A Big 44-Hour Chronological Playlist of Rolling Stones Albums: Stream 613 Tracks

Image by Jim Pietry­ga, via Wiki­me­dia Com­mons

“Would you let your daugh­ter mar­ry a Rolling Stone?”

From the start, the Rolling Stones were pro­mot­ed as the more debauched, dan­ger­ous alter­na­tive to the Bea­t­les, prompt­ing the above rather-famous tabloid head­line from their first years of fame. The Spo­ti­fy playlist below col­lects a whop­ping 613 tracks from this sem­i­nal rock band, all placed for the most part in chrono­log­i­cal order. (At 44 hours, there’s still whole albums–not major one mind you–missing, due to Spo­ti­fy). The Stones may have been more com­plex than their bad boy image, but they’ve nev­er shrugged it off over their five decades in music, and it’s prob­a­bly too late to stop now.

But it was rough going at the start, wasn’t it? Their first sin­gle was a cov­er of a Chuck Berry song on the A‑side, and a Willie Dixon song on the flip. Their debut album con­tained only three orig­i­nals, with only “Tell Me” stand­ing out from the pack as some­thing oth­er than a car­bon copy. Their sec­ond sin­gle was a song the Bea­t­les gave to them–and even then the Fab Four record­ed a ver­sion of it, unlike the hits they gave to Cil­la Black and oth­ers. Andrew Loog Old­ham was their man­ag­er first and a pro­duc­er sec­ond, not used to the stu­dio at all, and instead of the state-of-the-art Abbey Road stu­dios to play in, the band had Regent Sound stu­dios, with egg car­tons taped to the ceil­ing to baf­fle noise. If this was com­pe­ti­tion against the Bea­t­les, it cer­tain­ly didn’t look good at first.

But despite–or due to–those chal­lenges, the band gained suc­cess and earned respect, start­ing with “(I Can’t Get no) Sat­is­fac­tion” and appear­ances on Ed Sul­li­van and the T.A.M.I. Show, where they actu­al­ly fol­lowed James Brown and weren’t for­got­ten by his­to­ry.

The Stones spent those first years fol­low­ing fash­ion, always one step behind the Bea­t­les, going so far as to offer their own “Satan­ic” ver­sion of the psy­che­del­ic Sgt. Pepper’s. But then, instead of play­ing dev­il­ish dress-up, in May of 1968 they dropped “Jumpin Jack Flash,” which for the first time embod­ies a very real, dan­ger­ous ener­gy. It wasn’t planned. But 1968 was when the Stones took the rock man­tle from their friend­ly rivals. If any band was ready to be the bridge from the hope­ful ‘60s to the grimy ‘70s, it was the Stones.

Their ear­li­er mim­ic­ry of blues and rock’n’roll was one thing, but their amal­gam of rock, blues, and Amer­i­cana on albums like Sticky Fin­gers and Exile on Main Street was some­thing else entire­ly, a spe­cial kind of alche­my that also seemed to tax the entire band–which even­tu­al­ly lost one found­ing mem­ber and shuf­fled through gui­tarists to find Ron Wood.

The late ‘70s and ear­ly ‘80s were an odd time for the band, as their biggest hits then were most unlike their pre­vi­ous hits, dal­ly­ing with dis­co, chan­nel­ing Lou Reed, and set­ting them­selves up for a very con­fused decade. But still! All along the way the Stones kept releas­ing sin­gles that oth­er bands would give their eye teeth for.

The playlist ends with the release of 2016’s Blue and Lone­some, which found them right back where they start­ed: a col­lec­tion of well loved blues cov­ers from Howl­in’ Wolf, Lit­tle Wal­ter, and Willie Dixon. In the end, they brought it all back home.

Relat­ed Con­tent:

The Rolling Stones Intro­duce Blues­man Howl­in’ Wolf on US TV, One of the “Great­est Cul­tur­al Moments of the 20th Cen­tu­ry” (1965)

Mick Jag­ger Tells the Sto­ry Behind ‘Gimme Shel­ter’ and Mer­ry Clayton’s Haunt­ing Back­ground Vocals

The Rolling Stones Release a Soul­ful, Nev­er-Heard Acoustic Ver­sion of “Wild Hors­es”

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.

