of lists of data so we set off to explore.

Good, Form & Spec­ta­cle have worked on oth­er sleek and min­i­mal sites, includ­ing a Net­flix rec­om­men­da­tion engine, a small­er spe­lunk­er for the Vic­to­ria & Albert Muse­um, and a larg­er one for the British Muse­um.

But if you’re inter­est­ed in explor­ing a cen­tu­ry of exhi­bi­tions at MoMA, then spend as much time as you like with the “MoMA Exhi­bi­tion Spe­lunk­er.”

Relat­ed Con­tent:

Every Exhi­bi­tion Held at the Muse­um of Mod­ern Art (MoMA) Pre­sent­ed in a New Web Site: 1929 to Present

1.8 Mil­lion Free Works of Art from World-Class Muse­ums: A Meta List of Great Art Avail­able Online

Down­load 464 Free Art Books from The Met­ro­pol­i­tan Muse­um of Art

Google Art Project Expands, Bring­ing 30,000 Works of Art from 151 Muse­ums to the Web

Down­load 397 Free Art Cat­a­logs from The Met­ro­pol­i­tan Muse­um of Art

The Muse­um of Mod­ern Art (MoMA) Puts Online 65,000 Works of Mod­ern Art

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

A Sonic Introduction to Avant-Garde Music: Stream 145 Minutes of 20th Century Art Music, Including Modernism, Futurism, Dadaism & Beyond

Avant-garde com­posers of the 20th cen­tu­ry have left a vex­ing lega­cy, begin­ning per­haps with one of the cen­tu­ry’s first min­i­mal­ists, Erik Satie (1866 –1925), whose career illus­trates a cen­tral para­dox of exper­i­men­tal music: it can seem to most of us total­ly inac­ces­si­ble, alien, and frus­trat­ing, yet it is also a per­va­sive influ­ence on the sound of our every­day life.

For exam­ple, we are like­ly to nev­er encounter, much less could most of us endure, the full mea­sure of Satie’s 1893 Vex­a­tions, a short piece “melan­cholic yet dead­pan, eccle­si­as­ti­cal yet demon­ic, strange­ly lack­ing direc­tion,” and meant, writes Nick Shave at The Guardian, to be “repeat­ed 840 times.” Long thought an iron­ic joke, in 1963 John Cage took up the chal­lenge and with a “relay team of pianists, includ­ing John Cale,” staged a marathon per­for­mance at the end of which only one per­son remained in the audi­ence.

Then we have the Satie of Gymnopédie No.1, a mov­ing com­po­si­tion we’ve heard count­less times in films, tele­vi­sion shows, din­ner par­ties, restau­rants, etc. This piece and oth­ers like it, argues WFMU’s Ken­neth Gold­smith, mark the birth of Ambi­ent music, or what Satie puck­ish­ly called Fur­ni­ture Music. “Today,” Gold­smith writes, “Fur­ni­ture Music is unavoid­able,” and every­one from Bri­an Eno to Aphex Twin to “the entire Muzak phe­nom­e­non… owes a debt to The Vel­vet Gen­tle­man.”

Both the acces­si­ble and dif­fi­cult strains of the eccen­tric French com­pos­er have been equal­ly influ­en­tial, and “just about every rad­i­cal musi­cal move­ment” of the pre­vi­ous cen­tu­ry “can trace its roots back to Satie.” As we move through the century—encountering the work of Dada artists, Futur­ists, sym­phon­ic mod­ernists, and musique con­crète and ear­ly elec­tron­ic pioneers—we find an enor­mous breadth of exper­i­men­ta­tion, both strange­ly intim­i­dat­ing and often strange­ly famil­iar, giv­en how per­va­sive its influ­ence on film and “fur­ni­ture” music as well as on con­tem­po­rary com­posers.

If you’re new to the dis­so­nant and play­ful inno­va­tions of artists like Satie, F.T. Marinet­ti, Kurt Schwit­ters, Arnold Schoen­berg, Karl­heinz Stock­hausen, Györ­gy Ligeti and oth­er provo­ca­teurs and rad­i­cals of the ear­ly decades of the last cen­tu­ry, you could hard­ly do worse by way of intro­duc­tion than the dou­ble com­pi­la­tion album above from LTM Record­ings. Titled A Young Person’s Guide to the Avant-Garde and con­sist­ing of 26 tracks in total, the com­pi­la­tion includes an excerpt of Igor Stravinsky’s scandalous—for the time—1913 The Rite of Spring, and John Cage’s per­plex­ing 1952 work of silence, 4’33” and begins with a mer­ci­ful­ly brief 3‑minute ren­di­tion of Satie’s Vex­a­tions. (If you need Spo­ti­fy’s free soft­ware, down­load it here. If you have any prob­lems play­ing the embed­ded playlist, please click on this link.)

