An Animated Carol Dweck on Why Parents Who Tell Their Kids How Smart They Are Aren’t Doing Them Any Favors

After a long hia­tus, the RSA (The Roy­al Soci­ety for the Encour­age­ment of Arts, Man­u­fac­tures and Com­merce) has returned with anoth­er one of the white­board ani­mat­ed-lec­tures they pio­neered five years ago.

The orig­i­nal set of videos, you might recall, fea­tured Slavoj Zizek on the Sur­pris­ing Eth­i­cal Impli­ca­tions of Char­i­ta­ble Giv­ing; Bar­bara Ehren­re­ich (author of Nick­el and Dimed) on The Per­ils of Pos­i­tive Psy­chol­o­gyDaniel Pink on The Sur­pris­ing Truth About What Moti­vates Us, and Stan­ford psy­chol­o­gist Philip Zim­bar­do on The Secret Pow­ers of Time.

The ani­mat­ed reboot (above) brings to life the thoughts of anoth­er Stan­ford psy­chol­o­gy pro­fes­sor, Car­ol S. Dweck. The author of Mind­set: The New Psy­chol­o­gy of Suc­cess (a book that appeared on Bill Gates’s Best of 2015 list), Dweck has looked close­ly at how our beliefs/mindsets strong­ly influ­ence the paths we take in life. And, in this clip, she talks about how well-mean­ing par­ents, despite their best inten­tions, might be cre­at­ing the wrong mind­sets in their kids, paving the way for prob­lems down the road. You can watch the com­plete, unan­i­mat­ed lec­ture here.

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Relat­ed Con­tent:

Good Cap­i­tal­ist Kar­ma: Zizek Ani­mat­ed

Daniel Pink: The Sur­pris­ing Truth about What Moti­vates Us

Good Cap­i­tal­ist Kar­ma: Zizek Ani­mat­ed

The Secret Pow­ers of Time

Free Online Psy­chol­o­gy & Neu­ro­science Cours­es

An Animated Neil deGrasse Tyson Gives an Eloquent Defense of Science in 272 Words, the Same Length as The Gettysburg Address

Astro­physi­cist Neil deGrasse Tyson, the most promi­nent pub­lic defend­er of sci­ence edu­ca­tion and fund­ing, fre­quent­ly comes in for some good-natured rib­bing for his genial pedantryascen­sion to Carl Sagan’s unof­fi­cial spokesman­ship, and down­grad­ing of the beloved Plu­to from plan­et sta­tus. But he takes it all in stride. As anoth­er sci­ence com­mu­ni­ca­tor, Phil Plate the “Bad Astronomer,” has writ­ten, “The man is bril­liant, charm­ing, a pil­lar of sci­ence edu­ca­tion, and a glut­ton for pun­ish­ment. But I think he secret­ly rev­els in it.” If you fol­low Tyson’s Twit­ter account and watch him engage with cranks, or if you’ve seen him in any of the hun­dreds of pub­lic debates and pan­els he attends, it seems he more than rev­els in it; he’s total­ly in his ele­ment, so to speak, pub­licly mod­el­ing the mix of con­fi­dence, humil­i­ty, and curios­i­ty that dri­ves sci­ence for­ward.

In the video above, Tyson dares to try and fill the shoes of anoth­er great communicator—and no, I don’t mean Ronald Rea­gan, but the pres­i­dent whose most famous speech Charles Sum­n­er called “a mon­u­men­tal act.” And though Abra­ham Lin­coln was not near­ly as com­fort­able in front of an audi­ence as Tyson is, Lin­col­n’s Get­tys­burg Address set the bar for how to get a point across with the max­i­mum amount of elo­quence and min­i­mum of redun­dan­cy and ram­bling. Can Tyson deliv­er the goods like Lin­coln did with only 272 words to work with? Is the attempt to “reply” to the “Get­tys­burg Address” an act of hubris or the ulti­mate trib­ute? Decide for your­self as you lis­ten to Tyson’s April, 2015 accep­tance speech at the Nation­al Acad­e­my of Sci­ence for the Pub­lic Wel­fare Medal, the Acad­e­my’s “most pres­ti­gious award.”

