How to Spot Bullshit: A Primer by Princeton Philosopher Harry Frankfurt

We live in an age of truthi­ness. Come­di­an Stephen Col­bert coined the word to describe the Bush administration’s ten­den­cy to fudge the facts in its favor.

Ten years after the Amer­i­can Dialect Soci­ety named it Word of the Year, for­mer pres­i­dent Bush’s cal­en­dar is packed with such leisure activ­i­ties as golf and paint­ing por­traits of world lead­ers, but “truthi­ness” remains on active duty.

It’s par­tic­u­lar­ly ger­mane in this elec­tion year, though politi­cians are far from its only prac­ti­tion­ers.

Take glob­al warm­ing. NASA makes a pret­ty rock sol­id case for both its exis­tence and our role in it:

97 per­cent or more of active­ly pub­lish­ing cli­mate sci­en­tists agree: Cli­mate-warm­ing trends over the past cen­tu­ry are extreme­ly like­ly due to human activ­i­ties. In addi­tion, most of the lead­ing sci­en­tif­ic orga­ni­za­tions world­wide have issued pub­lic state­ments endors­ing this posi­tion.

In view of such num­bers, its under­stand­able that a sub­ur­ban Joe with a freez­er full of fac­to­ry-farmed beef and mul­ti­ple SUVs in his garage would cling to the posi­tion that glob­al warm­ing is a lie. It’s his last resort, real­ly.

But such self-ratio­nal­iza­tions are not truth. They are truthi­ness.

Or to use the old-fash­ioned word favored by philoso­pher Har­ry Frank­furt, above: bull­shit!

Frank­furt–a philoso­pher at Prince­ton and the author of On Bull­shitallows that bull­shit artists are often charm­ing, or at their very least, col­or­ful. They have to be. Achiev­ing their ends involves engag­ing oth­ers long enough to per­suade them that they know what they’re talk­ing about, when in fact, that’s the oppo­site of the truth.

Speak­ing of oppo­sites, Frank­furt main­tains that bull­shit is a dif­fer­ent beast from an out-and-out lie. The liar makes a spe­cif­ic attempt to con­ceal the truth by swap­ping it out for a lie.

The bull­shit artist’s approach is far more vague. It’s about cre­at­ing a gen­er­al impres­sion.

There are times when I admit to wel­com­ing this sort of manure. As a mak­er of low bud­get the­ater, your hon­est opin­ion of any show I have Lit­tle Red Hen’ed into exis­tence is the last thing I want to hear upon emerg­ing from the cramped dress­ing room, unless you tru­ly loved it.

I’d also encour­age you to choose your words care­ful­ly when dash­ing a child’s dreams.

But when it comes to mat­ters of pub­lic pol­i­cy, and the pub­lic good, yes, trans­paren­cy is best.

It’s inter­est­ing to me that film­mak­ers James Nee and Chris­t­ian Brit­ten trans­formed a por­tion of their learned subject’s thoughts into voiceover nar­ra­tion for a light­ning fast stock footage mon­tage. It’s divert­ing and fun­ny, fea­tur­ing such omi­nous char­ac­ters as Nos­fer­atu, Bill Clin­ton, Char­lie Chaplin’s Great Dic­ta­tor, and Don­ald Trump, but isn’t it also the sort of mis­di­rec­tion sleight of hand at which true bull­shit­ters excel?

Frank­furt expands upon his thoughts on bull­shit in his apt­ly titled best­selling book, On Bull­shit and its fol­lowup On Truth.

Relat­ed Con­tent:

Noam Chom­sky Schools 9/11 Truther; Explains the Sci­ence of Mak­ing Cred­i­ble Claims

Young T.S. Eliot Writes “The Tri­umph of Bullsh*t” and Gives the Eng­lish Lan­guage a New Exple­tive (1910)

Stephen Col­bert Explains How The Col­bert Report Is Made in a New Pod­cast

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

The British Library’s “Sounds” Archive Presents 80,000 Free Audio Recordings: World & Classical Music, Interviews, Nature Sounds & More

Online archives, gal­leries, and libraries offer Vegas-sized buf­fets for the sens­es (well two of them, any­way). All the art and pho­tog­ra­phy your eyes can take in, all the music and spo­ken word record­ings your ears can han­dle. But per­haps you’re still miss­ing some­thing? “Geordies bang­ing spoons” maybe? Or “Tawang lamas blow­ing conch shell trum­pets… Ton­gan tribes­men play­ing nose flutes…,” the sound of “the Assamese wood­worm feast­ing on a win­dow frame in the dead of night”?