We also have music from names we typ­i­cal­ly asso­ciate with visu­al art (Mar­cel Duchamp, Fran­cis Picabia) and film (Jean Cocteau). And you will sure­ly rec­og­nize the final piece, Ligeti’s “Atmos­pheres,” from Stan­ley Kubrick’s 2001: A Space Odyssey. The col­lec­tion, writes The Tre­buchet in their review, “sub­tly hints at the fact that film sound­tracks are the clos­est thing we have to grand com­po­si­tions these days, and in fact the seeds for change were plant­ed long ago dur­ing the era when Con­ti­nen­tal artists and musi­cians took an inter­est in the emerg­ing tech­nolo­gies of auto­mo­biles, planes, and film.”

Then, of course, there were emerg­ing tech­nolo­gies of sound. A Young Person’s Guide (pur­chase a copy online here) ends with Ligeti in 1961, and only hints at the elec­tron­ic avant-garde to come with a 1953 com­po­si­tion from Stock­hausen. This is a shame, since the elec­tron­ic rev­o­lu­tion in music opened doors for so many female exper­i­men­tal­ists like Pauline Oliv­eros, Daphne Oram, and Eliane Radigue. As it stands, the col­lec­tion gives us an all-male line­up of artists—and one sure to pro­voke excla­ma­tions of “What about [insert name here]!”

It’s an under­stand­able reac­tion to an ambi­tious but lim­it­ed sur­vey. For the ama­teur or “young per­son” just dis­cov­er­ing this musi­cal his­to­ry, how­ev­er, A Young Person’s Guide to the Avant-Garde offers a rich, com­pelling, and fre­quent­ly con­found­ing selec­tion that can serve as a stur­dy spring­board for fur­ther study and explo­ration. Those so inspired to hear more can find it in the mas­sive archive of The Avant-Garde Project.

Relat­ed Con­tent:

The Avant-Garde Project: An Archive of Music by 200 Cut­ting-Edge Com­posers, Includ­ing Stravin­sky, Schoen­berg, Cage & More

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

The Women of the Avant-Garde: An Intro­duc­tion Fea­tur­ing Audio by Gertrude Stein, Kathy Ack­er, Pat­ti Smith & More

Hear the Exper­i­men­tal Music of the Dada Move­ment: Avant-Garde Sounds from a Cen­tu­ry Ago

Meet Four Women Who Pio­neered Elec­tron­ic Music: Daphne Oram, Lau­rie Spiegel, Éliane Radigue & Pauline Oliv­eros

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

Hunter S. Thompson Gets in a Gunfight with His Neighbor & Dispenses Political Wisdom: “In a Democracy, You Have to Be a Player”

What would Hunter S. Thomp­son, in many ways the ulti­mate Amer­i­can, have made of his coun­try’s polit­i­cal scene today? Hav­ing lived, in the words of his 2005 sui­cide note, “17 years past 50. 17 more than I need­ed or want­ed,” the self-styled and always uncom­pro­mis­ing “gonzo jour­nal­ist” did­n’t stick around to observe much of the 21st cen­tu­ry, and even as grim­ly vivid a polit­i­cal imag­i­na­tion as his could hard­ly have fore­seen many of its devel­op­ments. Yet like the longer-gone Alex­is de Toc­queville, also very much a man of his own time, Thomp­son’s per­spec­tive on democ­ra­cy in Amer­i­ca has in some sense only grown more rel­e­vant over the years with­out him.

Thomp­son would, in life, offer this per­spec­tive on any and all occa­sions, includ­ing dur­ing a shootout with his neigh­bor. In his final decades, his bio­graph­i­cal blurbs ref­er­enced both a love of firearms and a 42.5‑acre “for­ti­fied com­pound,” known as Owl Farm, in Woody Creek, Col­orado.