Introducing the Librarian Action Figure: The Caped Crusader Who Fights Against Anti-Intellectualism, Ignorance & Censorship Everywhere

We’ve fea­tured action fig­ures that pay trib­ute to some cul­tur­al icons like Edvard Munch, Vin­cent Van Gogh and Fri­da Kahlo. But now comes a new action fig­ure that hon­ors a less appre­ci­at­ed cul­tur­al force–all of the great librar­i­ans, those cru­saders for the print­ed and elec­tron­ic word, who “keep it all orga­nized for us and let us know about the best of it.” Stand­ing almost four inch­es tall and made of hard vinyl, the librar­i­an action fig­ure is based on Seat­tle librar­i­an Nan­cy Pearl. She has “a remov­able cape that sym­bol­izes how much of a hero a librar­i­an real­ly is.” The action fig­ure should come in handy in your own fights again anti-intel­lec­tu­al­ism, cen­sor­ship and igno­rance. Enjoy!

via Boing Boing

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Relat­ed Con­tent:

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

Napoleon’s Kin­dle: See the Minia­tur­ized Trav­el­ing Library He Took on Mil­i­tary Cam­paigns

Before the Book­mo­bile: When Librar­i­ans Rode on Horse­back to Deliv­er Books to Rur­al Amer­i­cans Dur­ing the Great Depres­sion

Let Me Librar­i­an That for You: What Peo­ple Asked Librar­i­ans Before Google Came Along

The Boston Pub­lic Library Will Dig­i­tize & Put Online 200,000+ Vin­tage Records

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Free, Open Source Modular Synth Software Lets You Create 70s & 80s Electronic Music—Without Having to Pay Thousands for a Real-World Synthesizer

In the past decade or so, the ana­log mod­u­lar synth—of the kind pio­neered by Robert Moog and Don Buch­la—has made a come­back, cre­at­ing a boom­ing niche mar­ket full of musi­cians chas­ing the sounds of the 70s and 80s. These inscrutable racks of patch­bays, oscil­la­tors, fil­ters, etc. look to the non-ini­ti­at­ed more like tele­phone oper­a­tor sta­tions of old than musi­cal instru­ments. But the sounds they pro­duce are sub­lime and oth­er­world­ly, with a sat­u­rat­ed warmth unpar­al­leled in the dig­i­tal world.

But while ana­log tech­nol­o­gy may have per­fect­ed cer­tain tones, one can’t beat the con­ve­nience of dig­i­tal record­ing, with its near­ly unlim­it­ed mul­ti-track­ing capa­bil­i­ty, abil­i­ty to save set­tings, and the ease of edit­ing and arrang­ing in the com­put­er. Dig­i­tal audio work­sta­tions have become increas­ing­ly sophis­ti­cat­ed, able to emu­late with “plug-ins” the capa­bil­i­ties of sought-after ana­log stu­dio gear of the past. It has tak­en a bit longer for vir­tu­al instru­ments to meet this same stan­dard, but they may be near­ly there.

Only the most fine­ly-tuned ears, for exam­ple, can hear the dif­fer­ence between the high­est-qual­i­ty dig­i­tal­ly mod­eled gui­tar ampli­fiers and effects and their real-world coun­ter­parts in the mix. Even the most high-end mod­el­ing pack­ages don’t cost as much as their real life coun­ter­parts, and many also come free in lim­it­ed ver­sions. So too the wealth of ana­log synth soft­ware, mod­eled to sound con­vinc­ing­ly like the old and new­ly reis­sued ana­log box­es that can run into the many thou­sands of dol­lars to col­lect and con­nect.

One such col­lec­tion of synths, the VCV Rack, offers open-source vir­tu­al mod­u­lar synths almost entire­ly free, with only a few at very mod­est prices. The stand­alone vir­tu­al rack works with­out any addi­tion­al soft­ware. Once you’ve cre­at­ed an account and installed it, you can start adding dozens of plug-ins, includ­ing var­i­ous syn­the­siz­ers, gates, reverbs, com­pres­sors, sequencers, key­boards, etc. “It’s pret­ty trans­for­ma­tive stuff,” writes CDM. “You can run vir­tu­al mod­ules to syn­the­size and process sounds, both those emu­lat­ing real hard­ware and many that exist only in soft­ware.”