No wor­ries, the British Library’s got you cov­ered and then some. In 2009, it “made its vast archive of world and tra­di­tion­al music avail­able to every­one, free of charge, on the inter­net,” amount­ing to rough­ly 28,000 record­ings and, The Guardian esti­mates “about 2,000 hours of singing, speak­ing, yelling, chant­i­ng, blow­ing, bang­ing, tin­kling and many oth­er verbs asso­ci­at­ed with what is a unique­ly rich sound archive.”

But that’s not all, oh no! The com­plete archive, titled sim­ply and author­i­ta­tive­ly “Sounds,” also hous­es record­ings of accents and dialects, envi­ron­ment and nature, pop music, “sound maps,” oral his­to­ry, clas­si­cal music, sound record­ing his­to­ry, and arts, lit­er­a­ture, and per­for­mance (such as J.R.R. Tolkien’s short dis­course on “Wire­less,” ani­mat­ed in the video below).

The 80,000 record­ings avail­able to stream online rep­re­sent just a selec­tion of the British Library’s “exten­sive col­lec­tions of unique sound record­ings,” but what a selec­tion it is. In the short video at the top of the post, The Wire Mag­a­zine takes us on a mini-tour of the phys­i­cal archive’s metic­u­lous dig­i­ti­za­tion meth­ods. As with all such wide-rang­ing col­lec­tions, it’s dif­fi­cult to know where to begin.

One might browse the range of unusu­al folk sounds on aur­al dis­play in the World & Tra­di­tion­al music sec­tion, cov­er­ing every con­ti­nent and a daunt­ing meta­cat­e­go­ry called “World­wide.” For a more spe­cif­ic entry point, Elec­tron­ic Beats rec­om­mends a col­lec­tion of “around 8,000 Afropop tracks” from Guinea, record­ed on “the state-sup­port­ed Syli­phone label” and “released between 1958 and 1984.”

Edison Disc Phonograph

Oth­er high­lights include “Between Two Worlds: Poet­ry & Trans­la­tion,” an ongo­ing project begun in 2008 that fea­tures read­ings and inter­views with “poets who are bilin­gual or have Eng­lish as a sec­ond lan­guage, or who oth­er­wise reflect the project’s theme of dual cul­tures.” Or you may enjoy the exten­sive col­lec­tion of clas­si­cal music record­ings, includ­ing “Hugh Davies exper­i­men­tal music,” or the “Oral His­to­ry of Jazz in Britain.”

The cat­e­go­ry called “Sound Maps” orga­nizes a diver­si­ty of recordings—including region­al accents, inter­views with Holo­caust sur­vivors, wildlife sounds, and Ugan­dan folk music—by ref­er­ence to their loca­tions on Google maps.

Not all of the mate­r­i­al in “Sounds” is sound-based. Record­ing and audio geeks and his­to­ri­ans will appre­ci­ate the large col­lec­tion of “Play­back & Record­ing Equip­ment” pho­tographs (such as the 1912 Edi­son Disc Phono­graph, above ), span­ning the years 1877 to 1992. Also, many of the recordings—such as the won­der­ful first ver­sion of “Dirty Old Town” by Alan Lomax and the Ram­blers, with Ewan Mac­Coll and Peg­gy Seeger (below)—feature album cov­ers, front and back, as well as disc labels.

The record­ings in the Archive are unfor­tu­nate­ly not down­load­able (unless you are a licensed mem­ber of a UK HE/FE insti­tu­tion), but you can stream them all online and share any of them on your favorite social media plat­form. Per­haps the British Library will extend down­load priv­i­leges to all users in the future. For now, brows­ing through the sheer vol­ume and vari­ety of sounds in the archive should be enough to keep you busy.