Tyson’s speech has been enhanced with a dra­mat­ic ani­ma­tion and sound effects for a tech­no­log­i­cal impact Lin­coln nev­er could have achieved, though by most accounts he did­n’t need it. Not a solemn occa­sion like Get­tys­burg, the awards cer­e­mo­ny nonethe­less called for at least a lit­tle pomp, as well as some his­to­ry. Tyson points out that “dur­ing the bloody year of his Get­tys­burg Address, Pres­i­dent Lin­coln char­tered the Nation­al Acad­e­my of Sci­ences.” For more of that sto­ry, see the short video above, where you’ll learn, among oth­er things, that Lin­coln was the first and only Amer­i­can pres­i­dent to hold a patent on a sci­en­tif­ic inven­tion.

via Bill Gates

Relat­ed Con­tent:

Neil deGrasse Tyson Pon­ders the Big Ques­tion “Does the Uni­verse Have a Pur­pose” in a Sim­ple Ani­ma­tion

Free: Down­load Neil deGrasse Tyson’s Short Course, The Inex­plic­a­ble Uni­verse, in Audio or Video For­mat

Neil deGrasse Tyson Puts Bill Gates’ Wealth into Fun­ny Per­spec­tive

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

 

Striking Poster Collection from the Great Depression Shows That the US Government Once Supported the Arts in America

WPA Caesare & Cleopatra

Of the rare and extra­or­di­nary times in U.S. his­to­ry when the U.S. gov­ern­ment active­ly fund­ed and pro­mot­ed the arts on a nation­al scale, two peri­ods in par­tic­u­lar stand out. There is the CIA’s role in chan­nel­ing funds to avant-garde artists after the Sec­ond World War as part of the cul­tur­al front of the Cold War—a boon to painters, writ­ers, and musi­cians, both wit­ting and unwit­ting, and a strange way in which the intel­li­gence com­mu­ni­ty used the anti-com­mu­nist left to head off what it saw as more dan­ger­ous and sub­ver­sive trends. Most of the high­ly agen­da-dri­ven fed­er­al arts fund­ing dur­ing the Cold War pro­ceed­ed in secret until decades lat­er, when long-sealed doc­u­ments were declas­si­fied and agents began to tell their sto­ries of the peri­od.

BOOK TALKS

Of a much less covert­ly polit­i­cal nature was the first major fed­er­al invest­ment in the arts, begun under Franklin Delano Roosevelt’s New Deal and cham­pi­oned in large part by his wife, Eleanor. Under the 1935-estab­lished Works Progress Admin­is­tra­tion (WPA)—which cre­at­ed thou­sands of jobs through large-scale pub­lic infra­struc­ture projects—the Fed­er­al Project Num­ber One took shape, an ini­tia­tive, write Don Adams and Arlene Gold­bard, that “marked the U.S. government’s first big, direct invest­ment in cul­tur­al devel­op­ment.” The project’s goals “were clear­ly stat­ed and demo­c­ra­t­ic; they sup­port­ed activ­i­ties not already sub­si­dized by pri­vate sec­tor patrons… and they empha­sized the inter­re­lat­ed­ness of cul­ture with all aspects of life, not the sep­a­rate­ness of a rar­efied art world.”

Big Tent Theatre

Under the pro­gram, known sim­ply as “Fed­er­al One,” Orson Welles made his direc­to­r­i­al debut, with a huge­ly pop­u­lar, all-Black pro­duc­tion of Mac­beth; Walk­er Evans, Dorothea Lange, and oth­ers doc­u­ment­ed the Great Depres­sion in their now icon­ic pho­to­graph­ic series; Diego Rivera paint­ed his huge murals of work­ing peo­ple; folk­lorists Alan Lomax, Stet­son Kennedy, and Har­ry Smith col­lect­ed and record­ed the pop­u­lar music and sto­ries of SouthZora Neale Hurston con­duct­ed anthro­po­log­i­cal field research in the Deep South and the Caribbean; Amer­i­can writ­ers from Ralph Elli­son to James Agee found sup­port from the WPA. This is to name but a few of the most famous artists sub­si­dized by the New Deal.

