Alan Alda Uses Improv to Teach Scientists How to Communicate Their Ideas

Woe to the famous actor who dares to write a nov­el or start a band or design a line of cloth­ing. The pub­lic can be awful­ly snob­by about such extracur­ric­u­lar pur­suits. We reward our chil­dren for cul­ti­vat­ing a wide range of inter­ests, but heav­en for­fend a celebri­ty who wan­ders away from the accept­ed script.

Hacks! Poseurs! Wannabes!

There are excep­tions, of course. I don’t see too many peo­ple tak­ing pot­shots at Leonard Nimoy’s pas­sion for pho­tog­ra­phy, Ed Beg­ley Jr.’s com­mit­ment to the envi­ron­ment, or the Won­der Years’ Dan­i­ca McKel­lar’s devo­tion to math.

(Per­son­al­ly, I will brook no unkind words toward ani­mal lov­ing TV dad Dick Van Pat­ten, not after he fathered the only cat food the small mam­mal with whom I live a lie will deign to eat.)

If there’s a for­mu­la to be gleaned from these exam­ples, it’s like­ly a syn­the­sis of icon­ic role, num­ber of years spent on the pas­time of choice, and a rabid curios­i­ty of the sort that dri­ves ordi­nary mor­tals to become edu­ca­tors. Once a pub­lic fig­ure is in pos­ses­sion of that for­mu­la, the pub­lic he or she serves will grant a pass to pur­sue a side inter­est.

I’m not sure that sci­ence could be called a side inter­est of Alan Alda’s.

Not when he ranks host­ing Sci­en­tif­ic Amer­i­can Fron­tiers  as the pin­na­cle of his TV career.

He played physi­cist Richard Feyn­man onstage, and has writ­ten plays about Albert Ein­stein and Marie Curie. He’s one of the annu­al World Sci­ence Fes­ti­val’s MVPs. At this rate, his love of sci­ence seems des­tined to car­ry him from cra­dle to grave.

By now, he’s prob­a­bly met more sci­en­tists than M*A*S*H fans—enough to sug­gest a trou­bling gap between the sci­en­tif­ic  mes­sage and the man­ner in which it’s deliv­ered. To put it anoth­er way, if you think sci­ence is bor­ing, per­haps the trou­ble is with the sci­en­tist.

The solu­tion? Improv train­ing.

Uh oh. Is there a dan­ger this knife could cut both ways? Will some emi­nent biol­o­gist or astronomer be pil­lo­ried for play­ing freeze tag a bit too zest­ful­ly or join­ing a lev­el 1 team at the Annoy­ance or UCB East? Like, how dare Stephen Hawk­ing think he can make a machine?

It’s worth the risk (tech­ni­cal­ly, Alda espous­es Vio­la Spolin’s explorato­ry impro­vi­sa­tion form over the kind with a strict­ly comedic goal, but c’mon. I know a gate­way drug when I see one…)

His belief is that sci­en­tists who study improv are bet­ter equipped to com­mu­ni­cate the com­pli­cat­ed nature of their work to pub­lic offi­cials, the media, and for­mer the­ater majors such as myself. The lev­el of engage­ment, flex­i­bil­i­ty, and aware­ness that impro­vi­sa­tion requires of its prac­ti­tion­ers are also the stuff of good TED talks.

Watch the “before and after” pre­sen­ta­tions of par­tic­i­pants in his improv work­shop at the Alan Alda Cen­ter for Com­mu­ni­cat­ing Sci­ence at Stony Brook Uni­ver­si­ty, above. His the­sis holds water, it would seem. Improv hones the sens­es and helps one to clar­i­fy what is essen­tial in any scene. Even the solo scene where­in one explains wave par­ti­cle dual­i­ty or spe­cial­ized leaf forms to one’s fel­low adults.