The learn­ing curve is plen­ty steep for those who haven’t han­dled this per­plex­ing tech­nol­o­gy out­side the box. A series of YouTube tuto­ri­als, a few of which you can see here, can get you going in short order. Those already expe­ri­enced with the real-world stuff will delight in the expand­ed capa­bil­i­ties of the dig­i­tal ver­sions, as well as the fideli­ty with which these plug-ins emu­late real equipment—without the need for a room­ful of cables, unwield­ly racks, and sol­dier­ing irons and spare parts for those inevitable bad con­nec­tions and bro­ken switch­es and inputs.

You can down­load the vir­tu­al rack here, then fol­low the instruc­tions to load as many plug-ins as you like. CDM has instruc­tions for the devel­op­er ver­sion (find the source code here), and a YouTube series called Mod­u­lar Curios­i­ty demon­strates how to install the rack and use the var­i­ous plu­g­ins (see their first video fur­ther up and find the rest here). Mod­u­lar Sys­tem Begin­ner Tuto­r­i­al is anoth­er YouTube guide, with five dif­fer­ent videos. See num­ber one above and the rest here. The longer video at the top of the post offers a “first look and noob tuto­r­i­al.”

VCV Rack is only the lat­est of many vir­tu­al mod­u­lar synths, includ­ing Native Instru­ments’ Reak­tor Blocks and Softube’s Mod­u­lar. “But these come with a hefty price tag,” notes FACT mag­a­zine. “VCV Rack can be down­loaded for free on Lin­ux, Mac and Win­dows plat­form.” And if you’re won­der­ing how it stacks up against the real-life box­es it emu­lates, check out the video below.

Relat­ed Con­tent:

How the Moog Syn­the­siz­er Changed the Sound of Music

The Mas­ter­mind of Devo, Mark Moth­ers­baugh, Shows Off His Syn­the­siz­er Col­lec­tion

Hear What Music Sounds Like When It’s Cre­at­ed by Syn­the­siz­ers Made with Arti­fi­cial Intel­li­gence

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

How Isaac Newton Lost $3 Million Dollars in the “South Sea Bubble” of 1720: Even Geniuses Can’t Prevail Against the Machinations of the Markets

The Aris­totelian notion of “man” as a “ratio­nal ani­mal” has seen its share of detrac­tors, from the Cyn­ics to Bertrand Rus­sell to near­ly the whole of Post­struc­tural­ist thought. Leave it up to Oscar Wilde to com­press the debate between intel­lect and pas­sion into a pithy apho­rism: “Man is a ratio­nal ani­mal who always los­es his tem­per when he is called upon to act in accor­dance with the dic­tates of rea­son.”

We no longer need clever ver­bal barbs to refute too-opti­mistic assess­ments of human behav­ior. Eco­nom­ics is catch­ing up: we have the lan­guage of neu­ro­science and psy­chol­o­gy, which con­sis­tent­ly tells us that humans decid­ed­ly do not behave ratio­nal­ly very often, but are dri­ven by bias and biol­o­gy in inex­plic­a­ble ways. And for over a hun­dred years now, we’ve known that the clock­work New­ton­ian view of the phys­i­cal uni­verse turns out be a much messier and inde­ter­mi­nate affair, as does the uni­verse of the human mind.

Why, then, has so much eco­nom­ic the­o­ry oper­at­ed with a kind of dogged Aris­totelian­ism, insist­ing that the units of cap­i­tal­ist soci­ety, the work­ers, man­agers, investors, con­sumers, own­ers, renters, spec­u­la­tors, etc. behave in pre­dictable ways? We have case after case show­ing that intel­li­gence and crit­i­cal rea­son­ing often have lit­tle to do with suc­cess or fail­ure in the mar­ket. In such cas­es, how­ev­er, one often hears the “mad­ness of crowds” or oth­er clich­es invoked as an expla­na­tion.

To illus­trate, mar­ket reporters and busi­ness writ­ers have seized upon the sto­ry of Isaac Newton’s spec­tac­u­lar rise and fall in the so-called “South Sea Bub­ble” of 1720. We find the sto­ry in Ben­jamin Graham’s 1949 clas­sic The Intel­li­gent Investor, a wide­ly-read book that attrib­ut­es the irra­tional­i­ty of mar­ket sys­tems to an anthro­po­mor­phic enti­ty named “Mr. Mar­ket.”