One might assume that such a remote and seclud­ed loca­tion would rule out the pos­si­bil­i­ty of con­flicts with neigh­bors, but Thomp­son’s expe­ri­ence (as often it did) proved an excep­tion. In the recent­ly released footage above, we see him exchang­ing gun­fire with a new­ly arrived res­i­dent in a dis­pute hav­ing some­thing to do with live­stock. “If this son of a bitch wants to bitch about his cows over here and shoot at me, well… it’s our coun­try. It’s not theirs. It’s not a bunch of used car deal­ers from south­ern Cal­i­for­nia.”

No mat­ter how impul­sive or reck­less it might seem, Thomp­son’s behav­ior arose organ­i­cal­ly, from a foun­da­tion­al polit­i­cal phi­los­o­phy. “The peo­ple who did this Dec­la­ra­tion of Inde­pen­dence and the Con­sti­tu­tion were, uh, good peo­ple,” he says in voiceover as we watch him assume a com­bat stance and fire off a few rounds. “And it’s a good place. Here we are in the mid­dle of it, up on the moun­tain,” from his perch on which he came to see him­self as a kind of ultra-lib­er­tar­i­an defend­er of the mis­sion of the Found­ing Fathers, or at least the mis­sion of the Found­ing Fathers as he inter­pret­ed it. The author of Fear and Loathing in Las Vegas ends by remind­ing Amer­i­cans of some­thing they tend to for­get until plunged into one cri­sis or anoth­er: “In a democ­ra­cy, you have to be a play­er.”

via red­dit

Relat­ed Con­tent:

Hunter S. Thomp­son Sets His Christ­mas Tree on Fire, Near­ly Burns His House Down (1990)

Play­ing Golf on LSD With Hunter S. Thomp­son: Esquire Edi­tor Remem­bers the Odd­est Game of Golf

Hunter S. Thompson’s Har­row­ing, Chem­i­cal-Filled Dai­ly Rou­tine

Hunter S. Thomp­son, Exis­ten­tial­ist Life Coach, Gives Tips for Find­ing Mean­ing in Life

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

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.

The Metropolitan Museum of Art Makes 375,000 Images of Fine Art Available Under a Creative Commons License: Download, Use & Remix

What do you need to make art? Why, art, of course: the works that have come before pro­vide inspi­ra­tion, estab­lish a tra­di­tion to fol­low and expand, and now, in our dig­i­tal age, even pro­vide the very mate­ri­als to work with. The Met­ro­pol­i­tan Muse­um of Art has assured us that we should feel free to “use, remix, and share” their lat­est batch of 375,000 dig­i­tized art­works of a vari­ety of forms and from a vari­ety of eras in any which way we like. In part­ner­ship with Cre­ative Com­mons, they’ve released them all under the lat­ter’s CC0, or “no rights reserved” license, which places them “as com­plete­ly as pos­si­ble in the pub­lic domain, so that oth­ers may freely build upon, enhance and reuse the works for any pur­pos­es with­out restric­tion under copy­right or data­base law.”

But fea­tur­ing these sorts of projects often here on Open Cul­ture, we know that a trove of art images, no mat­ter how open, is only as good as its search tools. A new search tool comes new­ly devel­oped by Cre­ative Com­mons, and in fact they still describe it as “in beta,” but it shows promise as a means to, as pro­mot­ed, “explore this beau­ti­ful col­lec­tion, cre­ate con­tent lists, share, col­lab­o­rate, and learn.” You can get start­ed using it here, but if you want to focus specif­i­cal­ly on the con­tents of the Met­ro­pol­i­tan Muse­um of Art col­lec­tion, make sure to uncheck the oth­er search options, which include the New York Pub­lic Library and the Rijksmu­se­um. Or you can first have a look at three curat­ed gal­leries, one of mas­ter­piece paint­ings, one of Impres­sion­ism and Post-Impres­sion­ism, and one “cabal of cats from the Met’s cab­i­nets, com­piled by the curi­ous cura­tors of the col­lec­tion.”

You can also assem­ble and share gal­leries of your own, in just the way you might on oth­er image-ori­ent­ed social-media sites such as Pin­ter­est, which, along with Wiki­me­dia, Art­stor, and the Dig­i­tal Pub­lic Library of Amer­i­ca, also calls itself a part­ner in the Met’s broad­er Open Access Ini­tia­tive, and which offers its own users the abil­i­ty to search this dig­i­tal col­lec­tion. (The Met has also cre­at­ed a pub­lic GitHub repos­i­to­ry.) And giv­en the ever-expand­ing breadth of the art­works already dig­i­tized and made free, you’ll sure­ly find many you’re inter­est­ed in — but its real rev­o­lu­tion­ary appeal lies in what you’ll find, and what you’ll do with, the art you don’t know you’re inter­est­ed in yet.