I’ll bet those same improv-based skills could help a TV star to per­suade his stu­dents that he’s just as approach­able and sup­port­ive as any old teacher. (Maybe even more so, to judge by his han­dling of an invis­i­ble jar of jel­ly­fish that slips through one sci­en­tist’s fin­gers.)

Relat­ed Con­tent:

What Is a Flame?: The First Prize-Win­ner at Alan Alda’s Sci­ence Video Com­pe­ti­tion

Adam Sav­age (Host of Myth­Busters) Explains How Sim­ple Ideas Become Great Sci­en­tif­ic Dis­cov­er­ies

Charles & Ray Eames’ A Com­mu­ni­ca­tions Primer Explains the Key to Clear Com­mu­ni­ca­tion in the Mod­ern Age (1953)

Ayun Hal­l­i­day is an author and illus­tra­tor who teach­es improv to teenage girls. Fol­low her @AyunHalliday

The Prado Museum Creates the First Art Exhibition for the Visually Impaired, Using 3D Printing

prado1

Image cour­tesy of The Pra­do

Are you one of the mil­lions of sight­ed vis­i­tors who’ll vis­it a world class insti­tu­tion this year only to find your­self suf­fer­ing from muse­um fatigue a cou­ple of hours in? You know, that moment when all the paint­ings start to look alike, still lifes, cru­ci­fix­ions, and teenage noble­women swim­ming before your eyes?

If so, may we rec­om­mend clos­ing your eyes and lim­it­ing your­self to an in-depth study of a half dozen paint­ings? That’s the num­ber of works on dis­play in Hoy toca el Pra­do, Madrid’s Museo del Pra­do’s land­mark exhi­bi­tion aimed at peo­ple with visu­al dis­abil­i­ties.

The Lou­vre, New York’s Met­ro­pol­i­tan Muse­um of Art, and London’s Nation­al Gallery all have touch-friend­ly pro­gram­ming that allows blind vis­i­tors to expe­ri­ence sculp­tur­al works with their hands. The Prado’s ini­tia­tive is unique in that it applies 3D print­ing tech­niques to repro­duc­tions of painted—i.e. flat—work.

Cer­tain aspects of each paint­ing, includ­ing tex­tures, were select­ed for show­cas­ing in the 3D repro­duc­tions. A chem­i­cal process involv­ing ultra­vi­o­let light and spe­cial ink result­ed in a few mil­lime­ters of added vol­ume. The repro­duc­tions retained the orig­i­nals’ col­or, for visu­al­ly impaired vis­i­tors with the abil­i­ty to per­ceive it.

prado

Image cour­tesy of The Pra­do

Sight­ed patrons can try their hands at expe­ri­enc­ing such works as The Para­sol by Goya and Velazquez’s Vul­can’s Forge in a non-visu­al way by don­ning opaque glass­es. Texts are in braille. Audio­gu­ides are acces­si­ble to all.

Accord­ing to the original’s record in the museum’s cat­a­log, El Gre­co’s The Noble­man with His Hand on His Chest is notable for the “expres­sive gaze its sit­ter directs at the view­er.” The exhibit’s cura­tor report­ed that one of the first blind vis­i­tors to come through want­ed to know the subject’s eye col­or. He found that he could not con­fi­dent­ly respond with­out dou­ble check­ing.

classic-paintings-3D-visual-impaired-prado-museum-madrid-3

Image cour­tesy of ABC News

Oth­er paint­ings in the col­lec­tion include: Leonar­do da Vin­ci’s  â€śMona Lisa;” â€śDon’t touch me” (Noli me tan­gere) by Anto­nio da Cor­reg­gio; and â€śStill life with Arti­chokes, Flow­ers and Glass Ves­sels” by Juan Van Der Hamen. See an online gallery of the exhib­it, which will be up through June, here.

via The New York Times

Relat­ed Con­tent:

