Right now, you can find 1,520 TED Talks compiled into a neat online spreadsheet. That’s a lot of TED Talks. And the most popular one (in case you’re wondering) was delivered by Sir Ken Robinson in 2006. If you regularly visit our site, then chances are you’re among the 20 million people who have viewed Robinson’s talk on why Schools Kill Creativity. There’s also a good chance that you’ll want to watch his newly-released TED Talk, How to Escape Education’s Death Valley. Filmed just last month, this talk takes aim at America’s test-centric educational system, a system that increasingly treats education as an industrial process and bleeds creativity and curiosity out of our classrooms. You get that problem when you put technocrats and politicians, not teachers, in charge of things. And you’re only going to get more of it (sorry to say) as computer scientists start putting their stamp on America’s educational future.
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Youssef Biaz, reciting here, was 16 years old when he was named Poetry Out Loud National Champion. Biaz won a $20,000 award and $500 worth of poetry books for his high school in Auburn, Alabama. He went on to recite poetry at the White House along with Rita Dove, Common, and Billy Collins. His favorite poet, Sharon Olds, just won the Pulitzer Prize for Poetry.
This past weekend, kids across the country packed their bags and headed to Washington, DC, to recite poetry in the eighth consecutive year of the national competition, Poetry Out Loud. The recitation competition, presented by the Poetry Foundation and the National Endowment for the Arts, brings fifty-three American high school students to the nation’s capital to compete for the title of 2013 Poetry Out Loud National Champion. It will culminate tonight in an evening of recitation competition at 7pm EDT.
If you can’t make it to DC for the free event this year, which features host Anna Deavere Smith and singer-cellist Ben Sollee, view the live webcast of Poetry Out Loud, or host a viewing party and bid a celebratory adieu to National Poetry Month.
Kristin Gecan is the media associate at the Poetry Foundation, which is the publisher of Poetry magazine and an independent literary organization committed to a vigorous presence for poetry in our culture. The site also features an archive of more than 10,000 poems. Follow the Poetry Foundation on Twitter, Tumblr, Facebook, or Pinterest.
How’s that New Year’s resolution going? You know, the one where you promised to make better use of your free time and learn new things? If you’re off track, fear not. It’s only April. It’s not too late to make good on your promise. And we can help. Below, we’ll tell you how to fill your Kindle, iPad, computer, smartphone, computer, etc. with free intelligent media — great ebooks and audio books, movies, courses, and the rest:
Free eBooks: You have always wanted to read the great works. And now is your chance. When you dive into our Free eBooks collection you will find 400 great works by some classic writers (Dickens, Dostoevsky, Shakespeare and Tolstoy) and contemporary writers (F. Scott Fitzgerald, Philip K. Dick, Isaac Asimov, and Kurt Vonnegut). The collection also gives you access to the 51-volume Harvard Classics.
If you’re an iPad/iPhone user, the download process is super easy. Just click the “iPad/iPhone” links and you’re good to go. Kindle and Nook users will generally want to click the “Kindle + Other Formats links” to download ebook files, but we’d suggest watching these instructional videos (Kindle –Nook) beforehand.
Free Audio Books: What better way to spend your free time than listening to some of the greatest books ever written? This page contains a vast number of free audio books, including works by Arthur Conan Doyle, James Joyce, Jane Austen, Edgar Allan Poe, George Orwell and more recent writers — Italo Calvino, Vladimir Nabokov, Raymond Carver, etc. You can download these classic books straight to your gagdets, then listen as you go.
[Note: If you’re looking for a contemporary book, you can download one free audio book from Audible.com. Find details on Audible’s no-strings-attached deal here.]
Free Online Courses: This list brings together over 700 free online courses from leading universities, including Stanford, Yale, MIT, UC Berkeley, Oxford and beyond. These full-fledged courses range across all disciplines – history, physics, philosophy, psychology and beyond. Most all of these courses are available in audio, and roughly 75% are available in video. You can’t receive credits or certificates for these courses (click here for courses that do offer certificates). But the amount of personal enrichment you will derive is immeasurable.
Free Movies: With a click of a mouse, or a tap of your touch screen, you will have access to 525 great movies. The collection hosts many classics, westerns, indies, documentaries, silent films and film noir favorites. It features work by some of our great directors (Alfred Hitchcock, Orson Welles, Andrei Tarkovsky, Stanley Kubrick, Jean-Luc Godard and David Lynch) and performances by cinema legends: John Wayne, Jack Nicholson, Audrey Hepburn, Charlie Chaplin, and beyond. On this one page, you will find thousands of hours of cinema bliss.
Free Language Lessons: Perhaps learning a new language is one of your resolutions. Well, here is a great way to do it. Take your pick of 40 languages — Spanish, French, Italian, Mandarin, English, Russian, Dutch, even Finnish, Yiddish and Esperanto. These lessons are all free and ready to download.