Gra­ham writes,

Back in the spring of 1720, Sir Isaac New­ton owned shares in the South Sea Com­pa­ny, the hottest stock in Eng­land. Sens­ing that the mar­ket was get­ting out of hand, the great physi­cist mut­tered that he ‘could cal­cu­late the motions of the heav­en­ly bod­ies, but not the mad­ness of the peo­ple.’ New­ton dumped his South Sea shares, pock­et­ing a 100% prof­it total­ing £7,000. But just months lat­er, swept up in the wild enthu­si­asm of the mar­ket, New­ton jumped back in at a much high­er price — and lost £20,000 (or more than $3 mil­lion in [2002–2003’s] mon­ey. For the rest of his life, he for­bade any­one to speak the words ‘South Sea’ in his pres­ence.

The quo­ta­tion in bold may or may not have been uttered by New­ton, but the events Gra­ham describes did indeed hap­pen. As the Wall Street Jour­nal’s Jason Zwieg relates, Uni­ver­si­ty of Min­neso­ta pro­fes­sor Andrew Odlyzko found that “New­ton had shift­ed from a pru­dent investor with his mon­ey spread across sev­er­al secu­ri­ties to a spec­u­la­tor who had plunged essen­tial­ly all of his cap­i­tal into a sin­gle stock. The great sci­en­tist was chas­ing hot per­for­mance as des­per­ate­ly as a day trad­er in 1999 or many bit­coin buy­ers in 2017.” (Odlyzko esti­mates New­ton’s loss­es clos­er to $4 mil­lion.) Per­haps it was not a metaphor­i­cal “Mr. Mar­ket” who cost New­ton up to 77% “on his worst pur­chas­es,” nor was it wide­spread “wild enthusiasm”—the mass move­ment of pas­sion that Enlight­en­ment philoso­phers so feared.

Per­haps it was New­ton him­self who, Ele­na Holod­ny writes at Busi­ness Insid­er, “let his emo­tions get the best of him, and got swayed by the irra­tional­i­ty of the crowd.” Maybe it’s more accu­rate to say New­ton suc­cumbed to greed when the bub­ble expand­ed. “Through­out his­to­ry,” Bar­bara Kollmey­er writes at Mar­ket Watch in her inter­view with author Richard Dale, “people—especially those at the top rung of society—have been greedy and gullible par­tic­i­pants in finan­cial bub­bles. And Sir Isaac New­ton was only human, after all.” (How many at the top rung of soci­ety fell prey to Bernie Madoff’s schemes? And a cen­tu­ry before the South Sea Bub­ble, hun­dreds of wealthy investors lost their shirts in the Dutch Tulip Bulb craze.)

Some busi­ness writ­ers, like invest­ment edi­tor Richard Evans at The Tele­graph, rec­om­mend a cal­cu­la­ble for­mu­la to avoid los­ing a for­tune in bub­bles, advice that takes ratio­nal agency for grant­ed. Per­haps it should not. In addi­tion to cit­ing the con­ta­gion of crowds, near­ly every dis­cus­sion of Newton’s fol­ly allows that a fail­ure of emo­tion­al dis­ci­pline played a sig­nif­i­cant role. Ben­jamin Gra­ham invokes anoth­er Aris­totelian notion—the idea that “char­ac­ter” counts as much or more than intel­li­gence when it comes to invest­ing. “The investor’s chief prob­lem,” he writes, “and even his worst enemy—is like­ly to be him­self.”

Far few­er com­menters note that the South Sea ven­ture was itself a fail­ure of char­ac­ter from its incep­tion. The com­pa­ny had secured an exclu­sive monop­oly on trade with South Amer­i­ca; much of that trade involved sell­ing slaves. It is also the case that the com­pa­ny arti­fi­cial­ly inflat­ed its stock prices, and col­lud­ed with sev­er­al MPs in insid­er trad­ing schemes. The so-called “Bub­ble Act” of Par­lia­ment in 1720, pre­sum­ably passed to pre­vent crash­es like the one that dev­as­tat­ed New­ton, turned out to be cor­po­rate give­away. The terms of the act had been dic­tat­ed by the South Sea Com­pa­ny in order to pre­vent oth­er com­pa­nies from poach­ing their investors. Although these cir­cum­stances are well-known to eco­nom­ic his­to­ri­ans, they rarely make their way into com­men­tary on Newton’s great loss.

