After a Tour of Slavoj Žižek’s Pad, You’ll Never See Interior Design in the Same Way

How to react to celebri­ty aca­d­e­m­ic Slavoj Žižek? You could see him as a wild-eyed vision­ary and grow infat­u­at­ed with his pow­er­ful-sound­ing ideas about pow­er, vio­lence, cin­e­ma, psy­cho­analy­sis, and per­ver­sion. Or you could see him as a Pied Piper for delu­sion­al grad­u­ate stu­dents and grow enraged at his per­pet­u­a­tion of fash­ion­able non­sense. But you’d do best, I would argue, to take him sim­ply as a source of enter­tain­ment. How could you do oth­er­wise, watch­ing the above clip from Astra Tay­lor’s doc­u­men­tary Žižek! (pre­vi­ous­ly fea­tured on Open Cul­ture here)? In these three min­utes, the sweat­ing Sub­lime Object of Ide­ol­o­gy author gives us a tour of his pad, spend­ing much time and excite­ment on his kitchen repur­posed as a clos­et: clothes and sheets in the cup­boards, socks in the draw­ers. “I am a nar­cis­sist. I keep every­thing,” he pro­nounces, hav­ing moved onto the shelves and shelves of his own work, from the pam­phlets of his “dis­si­dent days” to his lat­est books in Japan­ese trans­la­tion.

But it’s his poster of Josef Stal­in that real­ly draws your atten­tion — just as Žižek meant it to. If he did­n’t, he would­n’t have hung it in his entry­way, mak­ing it the first sight every guest gets of his home. Here he describes it not as a procla­ma­tion of Stal­in­ism, exact­ly, but as — in line with every­thing else he does — a provo­ca­tion. “This is just for peo­ple who come to be shocked and hope­ful­ly to get out,” he explains. “My big wor­ry is not to be ignored, but to be accept­ed. Of course, it’s not that I’m sim­ply a Stal­in­ist. That would be crazy, taste­less, and so on. But obvi­ous­ly there is some­thing in it that it’s not sim­ply a joke. When I say the only change is that the left appro­pri­ates fas­cism and so on, it’s not a cheap joke. The point is to avoid the trap of stan­dard lib­er­al oppo­si­tions: free­dom ver­sus total­i­tar­i­an order, and so on, to reha­bil­i­tate notions of dis­ci­pline, col­lec­tive order, sub­or­di­na­tion, sac­ri­fice, all that. I don’t think this is inher­ent­ly fas­cist.”

via Bib­liok­lept

Relat­ed con­tent:

Žižek!: 2005 Doc­u­men­tary Reveals the “Aca­d­e­m­ic Rock Star” and “Mon­ster” of a Man

Exam­ined Life Drops Aca­d­e­m­ic Celebri­ties Into the Real World (2008)

Der­ri­da: A 2002 Doc­u­men­tary on the Abstract Philoso­pher and the Every­day Man

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Skeptic Michael Shermer Shows You How to Bend Spoons with Your Mind

Ever want to know how to bend spoons like Uri Geller? There are quite a few ways, appar­ent­ly. But accord­ing to Geller’s arch-neme­sis, skep­tic and magi­cian James Ran­di, “if Geller bends spoons with divine pow­ers, then he’s doing it the hard way.” In the video above, edi­tor-in-chief of Skep­tic mag­a­zine, Michael Sher­mer, shows us how to do it the easy way, and still make it look like mag­ic. While “psy­chics” like Geller have dined out on their sup­posed pow­ers for as long as there have been peo­ple will­ing to pick up the tab, skep­tics like Ran­di and Sher­mer have prob­a­bly been around as long, using log­ic and a healthy dose of dis­be­lief. Randi’s expo­sure of Geller on the John­ny Car­son show is the stuff of leg­end. For a less­er-known debunk­ing, check out the video below from Thames Tele­vi­sion. Geller, like so many self-pro­claimed psy­chics, can be per­sua­sive, but most phe­nom­e­na are bet­ter explained by sci­ence than by mag­i­cal think­ing.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

15,000+ Hours of Free Video & Audio Lectures from World-Class Universities

We took our col­lec­tion of 550 Free Online Cours­es from Great Uni­ver­si­ties and did a back-of-the-enve­lope esti­mate of the total num­ber of hours of free audio/video lec­tures it offers. A con­ser­v­a­tive esti­mate puts it north of 15,000 hours. Pret­ty stag­ger­ing, espe­cial­ly con­sid­er­ing that these lec­tures come from world-class insti­tu­tions like Stan­ford, MIT, Yale, UC Berke­ley, and Oxford. And, what’s more, they’re free. Yes, there is such a thing as a free lunch … and din­ner. Above, we’re fea­tur­ing the first lec­ture from Michael Sandel’s famous Har­vard course called Jus­tice: What’s the Right Thing to Do?. The remain­ing 549 Free Cours­es await you here.