Free Textbooks: And one last item for the lifelong learners among you. We have scoured the web and pulled together a list of 150 Free Textbooks. It’s a great resource particularly if you’re looking to learn math, computer science or physics on your own. There might be a diamond in the rough here for you.
Just in time to celebrate Open Education Week, here comes a new initiative, the School of Open, a learning environment focused on increasing our understanding of “openness” and the benefits it brings to creativity and education in the digital age.
Developed by the collaborative education platform Peer to Peer University (P2PU) with organizational support from Creative Commons, the School of Open aims to spread understanding of the power of this brave new world through free online classes.
We hear about it all the time: Universal access to research, education and culture—all good things, without a doubt—made possible by things like open source software, open educational resources and the like.
But what are these various communities and what do they mean? How can we all learn more and get involved?
School of Open has rolled the conversation back to square one so that understanding the basics is easy. Through a list of new courses created by users and experts, people can learn more about what “openness” means and how to apply it. There are stand-alone courses on copyright, writing for Wikipedia, the collaborative environment of open science, and the process behind making open video.
These free courses start March 18 (sign up by clicking the “start course” button by Sunday, March 17):
The approach at P2PU encourages people to work together, assess one another’s work, and provide constructive feedback. It’s a great place to learn how to design your own course, because the design process is broken down step-by-step, and course content is vetted by users and P2PU staff. The tutorial shows you how the process works.
P2PU is also a place to learn more about what is open content and what is not. Participants in the ongoing course Open Detective learn to identify open source media and then demonstrate mastery by making something of their own using only open content. What if you’re really, really proud of the resource you create in Open Detective? Take it to the next level and get a Creative Commons license to make your work available without giving up full copyright. You guessed it, there’s a course for that too.
Open Education Week is in full swing (through Monday the 18th). There’s a full schedule of webinars to check out, including discussions about the implications of open access for political structures like the World Bank, and the impact of open, global teaching in Syria.
What advantage, I recently asked a trilingual writer, could you possibly find in using such an improvised, confusing, irregular patchwork of a language as English? She replied that this very improvisation, irregularity, and even confusion comes from the vast freedom of expression (and of invention of new expressions) that English offers over other European tongues. This goes even more so for American English, the variant with whose combination of carefully shaded nuances and smashing colloquialisms David Foster Wallace so dazzled his readers. Like many writers, Wallace also taught writing, but those of us not lucky enough to receive his direct instruction can still behold his teaching materials, archived online at the University of Texas at Austin’s Harry Ransom Center.
See, for instance, Wallace’s handout on five common usage mistakes, from his Fall 2002 section of English 183A at Pomona College (an advanced fiction writing class, taught last Spring by Jonathan Lethem). “The preposition towards is British usage; the US spelling is toward.” Fair enough. “And is a conjunction; so is so,” he continues. “Except in dialogue between particular kinds of characters, you never need both conjunctions.” Handy to know! Then, things get more technical: “For a compound sentence to require a comma plus a conjunction, both its constituent clauses must be independent.” As Wallace goes deeper, I feel even more sympathy for those who learn English as a second language, as I did when I read “Tense Present,” his Harper’s review of Bryan A. Garner’s A Dictionary of Modern American Usage. If the hardcore grammar talk tires you, feel free to peruse the Ransom Center’s other artifacts of Wallace’s time in the classroom—which we covered in a post last week—such as his syllabus for English 102: Literary Analysis, his guidelines for papers, and the marginalia in his copy of Carrie.
Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on literature, film, cities, Asia, and aesthetics. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall.
Today at 8 p.m. EST Google Art Project will launch a new series, Art Talks. Like Google’s other Hangouts on Air, Art Talks will convene some of the most influential people of our time.
Each month Art Talks will feature a conversation with curators, museum directors, historians, or educators from world-renowned cultural institutions, who “will reveal the hidden stories behind particular works, examine the curation process and provide insights into particular masterpieces or artists.”
For today’s talk Deborah Howes, director of digital learning at the Museum of Modern Art, will moderate a panel of artists and students for a discussion about how to teach art online. To post a question for the group, visit the Google event page.
The talk will be broadcast live at 8 p.m. EST. Afterwards it’ll be available on Google Art Project’s YouTube channel.
Later this month Caroline Campbell and Arnika Schmidt from the National Gallery will discuss depictions of the female nude. In April, a panel will examine the gigapexil project based on Bruegel’s “Tower of Babel.”
We all need guides for the overwhelming world of the Internet. Digital curators are essential to sifting through the vast and expanding supply of online content because they find the good stuff that’s worth checking out.
When Download the Universe launched a year ago, the digital world gained a smart and discerning curator for the growing number of science ebooks. What a boon for science lovers. Science lends itself uniquely to apps and ebook publishing. And doing what digital publishing does best, a good ebook can bring content to life like no paperback or hardcover can.
Take Harper Collins’ Fragile Earth ($2.99 on iTunes), which came out originally as a glossy coffee table book. Loaded with before and after photos of places on the planet scarred by deforestation and climate change, the book was visually stunning, if pedantic. But when released as an ebook, the whole experience unfolded like a beautiful, heartbreaking origami.