Relat­ed Con­tent:

1.8 Mil­lion Free Works of Art from World-Class Muse­ums: A Meta List of Great Art Avail­able Online

The Met­ro­pol­i­tan Muse­um of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

Down­load 464 Free Art Books from The Met­ro­pol­i­tan Muse­um of Art

Down­load Hun­dreds of Free Art Cat­a­logs from The Met­ro­pol­i­tan Muse­um of Art

Down­load Over 250 Free Art Books From the Get­ty Muse­um

LA Coun­ty Muse­um Makes 20,000 Artis­tic Images Avail­able for Free Down­load

Down­load 100,000 Free Art Images in High-Res­o­lu­tion from The Get­ty

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.

Did Plato’s Republic Predict the Rise of Donald Trump?: A Chilling Animated Video Narrated by Andrew Sullivan

We stand, per­haps, at the thresh­old of the sin­gu­lar­i­ty, that great event when machine intel­li­gence over­takes our own. The writhing of late cap­i­tal­ism may in fact be the death throes of West­ern moder­ni­ty and, for both good and ill, much of its Enlight­en­ment lega­cy. Insti­tu­tions like the press and the polling indus­try have stum­bled bad­ly. No amount of denial­ism will stop the cli­mate cri­sis. Some­thing entire­ly new seems poised for its emer­gence into the world, though what it might be no one seems ful­ly equipped to say. Why, then, should we look back to Pla­to to explain our epoch, a philoso­pher who had no famil­iar­i­ty with mod­ern weapon­ry, arti­fi­cial intel­li­gence, or infor­ma­tion sys­tems?

Per­haps a bet­ter ques­tion is: do we and should we still val­ue the con­tri­bu­tions of Euro­pean phi­los­o­phy in con­tem­po­rary life? If so, then we must allow that Pla­to may be per­pet­u­al­ly rel­e­vant to learned dis­course. Alfred North White­head famous­ly char­ac­ter­ized “the Euro­pean philo­soph­i­cal tra­di­tion” as “a series of foot­notes to Pla­to.” Sug­gest­ing his agree­ment with the sen­ti­ment, Mas­si­mo Pigli­uc­ci titled his reg­u­lar col­umn at The Philosopher’s Mag­a­zine, “Foot­notes to Pla­to.” Though he did not invent his mode of inquiry, and often got it very wrong, Pla­to, he writes, “is a tow­er­ing fig­ure for an entire way of think­ing about fun­da­men­tal ques­tions.”

There may be few ques­tions more fun­da­men­tal than those we now ask in the U.S. about tyran­ny, its ori­gins and remedy—about how we arrived at where we are and what eth­i­cal and prac­ti­cal mat­ters lie in the hands of the cit­i­zen­ry. These ques­tions were cen­tral to the thought of Socrates, Plato’s men­tor and pri­ma­ry char­ac­ter in his dia­logues, who had some sur­pris­ing­ly con­trar­i­an ideas on the mat­ter in The Repub­lic. Here, as Andrew Sul­li­van tells us in the BBC News­night video above, Socrates the­o­rizes that “Tyran­ny is prob­a­bly estab­lished out of no oth­er regime than democ­ra­cy.”

The state­ment shocks us, but it also ran counter to the Athen­ian sen­ti­ments of Plato’s day. The pic­ture Socrates paints of democracy’s ills finds its echo in the con­tem­po­rary conservative’s world­view, but we should point out that Sul­li­van mis­rep­re­sents the text he reads as one con­tin­u­ous pas­sage, when it is actu­al­ly a series of excerpt­ed quo­ta­tions. And as always, we should be care­ful not to try and see our own par­ti­san divides in ancient thought. Socrates also had many oth­er things to say the mod­ern right finds tru­ly objec­tion­able.