And if you need a lit­tle late night snack too, then check out these oth­er col­lec­tions:

175 Free Online Cer­tifi­cate Cours­es & MOOCs from Great Uni­ver­si­ties

450 Free Audio Books: Down­load Great Books for Free

375 Free eBooks: Down­load to Kin­dle, iPad/iPhone & Nook

500 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc.

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Bertrand Russell and F.C. Copleston Debate the Existence of God, 1948

On Jan­u­ary 28, 1948 the British philoso­phers F.C. Cople­ston and Bertrand Rus­sell squared off on BBC radio for a debate on the exis­tence of God. Cople­ston was a Jesuit priest who believed in God. Rus­sell main­tained that while he was tech­ni­cal­ly agnos­tic on the exis­tence of the Judeo-Chris­t­ian God–just as he was tech­ni­cal­ly agnos­tic on the exis­tence of the Greek gods Zeus and Poseidon–he was for all intents and pur­pos­es an athe­ist.

The famous debate is divid­ed into two parts: meta­phys­i­cal and moral. In the meta­phys­i­cal part, which is pre­sent­ed here, Cople­ston espous­es what is known as the cos­mo­log­i­cal argu­ment for the exis­tence of God. Ele­ments of the cos­mo­log­i­cal argu­ment go back at least as far as Pla­to and Aris­to­tle, who held that the uni­verse required a “prime mover” out­side of itself. The ver­sion embraced by Cople­ston is derived from one of Thomas Aquinas’ five ways to prove the exis­tence of God. In his Sum­ma The­o­log­i­ca, Aquinas writes:

The third way is tak­en from pos­si­bil­i­ty and neces­si­ty and runs thus. We find in nature things that are pos­si­ble to be and not pos­si­ble to be, since they are found to be gen­er­at­ed and cor­rupt­ed. But it is impos­si­ble for these always to exist, for that which can not-be at some time is not. There­fore, if every­thing can not-be, then at one time there was noth­ing in exis­tence, because that which does not exist begins to exist only through some­thing already exist­ing. There­fore if at one time noth­ing was in exis­tence, it would have been impos­si­ble for any­thing to have begun to exist; and thus now noth­ing would be in existence–which is absurd. There­fore, not all beings are mere­ly pos­si­ble, but there must exist some­thing the exis­tence of which is nec­es­sary. But every nec­es­sary thing has its neces­si­ty caused by anoth­er, or not. Now it is impos­si­ble to go on to infin­i­ty in nec­es­sary things which have their neces­si­ty caused by anoth­er, as has already been proved in regard to effi­cient caus­es. There­fore, we can­not but admit the exis­tence of some being hav­ing of itself its own neces­si­ty, and not receiv­ing it from anoth­er, but rather caus­ing in oth­ers their neces­si­ty. This all men speak of as God.

Cople­ston adopts Got­tfried Wil­helm Leib­niz’s Prin­ci­ple of Suf­fi­cient Rea­son as a cor­ner­stone of his argu­ment. In his 1714 essay “The Prin­ci­ples of Nature and Grace, Based on Rea­son,” Leib­niz asserts that noth­ing can exist with­out a suf­fi­cient rea­son, includ­ing the Uni­verse. “This suf­fi­cient rea­son for the exis­tence of the Uni­verse can­not be found in the series of con­tin­gent things,” writes Leib­niz. “The suf­fi­cient rea­son, there­fore, which needs not fur­ther rea­son, must be out­side of this series of con­tin­gent things and is found in a sub­stance which…is a nec­es­sary being bear­ing the rea­son for its exis­tence with­in itself; oth­er­wise we should not yet have a suf­fi­cient rea­son with which to stop. This final rea­son for things is called God.”