Art Lovers Rejoice! New Goya and Rem­brandt Data­bas­es Now Online

100 Met­ro­pol­i­tan Muse­um Cura­tors Talk About 100 Works of Art That Changed How They See the World

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

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

A Final Wish: Terminally Ill Patients Visit Rembrandt’s Paintings in the Rijksmuseum One Last Time

ambulance 2 On Mon­day, the Dutch vol­un­teer orga­ni­za­tion called Sticht­ing Ambu­lance Wens Ned­er­land (rough­ly trans­lat­ed as Ambu­lance Wish Foun­da­tion Nether­lands) took three ter­mi­nal­ly ill patients to see The Late Rem­brandt Exhi­bi­tion cur­rent­ly being held at the Rijksmu­se­um in Ams­ter­dam. The exhib­it fea­tures over 100 paint­ings, draw­ings and prints that Rem­brandt pro­duced dur­ing the final phase of his life. And the patients, near­ing the end of their lives, want­ed to see the exhib­it and expe­ri­ence the artistry of the great Dutch painter one last time.

ambulance 1

Staffed by 200 med­ical­ly-trained vol­un­teers, the orga­ni­za­tion has ful­filled thou­sands of wish­es since its cre­ation in 2007, and they did­n’t dis­ap­point this time. As visu­al­ly doc­u­ment­ed on its Twit­ter account, the non­prof­it took the guests to the exhib­it, each in an ambu­lance. The muse­um-goers were then treat­ed to a one-hour pri­vate tour of the col­lec­tion. Some poignant pic­tures cap­ture the bit­ter­sweet moment.

ambulance 4

via Laugh­ing Squid

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Relat­ed Con­tent:

The Rijksmu­se­um Puts 125,000 Dutch Mas­ter­pieces Online, and Lets You Remix Its Art

Rembrandt’s Face­book Time­line

16th-Cen­tu­ry Ams­ter­dam Stun­ning­ly Visu­al­ized with 3D Ani­ma­tion

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Andrei Tarkovsky’s Message to Young People: “Learn to Be Alone,” Enjoy Solitude

I remem­ber the first time I sat down and watched Andrei Tarkovsky’s lyri­cal, mean­der­ing sci-fi epic Stalk­er. It was a long time ago, before the advent of smart­phones and tablets. I watched a beat-up VHS copy on a non-“smart” TV, and had no abil­i­ty to pause every few min­utes and swing by Face­book, Twit­ter, or Insta­gram for some instant dis­trac­tion and dig­i­tal small talk. The almost three-hour film—with its long, lan­guid takes and end­less stretch­es of silence—is a med­i­ta­tive exer­cise, a test in patience that at times seems like its own reward.

I recall at the time think­ing about how didac­tic Tarkovsky’s work is, in the best pos­si­ble sense of the word. It teach­es its view­ers to watch, lis­ten, and wait. It’s a course best tak­en alone, like the jour­ney into the film’s mys­te­ri­ous “Zone,” since the pres­ence of anoth­er, like­ly per­plexed, view­er might break the qui­et spell the movie casts. But while watch­ing a Tarkovsky film—whether Stalk­er, Andrei Rublev, Solaris, or any of his oth­er pen­sive cre­ations (watch them online here)—may be a soli­tary activ­i­ty, it need not at all be a lone­ly one.

The dis­tinc­tion between healthy soli­tude and lone­li­ness is one Tarkovsky is par­tic­u­lar­ly inter­est­ed in. It’s a cin­e­mat­ic theme he pur­sues, and a ped­a­gog­i­cal one as well. In the video above from The Cri­te­ri­on Col­lec­tion, Tarkovsky offers some thought­ful insights that can only seem all the more rel­e­vant to today’s always-on, mul­ti-screen cul­ture. Unfor­tu­nate­ly, the sub­ti­tles trans­late his words selec­tive­ly, but Maria Popo­va at Brain Pick­ings has a full trans­la­tion of the filmmaker’s answer to the ques­tion “What would you like to tell young peo­ple?” Like some ancient Pan dis­pens­ing time­less wis­dom, Tarkovsky reclines in an old, gnarled tree—on what may very well be one of his wild, wood­ed film sets—and says,