Sioux City Public Art School

Thou­sands more whose names have gone unrecord­ed were able to fund com­mu­ni­ty the­ater pro­duc­tions, lit­er­ary lec­tures, art class­es and many oth­er works of cul­tur­al enrich­ment that kept peo­ple in the arts work­ing, engaged whole com­mu­ni­ties, and gave ordi­nary Amer­i­cans oppor­tu­ni­ties to par­tic­i­pate in the arts and to find rep­re­sen­ta­tion where they oth­er­wise would be over­looked or ignored. Fed­er­al One not only “put legions of unem­ployed artists back to work,” writes George Wash­ing­ton Uni­ver­si­ty’s Eleanor Roo­sevelt Papers Project, “but their cre­ations would invari­ably enter­tain and enrich the larg­er pop­u­la­tion.”

modern dance

“If FDR was only luke­warm about Fed­er­al One,” GWU points out, “his wife more than made up for it with her enthu­si­asm. Eleanor Roo­sevelt felt strong­ly that Amer­i­can soci­ety had not done enough to sup­port the arts, and she viewed Fed­er­al One as a pow­er­ful tool with which to infuse art and cul­ture into the dai­ly lives of Amer­i­cans.”

macbeth wpa

Now, thanks to the Library of Con­gress, we can see what that infu­sion of cul­ture looked like in col­or­ful poster form. Of the 2,000 WPA arts posters known to exist, the LoC has dig­i­tized over 900 pro­duced between 1936 and 1943, “designed to pub­li­cize exhibits, com­mu­ni­ty activ­i­ties, the­atri­cal pro­duc­tions, and health and edu­ca­tion al pro­grams in sev­en­teen states and the Dis­trict of Colum­bia.”

Big White Fog

These posters, added to the Library’s hold­ings in the ‘40s, show us a nation that looked very dif­fer­ent from the one we live in today—one in which the arts and cul­ture thrived at a local and region­al lev­el and were not sim­ply the pre­serves of celebri­ties, pri­vate wealth, and major cor­po­ra­tions. Per­haps revis­it­ing this past can give us a mod­el to strive for in a more demo­c­ra­t­ic, equi­table future that val­ues the arts as Eleanor Roo­sevelt and the WPA admin­is­tra­tors did. Click here to browse the com­plete col­lec­tion of WPA arts posters and to down­load dig­i­tal images as JPEG or TIFF files.

Art_classes_for_children_LCCN98510141

Relat­ed Con­tent:

Down­load Vin­tage Film Posters in High-Res: From The Philadel­phia Sto­ry to Attack of the Crab Mon­sters

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

Young Orson Welles Directs “Voodoo Mac­beth,” the First Shake­speare Pro­duc­tion With An All-Black Cast: Footage from 1936

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

Watch Björk, Age 11, Read a Christmas Nativity Story on a 1976 Icelandic TV Special

The hol­i­days can be hard, start­ing in Octo­ber when the red and green dec­o­ra­tions begin muscling in on the Hal­loween aisle.

Most Won­der­ful Time of the Year, you say? Oh, go stuff a stock­ing in it, Andy Williams!

The major­i­ty of us have more in com­mon with the Grinch, Scrooge, and/or the Lit­tle Match Girl.

Still, it’s hard to resist the preter­nat­u­ral­ly mature 11-year-old Björk read­ing the nativ­i­ty sto­ry in her native Ice­landic, backed by unsmil­ing old­er kids from the Children’s Music School in Reyk­javík.

Par­tic­u­lar­ly since I myself do not speak Ice­landic.

The fact that it’s in black and white is mere­ly the blue­ber­ries on the spiced cab­bage.

It speaks high­ly of the Ice­landic approach to edu­ca­tion that a prin­ci­pal’s office reg­u­lar who report­ed­ly chafed at her school’s “retro, con­stant Beethoven and Bach bol­locks” cur­ricu­lum was award­ed the plum part in this 1976 Christ­mas spe­cial for the Nation­al Broad­cast­ing Ser­vice.

It would also appear that lit­tle Björk, the fierce­ly self-reliant latchkey kid of a Bohemi­an sin­gle moth­er, was far and away the most charis­mat­ic kid enrolled in the Bar­namúsik­skóli.

(Less than a year lat­er her self-titled first album sold 7000 copies in Iceland—a mod­est amount com­pared to Adele’s debut, maybe, but c’mon, the kid was 11! And Ice­land’s pop­u­la­tion at the time was a cou­ple hun­dred thou­sand and change.)