Relat­ed Con­tent:

The Alan Lomax Sound Archive Now Online: Fea­tures 17,000 Blues & Folk Record­ings

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

1,000 Record­ings to Hear Before You Die: Stream a Huge Playlist of Songs Based on the Best­selling Book

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

How to Make Sure You Get Open Culture in Your Facebook Newsfeed: Now You Can Take Control

For the longest time, Face­book gave you no abil­i­ty to con­trol what con­tent you see in your Face­book news­feed. Some 378,000 peo­ple have “liked” our Face­book page. But only a frac­tion actu­al­ly see Open Cul­ture posts in their news­feed. That’s because a Face­book algo­rithm start­ed mak­ing the deci­sions for you, show­ing you mate­r­i­al from some people/publishers, and not oth­ers.

Now, Face­book has final­ly intro­duced a new fea­ture that will let you con­trol what you see. Please check out the instruc­tions below. When you’re done read­ing them, con­sid­er giv­ing us a Like on Face­book, and then set your news­feed accord­ing­ly. (You get bonus points if you Fol­low us on Twit­ter too!)

  • If you’re using a mobile phone, open the Face­book app, click the “More” icon along the bot­tom of the app, then scroll down and click “News­feed pref­er­ences,” then click “Pri­or­i­tize who to see first,” and make your picks. (You can select more than one item.)
  • If you’re using Face­book on a com­put­er, click on the down­ward fac­ing arrow on the top nav bar, then click “News­feed pref­er­ences,” locate one of the peo­ple or pub­lish­ers you fol­low, and change the set­ting from “Fol­low­ing” to “See First.”

Hope all of that makes sense.

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The Visionary Thought of Marshall McLuhan, Introduced and Demystified by Tom Wolfe

Mar­shall McLuhan and Tom Wolfe: both writ­ers, both astute observers of mod­ern human­i­ty, and both pub­lic fig­ures whose work has, over the years, enjoyed high fash­ion­abil­i­ty and endured high unfash­ion­abil­i­ty. You might think the con­nec­tion between them ends there. But when the 100th anniver­sary of McLuhan’s birth and the cen­ten­ni­al-cel­e­brat­ing site Mar­shall McLuhan Speaks came about, whose elo­quent intro­duc­tion to the thinker (who famous­ly declared the world a “glob­al vil­lage” where “the medi­um is the mes­sage”) got used there? Why, the man in white’s.

In the 20-minute video above, Wolfe lays out not just a pré­cis of the insights that made McLuhan “the first seer of cyber­space,” but gets into his biog­ra­phy as well: his humbly respectable ori­gins in Edmon­ton, his back­ground as a lit­er­ary schol­ar, his con­ver­sion to Catholi­cism, the begin­nings of his teach­ing career in Cam­bridge and Wis­con­sin, his “extracur­ric­u­lar gath­er­ings devot­ed to the folk­lore of indus­tri­al man,” his strug­gle to rec­on­cile his inter­est in the writ­ings of philoso­pher-pale­on­tol­o­gist Pierre Teil­hard de Chardin with his own reli­gious con­vic­tions, and the con­sid­er­able fame he accrued mak­ing pro­nounce­ments on the media in the media.

“No doubt the inter­net would have delight­ed him,” says Wolfe. “He would have seen it as a ful­fill­ment of prophe­cies he had made thir­ty years before it was born, as an instru­ment for the real­iza­tion of his dream of the mys­ti­cal uni­ty of all mankind. [Watch him pre­dict the world would be knit­ted into a glob­al vil­lage by dig­i­tal tech­nol­o­gy in some vin­tage video.] Here, in a spe­cif­ic, phys­i­cal, elec­tron­ic form, was the seam­less web of which he had so often spo­ken. Today thou­sands of young inter­net apos­tles are famil­iar with Mar­shall McLuhan, and are con­vinced his light shines round about them. From the edi­tors of Wired mag­a­zine to the most mis­er­able dot-com lizards of the chat room, they have made him their patron saint.”

To get an even deep­er sense of how much Wolfe has thought about McLuhan, have a look at his first annu­al Mar­shall McLuhan Lec­ture, deliv­ered at Ford­ham Uni­ver­si­ty in 1999. And unlike many intel­lec­tu­als who only turned back to re-exam­ine McLuhan after the age of the inter­net had retroac­tive­ly val­i­dat­ed even some of his wildest-sound­ing spec­u­la­tions, Wolfe has been tuned in to McLuhan’s fre­quen­cy since way back. In 1970, the two even got togeth­er for a tele­vised chat in McLuhan’s back yard (a clip of which you can watch just above), which revealed that, for all the fas­ci­na­tion Wolfe had with McLuhan, the inter­est was mutu­al.