I don’t know… I think I’d like to say only that they should learn to be alone and try to spend as much time as pos­si­ble by them­selves. I think one of the faults of young peo­ple today is that they try to come togeth­er around events that are noisy, almost aggres­sive at times. This desire to be togeth­er in order to not feel alone is an unfor­tu­nate symp­tom, in my opin­ion. Every per­son needs to learn from child­hood how to spend time with one­self. That doesn’t mean he should be lone­ly, but that he shouldn’t grow bored with him­self because peo­ple who grow bored in their own com­pa­ny seem to me in dan­ger, from a self-esteem point of view.

Though I speak as one who grew up in an ana­logue world free from social media—the only world Tarkovsky ever knew—I don’t think it’s just the cranky old man in me who finds this advice com­pelling­ly sound. As a recent Tom Tomor­row car­toon satir­i­cal­ly illus­trat­ed, our rapid-fire, pres­sure-cook­er pub­lic dis­course may grant us instant access to information—or misinformation—but it also encour­ages, nay urges, us to form hasty opin­ions, ignore nuance and sub­tleties, and par­tic­i­pate in group­think rather than digest­ing things slow­ly and com­ing to our own con­clu­sions. It’s an envi­ron­ment par­tic­u­lar­ly hos­tile to medi­ums like poet­ry, or the kinds of poet­ic films Tarkovsky made, which teach us the val­ue of judg­ment with­held, and immerse us in the kinds of aes­thet­ic expe­ri­ences the inter­net and tele­vi­sion, with their non­stop chat­ter, push to the mar­gins.

Tarkovsky’s gen­er­al advice to young peo­ple can be paired with his chal­leng­ing advice to young film­mak­ers, and all artists, in par­tic­u­lar—advice that demands focused atten­tion, patience, and com­mit­ment to indi­vid­ual pas­sion and vision.

via The Cri­te­ri­on Col­lec­tion/Props to Brain Pick­ings for the trans­la­tion.

Relat­ed Con­tent:

Tarkovsky Films Now Free Online

Tarkovsky’s Advice to Young Film­mak­ers: Sac­ri­fice Your­self for Cin­e­ma

A Poet in Cin­e­ma: Andrei Tarkovsky Reveals the Director’s Deep Thoughts on Film­mak­ing and Life

Andrei Tarkovsky Cre­ates a List of His 10 Favorite Films (1972)

Andrei Tarkovsky’s Very First Films: Three Stu­dent Films, 1956–1960

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

Leonard Nimoy Recites Famous Soliloquy from Hamlet in Yiddish: “To Be or Not To Be”

Leonard Nimoy’s death yeste­day at the age of 83 is an enor­mous loss to fans across the world who loved and respect­ed the actor. Nimoy may have nev­er tran­scend­ed his Star Trek char­ac­ter Spock, though he tried, but he seemed to have made his peace with that, sign­ing his many wise tweets in the last few months of his life with the acronym “LLAP,” or “live long and pros­per,” the Vul­can farewell. The actor and his most famous char­ac­ter were very famil­iar to even non-fans of the show; Spock has come to rep­re­sent an arche­type of the dis­pas­sion­ate and ratio­nal, and Nimoy even­tu­al­ly immersed him­self in the Star Trek uni­verse, pen­ning Star Trek nov­els and con­tin­u­ing to star in the franchise’s many films (and in good natured car ads with his replace­ment). He was an ambas­sador for sci­ence fic­tion, and an ambas­sador for sci­ence fact, as a major donor to NASA and nar­ra­tor of sev­er­al films about astron­o­my.