As to the above per­for­mance’s reli­gious slant, it wasn’t a reflec­tion of her per­son­al beliefs. As she told the UK music webzine Drowned in Sound in 2011:

…nature is my reli­gion, in a way… I think every­body has their own pri­vate reli­gion. I guess what both­ers me is when mil­lions have the same one. It just can’t be true. It’s just…what?

Still, it prob­a­bly was­n’t too con­tro­ver­sial that the pro­gram­mers elect­ed to cleave to the rea­son in the sea­son. Ice­landic church atten­dance may be low-key, but the over­whelm­ing major­i­ty of its cit­i­zens iden­ti­fy as Luther­an, or some oth­er Chris­t­ian denom­i­na­tion.

(They also believe in elves and 13 for­mer­ly fear­some Yule Lads, descen­dants of the ogres Grýla and Lep­palúði. By the time Björk appeared on earth, they had long since evolved, through a com­bi­na­tion of for­eign influ­ence and pub­lic decree, into the kinder, gen­tler, not quite San­ta-esque ver­sion, address­ing the stu­dio audi­ence at the top of the act.)

Relat­ed Con­tent:

Hear the Album Björk Record­ed as an 11-Year-Old: Fea­tures Cov­er Art Pro­vid­ed By Her Mom (1977)

A Young Björk Decon­structs (Phys­i­cal­ly & The­o­ret­i­cal­ly) a Tele­vi­sion in a Delight­ful Retro Video

Björk Presents Ground­break­ing Exper­i­men­tal Musi­cians on the BBC’s Mod­ern Min­i­mal­ists (1997)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She is proud to orig­i­nat­ed the role of Santa’s mor­tal con­sort, Mary, in her Jew­ish hus­band Greg Kotis’ Nordic-themed hol­i­day fan­ta­sia, The Truth About San­ta. Fol­low her @AyunHalliday

Lynda Barry’s Illustrated Syllabus & Homework Assignments from Her New UW-Madison Course, “Making Comics”

barrysyll1

barysyll2

Car­toon­ist turned edu­ca­tor Lyn­da Bar­ry is again per­mit­ting the world at large to freely audit one of her fas­ci­nat­ing Uni­ver­si­ty of Wis­con­sin-Madi­son class­es via her Tum­blr. (To get to the start of the class, click here and then scroll down the page until you reach the syl­labus, then start work­ing your way back­wards.)

The top­ic this fall is “Graph­ic Vices, Graph­ic Virtues: Mak­ing Comics,” a sub­ject with which Bar­ry is inti­mate­ly acquaint­ed. In the professor’s own words, this class is “a(n aca­d­e­m­i­cal­ly rig­or­ous) blast!”

As in pre­vi­ous class­es, the syl­labus, above, spells out a high­ly spe­cial­ized set of required sup­plies, includ­ing a num­ber of items rarely called for at the col­lege lev­el.

barrysyll4

 

It’s become a time hon­ored tra­di­tion for Barry’s stu­dents to adopt new names by which to refer to each oth­er in-class, some­thing they’ll enjoy hear­ing spo­ken aloud. For “Mak­ing Comics,” Bar­ry is fly­ing under the han­dle Pro­fes­sor SETI (as in “search for extrater­res­tri­al intel­li­gence”), telling the class that “images are the ETI in SETI.”

The stu­dents have respond­ed with the fol­low­ing han­dles: Chef Boyardee, Gin­ger, Lois Lane, Rosie the Riv­et­er, Regi­na Pha­lange, Ara­bel­la, Snoopy, Skeeter, Tig­ger, Arya Stark, Nala, Nos­tal­gia, Aki­ra, Lapus Lazuli, The Buffalo,Mr. Novem­ber, The Short Giraffe, Nic­ki Minaj, Neko, Vin­cent Brooks, Reg­u­lar Sized Rudy, and Zef.

(Sounds like a rough and ready crew. What name would you choose, and why?)

LBarry 4

As usu­al, Bar­ry draws inspi­ra­tion from the dizzy­ing boun­ty of images avail­able on the net, bom­bard­ing her pupils with find­ings such as the lobed teeth of the crab-eater seal, above.

Sci­ence and music remain pet sub­jects–Afro­fu­tur­ist band­leader Sun Ra serves as class ora­cle this go round.