Econ­o­mists instead tend to blame abstrac­tions for eco­nom­ic events like the South Sea Bub­ble, or they blame the over­reach­ing prof­it-seek­ing of investors, and maybe for good rea­son. The oth­er expla­na­tions haunt the mar­gins: the inher­ent­ly exploita­tive nature of most forms of cor­po­rate cap­i­tal­ism, and the cor­rup­tion and col­lu­sion between the state and pri­vate enter­prise that inhibits fair com­pe­ti­tion and makes it impos­si­ble for investors to eval­u­ate the sit­u­a­tion trans­par­ent­ly. For all of his sci­en­tif­ic and math­e­mat­i­cal genius, Isaac New­ton was no exception—he was just as sub­ject to irra­tional greed as the next investor, and to the preda­to­ry machi­na­tions of “mar­ket forces.”

Relat­ed Con­tent:

In 1704, Isaac New­ton Pre­dicts the World Will End in 2060

Isaac New­ton Cre­ates a List of His 57 Sins (Cir­ca 1662)

Sir Isaac Newton’s Papers & Anno­tat­ed Prin­cip­ia Go Dig­i­tal

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

What Actually Is Bitcoin?: Princeton’s Free Online Course “Bitcoin and Currency Technologies” Provides Much-Needed Answers

“Don’t Under­stand Bit­coin?” asked the head­line of a recent video from Click­hole, the Onion’s viral-media par­o­dy site. “This Man Will Mum­ble an Expla­na­tion at You.” The inex­plic­a­ble hilar­i­ty of the mum­bling man and his 72-sec­ond expla­na­tion of Bit­coin con­tains, like all good humor, a sol­id truth: most of us don’t under­stand Bit­coin, and the sim­plis­tic infor­ma­tion we seek out, for all we grasp of it, might as well be deliv­ered unin­tel­li­gi­bly. A few years ago we fea­tured a much clear­er three-minute expla­na­tion of that best-known form of cryp­tocur­ren­cy here on Open Cul­ture, but how to gain a deep­er under­stand­ing of this tech­nol­o­gy that, in one form or anoth­er, so many of us will even­tu­al­ly use?

Con­sid­er join­ing “Bit­coin and Cur­ren­cy Tech­nolo­gies,” a free course from Cours­era taught by sev­er­al pro­fes­sors from Prince­ton Uni­ver­si­ty, includ­ing com­put­er sci­en­tist Arvind Narayanan, whose Prince­ton Bit­coin Text­book we fea­tured last year.

The eleven-week online course (class­room ver­sions of whose lec­tures you can check out here) just began, but you can still eas­i­ly join and learn the answers to ques­tions like the fol­low­ing: “How does Bit­coin work? What makes Bit­coin dif­fer­ent? How secure are your Bit­coins? How anony­mous are Bit­coin users? What deter­mines the price of Bit­coins? Can cryp­tocur­ren­cies be reg­u­lat­ed? What might the future hold?” All of those, you’ll notice, have been raised more and more often in the media late­ly, but sel­dom sat­is­fac­to­ri­ly addressed.

“Real under­stand­ing of the eco­nom­ic issues under­ly­ing the cryp­tocur­ren­cy is almost nonex­is­tent,” writes Nobel-win­ning econ­o­mist Robert J. Shiller in a recent New York Times piece on Bit­coin. “It is not just that very few peo­ple real­ly com­pre­hend the tech­nol­o­gy behind Bit­coin. It is that no one can attach objec­tive prob­a­bil­i­ties to the var­i­ous pos­si­ble out­comes of the cur­rent Bit­coin enthu­si­asm.” Take Prince­ton’s course, then, and you’ll pull way ahead of many oth­ers inter­est­ed in Bit­coin, even allow­ing for all the still-unknow­able unknowns that have caused such thrilling and shock­ing fluc­tu­a­tions in the dig­i­tal cur­ren­cy’s eight years of exis­tence so far. All of it has cul­mi­nat­ed in the cur­rent craze Shiller calls “a mar­velous case study in ambi­gu­i­ty and ani­mal spir­its,” and where ambi­gu­i­ty and ani­mal spir­its rule, a lit­tle intel­lec­tu­al under­stand­ing cer­tain­ly nev­er hurts.

Enroll free in “Bit­coin and Cur­ren­cy Tech­nolo­gies” here. Find oth­er relat­ed cours­es on cyrp­tocur­ren­cy and blockchain here.