Nimoy also had sev­er­al oth­er non- Trek endeav­ors of note, includ­ing his work as a pho­tog­ra­ph­er and nar­ra­tor of audio­books about, for exam­ple, whales. And while Spock fans watched the actor inhab­it the half-Vul­can, half-human character’s exis­ten­tial strug­gles with his iden­ti­ty, Nimoy the actor had his own dis­tinc­tive back­ground as the son of Ukrain­ian Jew­ish immi­grants. His par­ents escaped the town of Zaslav in what was then Sovi­et Rus­sia and emi­grat­ed to Boston’s West End, a neigh­bor­hood rough­ly 60 per­cent Ital­ian and 25–30 per­cent Jew­ish. It was a place—Nimoy says in the engag­ing 10 minute excerpt above from an inter­view with Christa Whitney—where the Ital­ians spoke Yid­dish and the Jews spoke Ital­ian (Nimoy speaks some Yid­dish, some famous lines from Ham­let!, above).

Nimoy remem­bers his per­son­al his­to­ry, his par­ents’ bemuse­ment with Spock, and his own iden­ti­fi­ca­tion with the famous char­ac­ter: “Spock is an alien wher­ev­er he is,” says Nimoy, “not total­ly at home in the Vul­can cul­ture… not total­ly at home in the human cul­ture. And that alien­ation is some­thing that I had learned in Boston… so I under­stood that aspect of the char­ac­ter.” The inter­view was taped in Octo­ber of 2013 as part of the Yid­dish Book Center’s Wexler Oral His­to­ry Project. As we grieve the loss of Nimoy-as-Spock, it’s a fit­ting way to get to know much more about the man him­self. Hear much more of Nimoy’s Yid­dish and much more about his life in the full, two-hour inter­view below. You can find basic Yid­dish lessons in our col­lec­tion, Learn 45+ Lan­guages Online for Free: Span­ish, Chi­nese, Eng­lish & More.

Relat­ed Con­tent:

Leonard Nimoy Reads Ray Brad­bury Sto­ries From The Mar­t­ian Chron­i­cles & The Illus­trat­ed Man (1975–76)

Leonard Nimoy Nar­rates Short Film About NASA’s Dawn: A Voy­age to the Ori­gins of the Solar Sys­tem

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

hst

Image by Steve Ander­son, via Wiki­me­dia Com­mons

At first blush, Hunter S. Thomp­son might be the last per­son you would want to ask for advice. After all, his dai­ly rou­tine involved copi­ous amounts of cocaine, LSD and Chivas Regal. He once raked a neighbor’s house with gun­fire. And he once almost acci­den­tal­ly blew up John­ny Depp. Yet beneath his gonzo per­sona lay a man who thought deeply and often about the mean­ing of it all. He was some­one who spent a life­time star­ing into the abyss.

So in 1958, before he became a counter-cul­ture icon, before he even start­ed writ­ing pro­fes­sion­al­ly, Thomp­son wrote a long let­ter about some of the big ques­tions in life to his friend, Hume Logan, who was in the throes of an exis­ten­tial cri­sis.

While the first cou­ple of para­graphs warns against the dan­gers of seek­ing advice, Hunter then expounds at length on some deep, and sur­pris­ing­ly lev­el-head­ed truths. Below are a few pearls of wis­dom:

  • Whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this!
  • You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.)
  • To put our faith in tan­gi­ble goals would seem to be, at best, unwise. We do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.
  • Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.
  • Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

The let­ter was pub­lished in the 2013 book, Let­ters of Note. You can read it in its entire­ty below.

April 22, 1958
57 Per­ry Street
New York City

Dear Hume,

You ask advice: ah, what a very human and very dan­ger­ous thing to do! For to give advice to a man who asks what to do with his life implies some­thing very close to ego­ma­nia. To pre­sume to point a man to the right and ulti­mate goal— to point with a trem­bling fin­ger in the RIGHT direc­tion is some­thing only a fool would take upon him­self.