LBarry 5

LBarry 6

Pro­fes­sor SETI keeps the “graph­ic vice” of the class’ offi­cial title front and cen­ter with assign­ments per­tain­ing to the 7 dead­ly sins, ask­ing stu­dents to exam­ine mod­ern equiv­a­lents of the hor­rors depict­ed by Heron­imus Bosch above and 16th-cen­tu­ry engraver Pieter van der Hey­den, below.

LBarry 7

What to do with all of these images? Draw them, of course! As Bar­ry tells her stu­dents:

Draw­ing is a lan­guage. It’s hard to under­stand what that real­ly means until you’ve ‘spo­ken’ and ‘lis­tened’ to it enough in a reli­able reg­u­lar way like the reli­able reg­u­lar way we will have togeth­er this semes­ter.

That’s an impor­tant def­i­n­i­tion for those lack­ing con­fi­dence in their draw­ing abil­i­ties to keep in mind. Bar­ry may revere the inky blacks of comics leg­end Jaime Her­nan­dez, but she’s also a devo­tee of the wild, unbri­dled line that may be a beginner’s truest expres­sion. (Stick fig­ures, how­ev­er, “don’t cut it.”) To her way of think­ing, every­one is capa­ble of com­mu­ni­cat­ing flu­ent­ly in visu­al lan­guage. The cur­rent crop of stu­dent work reveals a range of train­ing and nat­ur­al tal­ent, but all are wor­thy when viewed through Barry’s lens.

The teacher’s phi­los­o­phy is the bind­ing ele­ment here, but don’t fret if you are unable to take the class in per­son:

We rarely speak direct­ly about the work we do in our class though we look at it togeth­er. We stare at it and some­times it makes us laugh or we silent­ly point out some part of it to the class­mate beside us.  To be able to speak this unspo­ken lan­guage we need to prac­tice see­ing (hear­ing) the way it talks.

LBarry 9

That ear­li­er-allud­ed-to rig­or is no joke. Dai­ly diary comics, 3 minute self por­traits on index cards, pages fold­ed to yield 16 frames in need of fill­ing, and found images copied while lis­ten­ing to pre­scribed music, lec­tures, and read­ings are a con­stant, non-nego­tiable expec­ta­tion of all par­tic­i­pants. Her method­ol­o­gy may sound goose‑y but it’s far from loose‑y.

In oth­er words, if you want to play along, pre­pare to set aside a large chunk of time to com­plete her week­ly assign­ments with the vig­or demand­ed of non-vir­tu­al stu­dents.

LBarry 10

Those who aren’t able to com­mit to going the dis­tance at this time can recon­struct the class lat­er.  Bar­ry leaves both the assign­ments and exam­ples of stu­dent work on her Tum­blr for per­pe­tu­ity. (You can see an exam­ple here.) For now, try com­plet­ing the 20 minute exer­cise using the assigned image above, or by choos­ing from one of her “extra cred­it” images, below:

Set timer for three min­utes and begin this draw­ing using a yel­low col­or pen­cil. Try to draw as much of the draw­ing as you can in three min­utes. You can draw fast, and in a messy way, The impor­tant thing is to get as much cov­ered as you can in three min­utes. You can col­or things in if you like. Look for the dark­est areas of the pho­to and col­or those in.

Set a timer for anoth­er three min­utes and using your non-dom­i­nant hand, draw with orange or col­or pen­cil to draw the entire draw­ing again, draw­ing right on top of the first draw­ing lay­er. The lines don’t have to match or be right on top of each oth­er, you can change your mind as you add this lay­er. You can move a bit to the right rather than try to draw direct­ly onto the first set of lines.

Set a timer for anoth­er 3 min­utes and use a red pen­cil and draw it again, using you dom­i­nant hand, adding anoth­er lay­er to the draw­ing. Again, you don’t have to fol­low your orig­i­nal lines. Just draw on top of them.

Set a timer for anoth­er 3 min­utes and use a dark green pen­cil to draw the entire draw­ing one more time on top of all the oth­ers. 

Set a timer for 8 min­utes and use a dark blue pen­cil to draw it one more time.

Spend the last 8 min­utes ink­ing the image in with your uni­ball pen. Remem­ber that sol­id black is the very last thing you’d do giv­en your time lim­it. You want to make sure to draw all the parts of the pic­ture first.