As Download the Universe’s review of the Fragile Earth ebook points out, the app version benefits from digital technology, laying before and after satellite images over one another, rather than side by side, making the experience of seeing them even more profound.
Here’s another one: Color Uncovered (free on iTunes), produced by San Francisco’s Exploratorium Museum, is a rich experience like a museum exhibit itself. Combining text with images and interactive features, the ebook explores how the eye perceives color. The reviewer, New York Times contributor Carl Zimmer, uses his review to discuss what the ebook experience shares with museum exhibits.
In the hands of Download the Universe, it appears that ebook publishing has matured into its own genre, with its own distinct advantages.
Sometimes ebook publishers don’t make good use of available features. This review of Blindsight by journalist Chris Colin notes that the book’s app version, telling the story of a television director who suffers a brain injury, should have included neurological background information in the main story, not as a separate feature.
Download the Universe only reviews ebooks in the digital universe, not spin-offs from traditional print books. They look at Kindle products, self-published pdf manuscripts and apps, and they’ve got top-notch talent reviewing this brave new world on our behalf. The editorial board includes some names you may well recognize, like Sean Carroll (Caltech physicist), Steve Silberman (Wired), Maggie Koerth-Baker (Boing Boing), Annalee Newitz (io9), and David Dobbs (NYTimes, Nat Geo, etc.).
According to Freud, neurotics never know what they want, and so never know when they’ve got it. So it is with the seeker after fluent cultural literacy, who must always play catch-up to an impossible ideal. William Grimes points this out in his New York Times review of Peter Boxall’s obnoxious 1001 Books You Must Read Before You Die, which “plays on every reader’s lingering sense of inadequacy. Page after page reveals a writer or a novel unread, and therefore a demerit on the great report card of one’s cultural life.” Then there are the less-ambitious periodical reminders of one’s literary insufficiency, such as The Telegraph’s “100 novels everyone should read,” The Guardian’s “The 100 greatest novels of all time: The list,” the Modern Library’s “Top 100,” and the occasional, pretentious Facebook quiz etc. based on the above.
Grimes’ reference to a report card is relevant, since what we’re discussing today is the instruction in grand themes and “great books” represented by W.H. Auden’s syllabus above for his English 135, “Fate and the Individual in European Literature.” Granted, this is not an intro lit class (although I imagine that his intro class may have been punishing as well), but a course for juniors, seniors, and graduate students. Taught during the 1941–42 school year when Auden was a professor at the University of Michigan, his syllabus required over 6,000 pages of reading in just a single semester (and for only two credits!). Find all of the books at the bottom of this post.
While a few days ago we posted a syllabus David Foster Wallace created around several seeming easy reads—mass market paperbacks and such—Auden asks his students to read in a semester the literary equivalent of what many undergraduate majors cover in all four years. Four Shakespeare plays and one Ben Jonson? That was my first college Shakespeare class. All of Moby Dick? I spent over half a semester with the whale in a Melville class. And then there’s all of Dante’s Divine Comedy, a text so dense with obscure fourteenth century Italian allusions that in some editions, footnotes can take up half a page. And that’s barely a quarter of the list, not to mention the opera libretti and recommended criticism.
Was Auden a sadistic teacher or so completely out of touch with his students that he asked of them the impossible? I do not know. But Professor Lisa Goldfarb of NYU, who is writing a series of essays on Auden, thinks the syllabus reflects as much on the poet’s own preoccupations as on his students’ needs. Goldfarb writes:
“What I find fascinating about the syllabus is how much it reflects Auden’s own overlapping interests in literature across genres — drama, lyric poetry, fiction — philosophy, and music.… He also includes so many of the figures he wrote about in his own prose and those to whom he refers in his poetry…
“By including such texts across disciplines — classical and modern literature, philosophy, music, anthropology, criticism — Auden seems to have aimed to educate his students deeply and broadly.”
Such a broad education seems out of reach for many people in a lifetime, much less a single semester. Now whether or not Auden actually expected students to read everything is another matter entirely. Part of being a serious student of literature also involves learning what to read, what to skim, and what to totally BS. Maybe another way to see this class is that since Auden knew these texts so well, his course gave students the chance to hear him lecture on his own journey through European literature, to hear a poet from a privileged class and bygone age when “reading English Literature at University” meant, well, reading all of it, and nearly everything else as well (usually in original languages).
If that’s the kind of erudition certain anxious readers aspire to, then they’re sunk. Increasingly few have the leisure, and the claims on our attention are too manifold. At one time in history being fully literate meant that one read both languages—Latin and Greek. Now it no longer even means mastering only “European literature,” but all the world’s cultural productions, an impossible task even for a reader like W.H. Auden. Who could retain it all? Instead of chasing vanishing cultural ideals, I console myself with a paraphrase from the dim memory of my last reading of Moby Dick: why read widely when you can read deeply?
Find all of the books on Auden’s syllabus listed below:
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