I am not a fool, but I respect your sin­cer­i­ty in ask­ing my advice. I ask you though, in lis­ten­ing to what I say, to remem­ber that all advice can only be a prod­uct of the man who gives it. What is truth to one may be dis­as­ter to anoth­er. I do not see life through your eyes, nor you through mine. If I were to attempt to give you spe­cif­ic advice, it would be too much like the blind lead­ing the blind.

“To be, or not to be: that is the ques­tion: Whether ’tis nobler in the mind to suf­fer the slings and arrows of out­ra­geous for­tune, or to take arms against a sea of trou­bles … ” (Shake­speare)

And indeed, that IS the ques­tion: whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this! Think of any deci­sion you’ve ever made which had a bear­ing on your future: I may be wrong, but I don’t see how it could have been any­thing but a choice how­ev­er indi­rect— between the two things I’ve men­tioned: the float­ing or the swim­ming.

But why not float if you have no goal? That is anoth­er ques­tion. It is unques­tion­ably bet­ter to enjoy the float­ing than to swim in uncer­tain­ty. So how does a man find a goal? Not a cas­tle in the stars, but a real and tan­gi­ble thing. How can a man be sure he’s not after the “big rock can­dy moun­tain,” the entic­ing sug­ar-can­dy goal that has lit­tle taste and no sub­stance?

The answer— and, in a sense, the tragedy of life— is that we seek to under­stand the goal and not the man. We set up a goal which demands of us cer­tain things: and we do these things. We adjust to the demands of a con­cept which CANNOT be valid. When you were young, let us say that you want­ed to be a fire­man. I feel rea­son­ably safe in say­ing that you no longer want to be a fire­man. Why? Because your per­spec­tive has changed. It’s not the fire­man who has changed, but you. Every man is the sum total of his reac­tions to expe­ri­ence. As your expe­ri­ences dif­fer and mul­ti­ply, you become a dif­fer­ent man, and hence your per­spec­tive changes. This goes on and on. Every reac­tion is a learn­ing process; every sig­nif­i­cant expe­ri­ence alters your per­spec­tive.

So it would seem fool­ish, would it not, to adjust our lives to the demands of a goal we see from a dif­fer­ent angle every day? How could we ever hope to accom­plish any­thing oth­er than gal­lop­ing neu­ro­sis?

The answer, then, must not deal with goals at all, or not with tan­gi­ble goals, any­way. It would take reams of paper to devel­op this sub­ject to ful­fill­ment. God only knows how many books have been writ­ten on “the mean­ing of man” and that sort of thing, and god only knows how many peo­ple have pon­dered the sub­ject. (I use the term “god only knows” pure­ly as an expres­sion.) There’s very lit­tle sense in my try­ing to give it up to you in the prover­bial nut­shell, because I’m the first to admit my absolute lack of qual­i­fi­ca­tions for reduc­ing the mean­ing of life to one or two para­graphs.

I’m going to steer clear of the word “exis­ten­tial­ism,” but you might keep it in mind as a key of sorts. You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.) But back to the answer. As I said, to put our faith in tan­gi­ble goals would seem to be, at best, unwise. So we do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.

But don’t mis­un­der­stand me. I don’t mean that we can’t BE fire­men, bankers, or doc­tors— but that we must make the goal con­form to the indi­vid­ual, rather than make the indi­vid­ual con­form to the goal. In every man, hered­i­ty and envi­ron­ment have com­bined to pro­duce a crea­ture of cer­tain abil­i­ties and desires— includ­ing a deeply ingrained need to func­tion in such a way that his life will be MEANINGFUL. A man has to BE some­thing; he has to mat­ter.

As I see it then, the for­mu­la runs some­thing like this: a man must choose a path which will let his ABILITIES func­tion at max­i­mum effi­cien­cy toward the grat­i­fi­ca­tion of his DESIRES. In doing this, he is ful­fill­ing a need (giv­ing him­self iden­ti­ty by func­tion­ing in a set pat­tern toward a set goal), he avoids frus­trat­ing his poten­tial (choos­ing a path which puts no lim­it on his self-devel­op­ment), and he avoids the ter­ror of see­ing his goal wilt or lose its charm as he draws clos­er to it (rather than bend­ing him­self to meet the demands of that which he seeks, he has bent his goal to con­form to his own abil­i­ties and desires).