LBarry 11

LBarry 12

LBarry 14

LBarry 15

LBarry 16

LBarry 17

Relat­ed Con­tent:

Car­toon­ist Lyn­da Bar­ry Shows You How to Draw Bat­man in Her UW-Madi­son Course, “Mak­ing Comics”

Lyn­da Barry’s Won­der­ful­ly Illus­trat­ed Syl­labus & Home­work Assign­ments from Her UW-Madi­son Class, “The Unthink­able Mind”

Watch Lyn­da Barry’s Grad­u­a­tion Speech; Give a Shout Out to the Teach­ers Who Changed Your Life

1,700 Free Online Cours­es from Top Uni­ver­si­ties

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Monty Python’s John Cleese Creates Ads for the American Philosophical Association

cleese philosophy psa

Cre­ative Com­mons image by Paul Box­ley

John Cleese, you say, a spokesman for the Amer­i­can Philo­soph­i­cal Asso­ci­a­tion? Why would such a seri­ous orga­ni­za­tion, whose stat­ed mis­sion is to fos­ter the “broad­er pres­ence of phi­los­o­phy in pub­lic life,” choose a British come­di­an famous for such char­ac­ters as the over­bear­ing Basil Fawl­ty and ridicu­lous Min­is­ter of Sil­ly Walks as one of their pub­lic faces?

They chose him, I imag­ine, because in his var­i­ous roles—as a one­time prep school teacher and stu­dent of law at Cam­bridge, as a com­e­dy writer and Mon­ty Python star, and as a post-Python come­di­an, author, pub­lic speak­er, and vis­it­ing pro­fes­sor at Cor­nell—Cleese has done more than his part to spread phi­los­o­phy in pub­lic life. Mon­ty Python, you’ll remem­ber, aired a num­ber of absurd phi­los­o­phy sketch­es, notable for being as smart as they are fun­ny.

Cleese has pre­sent­ed his per­son­al phi­los­o­phy of cre­ativ­i­ty at the World Cre­ativ­i­ty Forum; he’s explained a com­mon cog­ni­tive bias to which media per­son­al­i­ties and politi­cians seem par­tic­u­lar­ly sus­cep­ti­ble; and he had his own pod­cast in which, among oth­er things, he explained (wink) how the human brain works.

Giv­en these cre­den­tials, and his abil­i­ty to apply his intel­li­gence, wit, and com­ic tim­ing to sub­jects not often seen as par­tic­u­lar­ly excit­ing by the gen­er­al pub­lic, Cleese seems like the per­fect per­son for the job, even if he isn’t an Amer­i­can philoso­pher. The APA, found­ed in 1900, has recent­ly host­ed con­fer­ences on reli­gious tol­er­ance and “Cul­ti­vat­ing Cit­i­zen­ship.” In 2000, as part of its cen­ten­ni­al cel­e­bra­tion, the orga­ni­za­tion had Cleese record 22 very short “Pub­lic Ser­vice Announce­ments” to intro­duce novices to the impor­tant work of phi­los­o­phy. These range from the very gen­er­al “What Philoso­phers Do” at the top of the post to the influ­ence of phi­los­o­phy on social and polit­i­cal reform­ers like Mar­tin Luther King, Jr., Jane Addams, and Simone de Beau­voir (above), show­ing philosophy’s “bear­ing on the real world.”

In this PSA, Cleese makes the con­tro­ver­sial claim that “the 21st cen­tu­ry may belong far more to phi­los­o­phy than to psy­chol­o­gy or even tra­di­tion­al reli­gion.” “What a strange thought,” he goes on, then explains that phi­los­o­phy “works against confusion”—certainly a hall­mark of our age. There’s not much here to argue with—Cleese isn’t for­mu­lat­ing a posi­tion, but giv­ing his lis­ten­ers provoca­tive lit­tle nuts to crack on their own, should they find his PSAs intrigu­ing enough to draw them into fur­ther study. They might as well begin where most of us do, with Socrates, whom Cleese intro­duces below.

Hear the rest of Cleese’s phi­los­o­phy PSAs at the Amer­i­can Philo­soph­i­cal Association’s web­site. And should you wish to dig deep­er, you’ll find an abun­dance of resources in our archives, which includes big lists of Free Online Phi­los­o­phy Cours­es and Free Phi­los­o­phy eBooks.