Relat­ed Con­tent:

Has Tech­nol­o­gy Changed Us?: BBC Ani­ma­tions Answer the Ques­tion with the Help of Mar­shall McLuhan

McLuhan Said “The Medi­um Is The Mes­sage”; Two Pieces Of Media Decode the Famous Phrase

Mar­shall McLuhan: The World is a Glob­al Vil­lage

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The New Yorker Presents: Watch the 30 Minute Pilot of the New Docu-Series from The New Yorker

Note: Any­one with an Ama­zon account (at least in the US) can watch this pilot in HD for free here.

This week, The New York­er offi­cial­ly cel­e­brates its 90th anniver­sary with an expand­ed edi­tion that revis­its its many accom­plish­ments since it first print­ed copies on Feb­ru­ary 21, 1925. Led by David Rem­nick, only the mag­a­zine’s fifth edi­tor, The New York­er has a rich past. But it has a future to con­sid­er too. Recent­ly, the mag­a­zine launched the pilot of The New York­er Presents — a “docu-series” that brings The New York­er aes­thet­ic to film. The 30-minute pilot (above, and also free on Ama­zon here) “fea­tures a doc from Oscar win­ner Jonathan Demme based on Rachel Aviv’s arti­cle ‘A Very Valu­able Rep­u­ta­tion,’ writer Ariel Levy inter­view­ing artist Mari­na Abramovic, a sketch from Simon Rich and Alan Cum­ming, poet­ry read by Andrew Garfield, and car­toons by Emi­ly Flake.”

If you like what you see, you’re in luck. The show, pro­duced by Ama­zon Stu­dios, has been green­lit for a full sea­son. Accord­ing to Real Screen, the new episodes will debut exclu­sive­ly on Ama­zon Prime’s video-on-demand ser­vice in the U.S., UK and Ger­many lat­er this year. When the episodes are out, we’ll let you know.

Fol­low us on Face­book, Twit­ter and Google Plus and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

David Carr Gives 10 Pieces of Work & Life Advice to UC Berkeley Graduates

David Carr took sev­en years to get through col­lege. He did­n’t have a Mas­ter’s degree or a PhD. Before he made it big writ­ing for The New York Times, he spent time in rehab and on wel­fare. David Carr did­n’t fit the pro­file of your aver­age com­mence­ment speak­er.

And yet Carr, who died in the Times news­room on Thurs­day nightearned his spot speak­ing before the 2014 grad­u­at­ing class at UC Berke­ley’s Grad­u­ate School of Jour­nal­ism. Known for his insight­ful report­ing on changes in pub­lish­ing, tele­vi­sion and social media, Carr under­stood the world these young jour­nal­ists were enter­ing. And when he offered 10 pieces of grad­u­a­tion advice, you know the stu­dents took note. You should too:

1.) Some­one who is under­es­ti­mat­ed will be the one who changes the world. It’s not the per­son every­one expects. It might be you.

2.) “Do what is front of you.” Focus on the small steps ahead of you.

3.) Don’t wor­ry about achiev­ing a mas­ter plan, about the plot to take over the world.

4.) Be a work­er among work­ers. It’s more impor­tant that you fit in before you stick out.

5.) Fol­low the “Mom Rule.” Don’t do any­thing you couldn’t explain or jus­ti­fy to your mom.

6.) Don’t just do what you’re good at. Get out­side of your com­fort zone. Being a jour­nal­ist is per­mis­sion for life­time learn­ing.

7.) Be present. Don’t wor­ry about doc­u­ment­ing the moment with your smart­phone. Expe­ri­ence it your­self.

8.) Take respon­si­bil­i­ty for the good and the bad. Learn to own your fail­ures.

9.) Be hon­est, and be will­ing to have the dif­fi­cult con­ver­sa­tion.

10.) Don’t be afraid to be ambi­tious. It’s not a crime.