Relat­ed Con­tent:

Bit­coin, the New Decen­tral­ized Dig­i­tal Cur­ren­cy, Demys­ti­fied in a Three Minute Video

The Prince­ton Bit­coin Text­book Is Now Free Online

Cryp­tocur­ren­cy and Blockchain: An Intro­duc­tion to Dig­i­tal Currencies–A Free Online Cours­es from the Uni­ver­si­ty of Penn­syl­va­nia

Free Online Economics/Finance Cours­es

1,700 Free Online Cours­es from Top Uni­ver­si­ties

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.

The Health Benefits of Drumming: Less Stress, Lower Blood Pressure, Pain Relief, and Altered States of Consciousness

Drumming—from tablas to tym­pa­ni to djembes—is uni­ver­sal, so much so, says author Say­er Ji, that it seems “hard-wired into our bio­log­i­cal, social and spir­i­tu­al DNA.” Drum­ming may well be “an inborn capac­i­ty and arche­typ­al social activ­i­ty.” But many mod­ern peo­ple have become alien­at­ed from the drum. We out­source drum­ming to pro­fes­sion­als, and machines. Neu­ro­sci­en­tists the­o­rize that drum­mers may have dif­fer­ent brains than “non-drummers”—findings that sug­gest the activ­i­ty is con­fined to spe­cial­ly-designed peo­ple. Not so, say many sci­en­tists who believe that “drum­ming has some pro­found and holis­tic uses,” as Luke Sumpter writes at Reset.me, “to enhance phys­i­cal, men­tal and emo­tion­al health.”

In addi­tion to anthro­po­log­i­cal evi­dence not­ing the cen­tral­i­ty of drum­ming to human cul­ture, abun­dant research has demon­strat­ed its poten­tial for per­son­al heal­ing. While drum ther­a­py may be noth­ing new for cul­tures who have retained the prac­tice, those who haven’t can learn group drum­ming eas­i­ly enough with teach­ers like Peter Mari­no in the short clip above. The ben­e­fits, as stud­ies have shown, include reduced stress and increased immu­ni­ty. Group drum­ming may reduce anx­i­ety and blood pres­sure, it may work as pain relief and boost pos­i­tive emo­tions, and may even lead to “improved exec­u­tive func­tion” and a growth in white mat­ter in the brains of patients with Huntington’s dis­ease and oth­er neu­ro­log­i­cal con­di­tions.

The evi­dence-based approach to group drumming’s socio-phys­i­cal ben­e­fits should sway skep­tics, even those like­ly to see drum cir­cle ther­a­py as some kind of hip­py-dip­py woo. Sci­ence-mind­ed peo­ple with­out such hangups may also take an inter­est in stud­ies of drum­ming as a “shaman­ic” activ­i­ty that “induces spe­cif­ic sub­jec­tive expe­ri­ences.” As Michael Drake reports, one recent study “demon­strates that even a brief drum­ming ses­sion can dou­ble alpha brain wave activ­i­ty,” which is “asso­ci­at­ed with med­i­ta­tion, shaman­ic trance, and inte­gra­tive modes of con­scious­ness.” Drum­ming with oth­ers “pro­duces greater self-aware­ness” as well as a sense of inter­con­nect­ed­ness, and can strength­en social bonds among adults as well as chil­dren.

While much of the writ­ing about group drum­ming as ther­a­py stress­es more intan­gi­ble, mys­ti­cal ben­e­fits, no small amount of data sug­gests that the phys­i­cal effects are mea­sur­able and sig­nif­i­cant. This is not to min­i­mize the musi­cal prowess of your favorite drum­mers, or to belit­tle the musi­cal val­ue of machine-made beats. But the research strong­ly sug­gests that not only is most every­one able to pick up a drum and get into a groove, but also that most every­one who does so will be hap­pi­er, health­i­er, and more peace­ful and tuned-in.

via Reset

Relat­ed Con­tent:

The Neu­ro­science of Drum­ming: Researchers Dis­cov­er the Secrets of Drum­ming & The Human Brain

Play­ing an Instru­ment Is a Great Work­out For Your Brain: New Ani­ma­tion Explains Why

Iso­lat­ed Drum Tracks From Six of Rock’s Great­est: Bon­ham, Moon, Peart, Copeland, Grohl & Starr

Bri­an Eno Lists the Ben­e­fits of Singing: A Long Life, Increased Intel­li­gence, and a Sound Civ­i­liza­tion

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

The 10 Most Popular Courses on Coursera in 2017 (and 2,000 Courses You Can Take for Free in January, 2018)

Back in 2012, Cours­era start­ed offer­ing MOOCS (Mas­sive Open Online Cours­es) to the world at large. And they’ve since amassed some 28 mil­lion reg­is­tered users, a cat­a­logue of 2,000 cours­es, and reams of data about what peo­ple want to learn. In the wan­ing days of Decem­ber, Cours­era pub­lished a list of their 1o most pop­u­lar cours­es of 2017. (Find below, and enroll in any of these cours­es for free.) From this list, it drew some larg­er con­clu­sions about trends in edu­ca­tion and tech­nol­o­gy.