In short, he has not ded­i­cat­ed his life to reach­ing a pre-defined goal, but he has rather cho­sen a way of life he KNOWS he will enjoy. The goal is absolute­ly sec­ondary: it is the func­tion­ing toward the goal which is impor­tant. And it seems almost ridicu­lous to say that a man MUST func­tion in a pat­tern of his own choos­ing; for to let anoth­er man define your own goals is to give up one of the most mean­ing­ful aspects of life— the defin­i­tive act of will which makes a man an indi­vid­ual.

Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.

Nat­u­ral­ly, it isn’t as easy as it sounds. You’ve lived a rel­a­tive­ly nar­row life, a ver­ti­cal rather than a hor­i­zon­tal exis­tence. So it isn’t any too dif­fi­cult to under­stand why you seem to feel the way you do. But a man who pro­cras­ti­nates in his CHOOSING will inevitably have his choice made for him by cir­cum­stance.

So if you now num­ber your­self among the dis­en­chant­ed, then you have no choice but to accept things as they are, or to seri­ous­ly seek some­thing else. But beware of look­ing for goals: look for a way of life. Decide how you want to live and then see what you can do to make a liv­ing WITHIN that way of life. But you say, “I don’t know where to look; I don’t know what to look for.”

And there’s the crux. Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

If I don’t call this to a halt, I’m going to find myself writ­ing a book. I hope it’s not as con­fus­ing as it looks at first glance. Keep in mind, of course, that this is MY WAY of look­ing at things. I hap­pen to think that it’s pret­ty gen­er­al­ly applic­a­ble, but you may not. Each of us has to cre­ate our own cre­do— this mere­ly hap­pens to be mine.

If any part of it doesn’t seem to make sense, by all means call it to my atten­tion. I’m not try­ing to send you out “on the road” in search of Val­hal­la, but mere­ly point­ing out that it is not nec­es­sary to accept the choic­es hand­ed down to you by life as you know it. There is more to it than that— no one HAS to do some­thing he doesn’t want to do for the rest of his life. But then again, if that’s what you wind up doing, by all means con­vince your­self that you HAD to do it. You’ll have lots of com­pa­ny.

And that’s it for now. Until I hear from you again, I remain,

your friend,
Hunter

Relat­ed Con­tent:

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

Hunter S. Thomp­son Inter­views Kei­th Richards

John­ny Depp Reads Let­ters from Hunter S. Thomp­son

Hunter S. Thomp­son Gets Con­front­ed by The Hell’s Angels

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Charles Mingus’ Instructions For Toilet Training Your Cat, Read by The Wire’s Reg E. Cathey

Hav­ing just begun rewatch­ing sea­son 3 of the always-rel­e­vant The Wire—the sea­son to first intro­duce Reg E. Cathey’s super-smooth char­ac­ter, may­oral aide Nor­man Wil­son—I was delight­ed to find an episode of Stu­dio 360 that fea­tures the actor read­ing a text by jazz great Charles Min­gus. Even more delight­ful is the sub­ject of his text: instruc­tions for toi­let train­ing your cat. I can­not tes­ti­fy to their effi­ca­cy; it seems like a labor-inten­sive process, and my own cats seem pret­ty con­tent with their lit­ter­box. But if any­one could accom­plish such a feat, it was Min­gus, a man who once ripped the strings from a piano with his bare hands (so it’s said in the doc­u­men­tary 1959: The Year that Changed Jazz), and who won a Gram­my for an essay defin­ing jazz, writ­ten just a few years after he helped rede­fine it.