Relat­ed Con­tent:

Mon­ty Python’s Best Phi­los­o­phy Sketch­es

John Cleese Explains the Brain — and the Plea­sures of DirecTV

Learn The His­to­ry of Phi­los­o­phy in 197 Pod­casts (With More to Come)

Down­load 100 Free Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

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

The Lord of the Rings Mythology Explained in 10 Minutes, in Two Illustrated Videos

As a lover of fan­ta­sy and sci­ence fic­tion, but by no means a know-it-all fan­boy, I know what it’s like to come to a fic­tion­al uni­verse late. It can seem like every­one else has already read the canon, seen the movies, and mem­o­rized the genealo­gies, ori­gin sto­ries, mag­i­cal arcana, num­ber of ancient blood feuds, etc. For exam­ple, I grew up steeped in Star Trek but nev­er watched Dr. Who. Now that British sci-fi show is seem­ing­ly every­where, and I find myself intrigued. But who has the time to catch up on sev­er­al decades of missed episodes? Some peo­ple may have felt sim­i­lar­ly in the last few years about The Lord of the Rings, what with the num­ber of J.R.R. Tolkien adap­ta­tions besieg­ing the­aters. If you haven’t read any of those books, Mid­dle Earth—for all its air of medieval leg­end and Norse myth—can be a very con­fus­ing place.

Thanks to Peter Jackson’s films, for bet­ter or worse, Tolkien’s books have even more cul­tur­al cur­ren­cy than they did in the 70s, when Led Zep­pelin mined them for lyri­cal inspi­ra­tion, and “Fro­do lives” graf­fi­ti appeared on over­pass­es every­where.

This brings us to the videos we fea­ture here. Pre­sent­ed in a rapid fire style like that of motor­mouth YA nov­el­ist and video edu­ca­tor John Green, “The Lord of the Rings Mythol­o­gy Explained” is exact­ly that–two very quick tours, with illus­tra­tions, through the com­plex mytho­log­i­cal world of Mid­dle Earth, the set­ting of The Lord of the Rings tril­o­gy, The Hob­bit, and oth­er books you’ve maybe nev­er heard of. These videos were made before the final install­ment of Jack­son’s inter­minable Hob­bit tril­o­gy, but they cov­er most major devel­op­ments before and after the events in short book on which he based those films.

I’ll say this for the effort—Tolkien’s world is one I thought I knew, but I didn’t know it near­ly as well as I thought. Like most peo­ple, frankly, I haven’t read the source­book of so much of that world’s gen­e­sis, The Sil­mar­il­lion, which gets a sur­vey in the first video at the top of the post. I’m much more famil­iar, and you may be as well—through books or films—with the mytholo­gies of The Lord of the Rings tril­o­gy prop­er, cov­ered in the video above. If these two thor­ough explain­ers don’t sat­is­fy your curios­i­ty, you can like­ly have fur­ther ques­tions answered at one of the videos’ sources, Ask Mid­dle Earth, a site that solic­its “any ques­tion about Mid­dle Earth.” Anoth­er source, the work of com­par­a­tive mythol­o­gist Ver­lyn Flieger, who spe­cial­izes in Tolkien, also promis­es to be high­ly illu­mi­nat­ing.

Relat­ed Con­tent:

Map of Mid­dle-Earth Anno­tat­ed by Tolkien Found in a Copy of Lord of the Rings

“The Tolkien Pro­fes­sor” Presents Three Free Cours­es on The Lord of the Rings

110 Draw­ings and Paint­ings by J.R.R. Tolkien: Of Mid­dle-Earth and Beyond

J.R.R. Tolkien Snubs a Ger­man Pub­lish­er Ask­ing for Proof of His “Aryan Descent” (1938)

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

100 Novels All Kids Should Read Before Leaving High School

to-kill-a-mockingbird-book-cover1

Last year, a Slate essay called “Against YA” by Ruth Gra­ham irked thou­sands of read­ers who took offense at her argu­ment that although grown-ups “bran­dish their copies of teen nov­els with pride…. [a]dults should feel embar­rassed about read­ing lit­er­a­ture writ­ten for chil­dren.” Whether we label her arti­cle an instance of sham­ing, trolling, or just the expres­sion of a not-espe­cial­ly con­se­quen­tial, “fud­dy-dud­dy opin­ion,” what it also served to highlight—as so many oth­er thought­ful and not-so-thought­ful online essays have done—is the huge sales num­bers of so-called YA, a lit­er­ary boom that shows no signs of slow­ing. Young adult fic­tion, along with children’s books in gen­er­al, saw dou­ble dig­it growth in 2014, a phe­nom­e­non in part dri­ven by those sup­pos­ed­ly self-infan­tiliz­ing adults Gra­ham faults.