The prob­lem with democ­ra­cy, Socrates thought, was too much free­dom. Its “free­doms mul­ti­ply,” he says,

until it becomes a many-col­ored clock dec­o­rat­ed in all hues. Men are inter­change­able with women, and all their nat­ur­al dif­fer­ences for­got­ten. Ani­mals have rights. For­eign­ers can come and work just like cit­i­zens. Chil­dren boss their par­ents around. Teach­ers are afraid of their stu­dents. The rich try to look just like the poor.

Soon every kind of inequal­i­ty is despised. The wealthy are par­tic­u­lar­ly loathed. And elites in gen­er­al are treat­ed as sus­pect, per­pet­u­at­ing inequal­i­ty and rep­re­sent­ing injus­tice.

Under such pre­sum­ably deca­dent con­di­tions, “a would-be tyrant would seize his moment”:

He is usu­al­ly of the elite but is in tune with the time. Giv­en over to ran­dom plea­sures and whims. Feast­ing on food, and espe­cial­ly sex.

He makes his move by tak­ing over a par­tic­u­lar­ly obe­di­ent mob, and attack­ing his wealthy peers as cor­rupt. He is a trai­tor to his class, and soon his elite ene­mies find a way to appease him or are forced to flee.

Even­tu­al­ly he stands alone, offer­ing the addled, dis­tract­ed, self-indul­gent cit­i­zens a kind of relief from democ­ra­cy’s end­less choic­es and inse­cu­ri­ties.

He rides a back­lash to suc­cess. Too much free­dom seems to change into noth­ing but too much slav­ery. He offers him­self as the per­son­i­fied answer to all prob­lems. To replace the elites, and rule alone on behalf of the mass­es. And as the peo­ple thrill to him as a kind of solu­tion, a democ­ra­cy will­ing­ly, impetu­ous­ly, repeals itself.

The grim, dra­mat­ic ani­mat­ed video that accom­pa­nies Sullivan’s nar­ra­tion of this chill­ing­ly pre­scient ancient text is not sub­tle about the mod­ern par­al­lels. We can hearti­ly debate the diag­no­sis of “too much free­dom” as the cause of democracy’s yield­ing to tyran­ny. But what­ev­er democ­ra­cy’s fail­ings, the effects Pla­to describes above are as evi­dent today as they were almost 2300 years ago, though we may flat­ter our­selves in think­ing that the mechan­ics of our polit­i­cal sys­tems have evolved since then. In any case, our tech­no­log­i­cal evo­lu­tion means that unlike in Pla­to’s day, the rise of a tyrant like Don­ald Trump, as Sul­li­van wrote last year, may be “an extinc­tion-lev­el event.”

Relat­ed Con­tent:

Why Socrates Hat­ed Democ­ra­cies: An Ani­mat­ed Case for Why Self-Gov­ern­ment Requires Wis­dom & Edu­ca­tion

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Yale Course 

Phi­los­o­phy Bites: Pod­cast­ing Ideas From Pla­to to Sin­gu­lar­i­ty Since 2007

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

Introduction to Political Philosophy: A Free Yale Course

Taught by pro­fes­sor Steven B. Smith, this course from Yale Uni­ver­si­ty offers an Intro­duc­tion to Polit­i­cal Phi­los­o­phy, and cov­ers the fol­low­ing ground:

This course is intend­ed as an intro­duc­tion to polit­i­cal phi­los­o­phy as seen through an exam­i­na­tion of some of the major texts and thinkers of the West­ern polit­i­cal tra­di­tion. Three broad themes that are cen­tral to under­stand­ing polit­i­cal life are focused upon: the polis expe­ri­ence (Pla­to, Aris­to­tle), the sov­er­eign state (Machi­avel­li, Hobbes), con­sti­tu­tion­al gov­ern­ment (Locke), and democ­ra­cy (Rousseau, Toc­queville). The way in which dif­fer­ent polit­i­cal philoso­phies have giv­en expres­sion to var­i­ous forms of polit­i­cal insti­tu­tions and our ways of life are exam­ined through­out the course.

You can watch the 24 lec­tures from the course above, or find them on YouTube. To get more infor­ma­tion on the course, includ­ing the syl­labus, vis­it this Yale web­site.

The main texts used in this course include the fol­low­ing. You can find them in our col­lec­tion of Free eBooks.

Intro­duc­tion to Polit­i­cal Phi­los­o­phy will be added to our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties. There you can find a spe­cial­ized list of Free Online Phi­los­o­phy Cours­es.

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!

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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.

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