The list shows, writes Nikhil Sin­ha, Cours­er­a’s Chief Con­tent Offi­cer, that “cut­ting-edge tech skills con­tin­ue to be the most sought after in online edu­ca­tion.” Arti­fi­cial intelligence–encompassing Machine Learn­ingNeur­al Net­works and Deep Learn­ing–topped the list of cours­es. Mean­while “Blockchain has also burst onto the scene, putting Princeton’s Bit­coin and Cryp­tocur­ren­cy course at num­ber five on the list.” But, Sin­ha adds, it’s “not just tech­nol­o­gy skills that are trend­ing.” The “basic learn­ing and infor­ma­tion-reten­tion skills taught in our pop­u­lar Learn­ing How to Learn course are extreme­ly sought-after by peo­ple of all ages.” The same applies to the prob­lem-solv­ing skills taught by Stan­ford’s Intro­duc­tion to Math­e­mat­i­cal Think­ing.

You can review the Top 10 list below, and enroll in any of those reg­u­lar­ly-offered cours­es.

  1. Machine Learn­ing: A primer from Stan­ford Uni­ver­si­ty on get­ting com­put­ers to act with­out being explic­it­ly pro­grammed.
  2. Neur­al Net­works and Deep Learn­ing: Build­ing on the course above, this course will teach you to feed a com­put­er sys­tem a lot of data, which it can then use to make deci­sions about oth­er data.
  3. Learn­ing How to Learn: Pow­er­ful Men­tal Tools to Help You Mas­ter Tough Sub­jects: The most pop­u­lar MOOC ever, this course devel­oped by Dr. Bar­bara Oak­ley gives you access to the invalu­able learn­ing tech­niques used by experts in art, music, lit­er­a­ture, math, sci­ence, sports, and many oth­er dis­ci­plines.
  4. Intro­duc­tion to Math­e­mat­i­cal Think­ing: Stan­ford Uni­ver­si­ty will teach you a style of think­ing that will help you think out­side the box and solve real prob­lems in the every­day world.
  5. Bit­coin and Cryp­tocur­ren­cy Tech­nolo­gies: From Prince­ton Uni­ver­si­ty comes a course that explains what is spe­cial about Bit­coin, and how it works at a tech­ni­cal lev­el.
  6. Pro­gram­ming for Every­body (Get­ting Start­ed with Python): The Uni­ver­si­ty of Michi­gan offers a course every­one should take–a primer on the basics of pro­gram­ming com­put­ers, using Python.
  7. Algo­rithms, Part I: Prince­ton’s course cov­ers “essen­tial infor­ma­tion that every seri­ous pro­gram­mer needs to know about algo­rithms and data struc­tures, with empha­sis on appli­ca­tions and sci­en­tif­ic per­for­mance analy­sis of Java imple­men­ta­tions.”
  8. Eng­lish for Career Devel­op­ment: Cre­at­ed by the Uni­ver­si­ty of Penn­syl­va­nia, this course is for non-native Eng­lish speak­ers “inter­est­ed in advanc­ing their careers in the glob­al mar­ket­place.” Along the way, you’ll learn about the job search, appli­ca­tion, and inter­view process in the U.S., and also explore your own glob­al career path.
  9. Neur­al Net­works for Machine Learn­ing:  The Uni­ver­si­ty of Toron­to gives you the chance to “learn about arti­fi­cial neur­al net­works and how they’re being used for machine learn­ing, as applied to speech and object recog­ni­tion, image seg­men­ta­tion, mod­el­ing lan­guage and human motion, etc.”
  10. Finan­cial Mar­kets: Cre­at­ed by Yale’s Robert Shiller (win­ner of the Nobel Prize in Eco­nom­ics), this course offers an overview of the finan­cial mar­kets, which allow human soci­ety to man­age risks and fos­ter enter­prise. It includes an intro­duc­tion to risk man­age­ment and behav­ioral finance prin­ci­ples under­ly­ing the secu­ri­ties, insur­ance, and bank­ing indus­tries.