The grown-ups read­ing teen books do so, Gra­ham writes, because “today’s YA, we are con­stant­ly remind­ed, is world­ly and adult-wor­thy.” Maybe, maybe not, but there is anoth­er ques­tion to ask here as well, whol­ly apart from whether the age 30–44 cohort who account for 28 per­cent of YA sales “should” be buy­ing and read­ing YA books. And that ques­tion is: should young adults read Young Adult fic­tion? And what counts as Young Adult fic­tion any­way? A 2012 NPR list of the “100 Best-Ever Teen Nov­els” includes the expect­ed Har­ry Pot­ter and Hunger Games series (at num­bers one and two, respec­tive­ly), as well as more “lit­er­ary,” but still obvi­ous, choic­es like John Green’s The Fault in Our Stars and S.E. Hinton’s clas­sic The Out­siders.

It also includes Dou­glas Adams’ The Hitchhiker’s Guide to the Galaxy series, William Golding’s Lord of the Flies, Frank Herbert’s Dune, Ursu­la K. Le Guin’s Earth­sea series, and Ray Bradbury’s Fahren­heit 451. It what sense do all of these very dif­fer­ent kinds of books—some very com­plex and chal­leng­ing, some very much less so—qualify as “teen nov­els”? Per­haps some of the fuzzi­ness about qual­i­ty and appro­pri­ate­ness comes from the fact that many “Top-what­ev­er” lists like NPR’s are com­piled by read­ers, of all ages. And enjoy­ment, not edi­fi­ca­tion, usu­al­ly tops a gen­er­al read­er­ship’s list of cri­te­ri­on for “top”-ness. How­ev­er, what would such a list look like if strict­ly com­piled by edu­ca­tors?

You can find out in anoth­er top 100 list: the 100 Fic­tion Books All Chil­dren Should Read Before Leav­ing Sec­ondary School – Accord­ing to 500 Eng­lish Teach­ers (cre­at­ed at the request of Britain’s Nation­al Asso­ci­a­tion for the Teach­ing of Eng­lish and TES mag­a­zine). There’s a good bit of crossover with the read­er-cho­sen NPR list; the Har­ry Pot­ter books come in at sixth place. Both lists fea­ture clas­sics like Harp­er Lee’s To Kill a Mock­ing­bird. But the teacher-cho­sen list also includes more “adult” writ­ers like Jane Austen, Thomas Hardy, and Toni Mor­ri­son. One teacher quot­ed in an Express arti­cle describes his own cri­te­ria: “It’s always a bal­anc­ing act in the books that teach­ers select. Do you go for some­thing that stu­dents will enjoy and lap up and read, or do you go for some­thing that will help them cut their teeth?”

There seems to be a good bal­ance of both here. You can see the first ten titles below, with links to free online ver­sions where avail­able. The com­plete list of 100 books for teenagers is here.

1 Nine­teen Eighty-Four, by George Orwell (Ama­zon)

2 To Kill A Mock­ing­bird, by Harp­er Lee (free eBook)

3 Ani­mal Farm, by George Orwell (free eBook)

4 Lord Of The Flies, by William Gold­ing (Ama­zon)

5 Of Mice And Men, by John Stein­beck (Ama­zon)

6 The Har­ry Pot­ter series, by J K Rowl­ing (Ama­zon)

7 A Christ­mas Car­ol, by Charles Dick­ens (free eBook)

8 The Catch­er In The Rye, by J D Salinger (Ama­zon)

9 Great Expec­ta­tions, by Charles Dick­ens (free eBook)

10 Pride And Prej­u­dice, by Jane Austen (free eBook)

Relat­ed Con­tent:

Down­load 20 Pop­u­lar High School Books Avail­able as Free eBooks & Audio Books

The Best Books of 2012: Lists by The New York Times, NPR, The Guardian and More

74 Essen­tial Books for Your Per­son­al Library: A List Curat­ed by Female Cre­atives

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

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