Min­gus may have had a noto­ri­ous­ly short tem­per, but as a com­pos­er, he was infi­nite­ly patient. Appar­ent­ly this also goes for his role as a cat train­er. He spent weeks teach­ing his cat, Nightlife, to use human facil­i­ties, and detailed the process in a pam­phlet, The Charles Min­gus CAT-alogue for Toi­let Train­ing Your Cat, avail­able for cat fanciers and Min­gus fans by mail order.

Hear Cathey read the instruc­tions in part in the video at the top and in full in the audio above. Stu­dio 360 describes this odd doc­u­ment as “full of charm­ing advice and metic­u­lous ped­a­gog­i­cal detail.” It is indeed that. In four con­cise steps, Min­gus lays out the pro­gram, sim­ple as can be—or so he makes it seem.

Min­gus writes, “It took me about three or four weeks to toi­let train my cat, Nightlife.” He also admits that aspir­ing train­ers may need to mod­i­fy the pro­gram some­what, “in case your cat is not as smart as Nightlife was.” One can imag­ine less gift­ed cats strug­gling with this unusu­al method. One can also imag­ine more ornery, less coop­er­a­tive breeds sim­ply refus­ing to play along. Like Min­gus him­self, cats have a well-deserved rep­u­ta­tion for doing their own thing. Should you be intre­pid enough to attempt the Min­gus method with your own feline com­pan­ion, all I can say to you is what Min­gus says at the end of his instructions—Good Luck.

Relat­ed Con­tent:

Charles Min­gus Explains in His Gram­my-Win­ning Essay “What is a Jazz Com­pos­er?”

Charles Min­gus and His Evic­tion From His New York City Loft, Cap­tured in Mov­ing 1968 Film

Clas­sic Charles Min­gus Per­for­mance on Bel­gian Tele­vi­sion, 1964

1959: The Year that Changed Jazz

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

Oliver Sacks Contemplates Mortality (and His Terminal Cancer Diagnosis) in a Thoughtful, Poignant Letter

oliver sacks letter

Image by Lui­gi Novi. Licensed under CC BY 3.0 via Wiki­me­dia Com­mons

Mak­ing the rounds today on the Inter­net is a poignant let­ter from Oliv­er Sacks, announc­ing that he has ter­mi­nal can­cer. An NYU pro­fes­sor of neu­rol­o­gy who has pub­lished sev­er­al best­selling books (includ­ing one that became the basis for the 1990 film, Awak­en­ings, star­ring Robin Williams and Robert De Niro) Sacks first devel­oped ocu­lar melanoma nine years ago, and it appar­ent­ly, sad­ly, metas­ta­sized to the liv­er.

Per­haps mor­tal­i­ty is some­thing you think about fair­ly often; or maybe you haven’t reached that point in life yet. Either way, I’d rec­om­mend giv­ing his let­ter a read, and then maybe tuck­ing it away. Because when — as is inevitable — you find your­self fac­ing mor­tal­i­ty head on, Sacks’ thoughts and out­look may help guide you through. His let­ter con­cludes:

I can­not pre­tend I am with­out fear. But my pre­dom­i­nant feel­ing is one of grat­i­tude. I have loved and been loved; I have been giv­en much and I have giv­en some­thing in return; I have read and trav­eled and thought and writ­ten. I have had an inter­course with the world, the spe­cial inter­course of writ­ers and read­ers.

Above all, I have been a sen­tient being, a think­ing ani­mal, on this beau­ti­ful plan­et, and that in itself has been an enor­mous priv­i­lege and adven­ture.

Read Oliv­er Sacks’ let­ter in full here.

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Relat­ed Con­tent:

Death, a Free Open Course from Yale (found on our list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties)

This is What Oliv­er Sacks Learned on LSD and Amphet­a­mines

Aldous Huxley’s Most Beau­ti­ful, LSD-Assist­ed Death: A Let­ter from His Wid­ow

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Open Culture was founded by Dan Colman.