Note: Open Cul­ture has a part­ner­ship with Cours­era. If read­ers enroll in cer­tain Cours­era cours­es, it helps sup­port Open Cul­ture.

Relat­ed Con­tent:

Learn­ing How to Learn: The Most Pop­u­lar MOOC of All Time

New Deep Learn­ing Cours­es Released on Cours­era, with Hope of Teach­ing Mil­lions the Basics of Arti­fi­cial Intel­li­gence

Cours­era Part­ners with Lead­ing Uni­ver­si­ties to Offer Master’s Degrees at a More Afford­able Price

5,000+ Photographs by Minor White, One of the 20th Century’s Most Important Photographers, Now Digitized and Available Online

Barn + Corn (Vicin­i­ty of Dans­ville, New York), 1955. From The Minor White Archive, Prince­ton Uni­ver­si­ty Art.

When the pho­tog­ra­ph­er Minor White died in 1976, after a pro­lif­ic career and an epic jour­ney of a life, he left his archives to Prince­ton Uni­ver­si­ty. But it took about forty years before that insti­tu­tion could make the col­lec­tion tru­ly avail­able to the world in the form of the Minor White Archive online. He became “one of the most impor­tant pho­to­graph­ic artists of the twen­ti­eth cen­tu­ry” and “a key fig­ure in shap­ing a dis­tinct­ly mod­ern Amer­i­can pho­to­graph­ic style,” as the archive’s “About” page puts it, by cap­tur­ing the images of humans, land­scapes urban and rur­al, and even abstract sub­jects, all the while pur­su­ing new and ever more per­son­al ways to cap­ture them.

In his end­less search for inspi­ra­tions with which to refine his pho­to­graph­ic prac­tice, White seemed to turn down no poten­tial source. Not only did he put in time with such colos­sal pre­de­ces­sors in Amer­i­can pho­tog­ra­phy as Alfred Stieglitz, Edward West­on, and Ansel Adams (who taught him, among oth­er things, his reli­able “visu­al­iza­tion” tech­nique), he also drew deeply from less con­ven­tion­al wells: the I Ching, Zen med­i­ta­tion, mythol­o­gy, astrol­o­gy, Gestalt psy­chol­o­gy, and the mys­tic phi­los­o­phy of G. I. Gur­d­ji­eff (who also had an influ­ence on the com­ic per­sona of Bill Mur­ray).

“To some in the 1960s and ‘70s,” remem­bers one­time asso­ciate John Weiss, “Minor White was a deity. Every word was an invo­ca­tion. To oth­ers he was a self-pro­mot­er, a fraud, talk­ing non­sense.”

Chi­na­town 1953. From The Minor White Archive, Prince­ton Uni­ver­si­ty Art.

Either way, White was above all a pho­tog­ra­ph­er. Prince­ton’s dig­i­tal archive fea­tures more than 5,000 of his pho­tographs (and oth­er mate­ri­als like proof cards, con­tact sheets, and even jour­nals) free to view online.  It offers “a com­pre­hen­sive sur­vey of White’s career,” as Hyper­al­ler­gic’s Claire Voon writes, “from his ear­ly cap­tures of Port­land, Ore­gon in 1938 to his lat­est work in 1974 of por­traits and land­scapes tak­en around the US.” Have a look through the archive, start­ing at its search page and, once there, either enter­ing search terms or brows­ing by sub­ject or loca­tion, and you’ll see why, when it comes to Amer­i­can pho­to­graph­ic art, Minor was very much major.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Dis­cov­er Ansel Adams’ 226 Pho­tos of U.S. Nation­al Parks (and Anoth­er Side of the Leg­endary Pho­tog­ra­ph­er)

Ansel Adams, Dorothea Lange, Clem Albers & Fran­cis Stewart’s Cen­sored Pho­tographs of a WWII Japan­ese Intern­ment Camp

Alfred Stieglitz: The Elo­quent Eye, a Reveal­ing Look at “The Father of Mod­ern Pho­tog­ra­phy”

Yale Launch­es an Archive of 170,000 Pho­tographs Doc­u­ment­ing the Great Depres­sion

200,000 Pho­tos from the George East­man Muse­um, the World’s Old­est Pho­tog­ra­phy Col­lec­tion, Now Avail­able Online

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.

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Open Culture was founded by Dan Colman.