He says it’s a lis­ti­cle that won’t appear on Buz­zfeed. But it fits per­fect­ly on OC. David, we’re so sor­ry to see you go.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Michael Pol­lan Presents an Edi­ble Edu­ca­tion, A Free Online Course From UC Berke­ley

“Wear Sun­screen”: The Sto­ry Behind the Com­mence­ment Speech That Kurt Von­negut Nev­er Gave

David Fos­ter Wallace’s 2005 Com­mence­ment Speech “This is Water” Visu­al­ized in Short Film

NPR Launch­es Data­base of Best Com­mence­ment Speech­es Ever

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Posters Promoting the 1970s L.A. Punk Scene: Black Flag, The Plimsouls, The Runaways & More

blackflag4

Fred Pat­ter­son, aka Phast Phred­die, Senior Archivist of the ARChive of Con­tem­po­rary Music, DJ, music jour­nal­ist and for­mer punk rock zinester has unde­ni­able street cred.

He also has a hand­ful of fly­ers doc­u­ment­ing the late ‘70s LA punk scene.

Talk about ephemera!

Man, psy­che­del­ic con­cert posters of the peri­od were suit­able for fram­ing, and the util­i­tar­i­an box­ing style win­dow cards’ cool quo­tient ensured their longevi­ty. Ama­teur whip outs (such as those Pat­ter­son man­aged to pre­serve) rarely sur­vived beyond a sea­son or two on a fan’s fridge door.

runaways1

His rag­tag col­lec­tion is what self-pro­mo­tion looked like in the predig­i­tal age. The Plim­souls, the Run­aways, and Black Flag except­ing, few of these bands achieved the sort of sta­tus that would have allowed them to move away from the realm of the murky pho­to­copy.

The ama­teur­ish aes­thet­ic of these home­made efforts was anchored with a spiky humor that went nice­ly with the out­ra­geous band names. Sketchy loca­tions were her­ald­ed as the sorts of places where the pop­u­lar teen set gath­ered. Word bub­bles abound­ed.

plimsouls79

Cut and paste col­lage, Letraset, and scratchy hand let­ter­ing were the hall­mark of neces­si­ty. Nowa­days, these obso­lete ele­ments are co-opt­ed for their implied authen­tic­i­ty, even if the final prod­uct is like­ly assem­bled in Pho­to­shop.

See more of Phast Preddie’s col­lec­tion here.

Relat­ed Con­tent:

The Art of Punk, MOCA’s Series of Punk Doc­u­men­taries, Begins with Black Flag

CBGB’s: The Roots of Punk Lets You Watch Vin­tage Footage from the Hey­day of NYC’s Great Music Scene

Four Female Punk Bands That Changed Women’s Role in Rock

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

Martin Scorsese’s New Documentary on The New York Review of Books Airs Tonight on HBO

A quick note: Tonight, HBO will air the pre­miere of The 50 Year Argu­ment. That’s Mar­tin Scors­ese’s new doc­u­men­tary about the influ­en­tial lit­er­ary and aca­d­e­m­ic jour­nal, The New York Review of Books.

Writes The New York Times: “Robert Sil­vers has assigned thou­sands of pieces for The New York Review of Books, so why not a doc­u­men­tary film? “The 50 Year Argu­ment” … orig­i­nat­ed along the same lines as one of the lengthy, learned arti­cles in The Review: Mr. Sil­vers sought out a tal­ent­ed essay­ist, in this case Mar­tin Scors­ese, and asked him to explore a sub­ject — the magazine’s 50-year his­to­ry — that he was pas­sion­ate about but not expert in.” The result is a “tex­tured and smart but thor­ough­ly cel­e­bra­to­ry, a paean to the mag­a­zine and the amaz­ing­ly durable Mr. Sil­vers, now 84.”

Regret­tably, the film isn’t avail­able online. But you can watch the trail­er above and then a long Q&A about the film. Record­ed in Berlin ear­li­er this year, the Q&A fea­tures Scors­ese on the stage, along with David Tedeschi (his co-direc­tor), NYRB edi­tor Robert Sil­vers, pub­lish­er Rea Hed­er­man, and con­trib­u­tor Michael Green­berg.

We have many oth­er heady doc­u­men­taries (where else?) on our list of 200 Free Doc­u­men­taries Online.

Relat­ed Con­tent:

Mar­tin Scors­ese Reveals His 12 Favorite Movies

Longform’s New, Free App Lets You Read Great Jour­nal­ism from Your Favorite Pub­lish­ers (includ­ing The New York Review of Books)

Revis­it Mar­tin Scorsese’s Hand-Drawn Sto­ry­boards for Taxi Dri­ver

Mar­tin Scorsese’s Very First Films: Three Imag­i­na­tive Short Works

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