Rus­sell takes excep­tion to Cople­ston’s use of Leib­niz’s con­cept of a nec­es­sary being. The term “nec­es­sary,” he argues, can only be applied to ana­lyt­ic propo­si­tions–propo­si­tions which are derived log­i­cal­ly and which would be self-con­tra­dic­to­ry to deny. An ana­lyt­ic propo­si­tion would fall under Leib­niz’s cat­e­go­ry of “truths of rea­son,” or a pri­ori truths. Yet Cople­ston admits his argu­ment is based on a pos­te­ri­ori grounds, or what Leib­niz called “truths of fact.” Rus­sell first poked holes in Leib­niz’s ver­sion of the cos­mo­log­i­cal argu­ment near­ly half a cen­tu­ry before his debate with Cople­ston. In A Crit­i­cal Expo­si­tion of the Phi­los­o­phy of Leib­niz, pub­lished in 1900, Rus­sell says of the cos­mo­log­i­cal argu­ment:

It has a for­mal vice, in that it starts from finite exis­tence as its datum, and admit­ting this to be con­tin­gent, it pro­ceeds to infer an exis­tent which is not con­tin­gent. But as the pre­miss is con­tin­gent, the con­clu­sion also must be con­tin­gent. This is only to be avoid­ed by point­ing out that the argu­ment is ana­lyt­ic, that it pro­ceeds from a com­plex propo­si­tion to one which is log­i­cal­ly pre­sup­posed in it, and that nec­es­sary truths may be involved in those that are con­tin­gent. But such a pro­ce­dure is not prop­er­ly a proof of the pre­sup­po­si­tion. If a judge­ment A pre­sup­pos­es anoth­er B, then, no doubt, if A is true, B is true. But it is impos­si­ble that there should be valid grounds for admit­ting A, which are not also grounds for admit­ting B. In Euclid, for exam­ple, if you admit the propo­si­tions, you must admit the axioms; but it would be absurd to give this as a rea­son for admit­ting the axioms.

Per­haps the most mem­o­rable moment of the debate on the cos­mo­log­i­cal argu­ment comes near the end, when Rus­sell crit­i­cizes Cople­ston’s asser­tion that because every­thing con­tained with­in the Uni­verse is con­tin­gent, the Uni­verse as a whole must also be con­tin­gent. “I can illus­trate what seems to me your fal­la­cy,” says Rus­sell. “Every man who exists has a moth­er, and it seems to me your argu­ment is that there­fore the human race must have a moth­er, but obvi­ous­ly the human race has­n’t a mother–that’s a dif­fer­ent log­i­cal sphere.” For Rus­sell it was enough to accept that the Uni­verse sim­ply exists. Or as David Hume points out in his Dia­logues Con­cern­ing Nat­ur­al Reli­gion, if there must be a nec­es­sar­i­ly exis­tent being, why can’t it be the Uni­verse as a whole?

The audio ver­sion of the debate above is abridged. To read a tran­script of the entire debate, click here to open the text in a new win­dow.

Relat­ed con­tent:

Face to Face with Bertrand Rus­sell: ‘Love is Wise, Hatred is Fool­ish’

Three Pas­sions of Bertrand Rus­sell (and a Col­lec­tion of Free Texts)

Watch Suddenly: Frank Sinatra Stars in a 1954 Noir Film

sinatra suddenly3

For Frank Sina­tra’s 100 birth­day today, we’re bring­ing back to the top a post from our archive that high­lights the 1954 noir film, “Sud­den­ly.” In this pub­lic domain flick, Sina­tra played the role of a psy­chopath. And he played the role con­vinc­ing­ly, get­ting some very fine reviews from The New York Times. Enjoy the film and our orig­i­nal post from 2012 below:

Tricky busi­ness, cast­ing a world-famous musi­cian in a movie’s star­ring role: it seems you must either craft the part to per­fect­ly match their per­sona, or to run per­fect­ly against it. Nico­las Roeg, that inim­itable employ­er of singers to his own semi-fath­omable cin­e­mat­ic ends, has rig­or­ous­ly explored this range of pos­si­bil­i­ties. David Bowie seemed the only pos­si­ble choice for the ter­mi­nal­ly lone­ly alien of The Man Who Fell to Earth, just as Art Gar­funkel seemed the last pos­si­ble choice for the psy­cho­sex­u­al tor­men­tor of Bad Tim­ing.

I per­son­al­ly regret that Roeg nev­er got to work with Frank Sina­tra, used to such strik­ing effect by John Franken­heimer in The Manchuri­an Can­di­date and Otto Pre­minger in The Man with the Gold­en Arm. To hold those pic­tures up against, say, the Rat Pack free-for-all of Ocean’s Eleven is to under­stand that cast­ing against per­sona, though on aver­age the riski­er option, pro­duces more fas­ci­nat­ing­ly con­tra­dic­to­ry per­for­mances. In the 1954 noir Sud­den­ly, avail­able free on Archive.org, you can watch an ear­ly exam­ple of this in Sina­tra’s career, when direc­tor Lewis Allen turns him into a psy­chopath bent on assas­si­nat­ing none oth­er than the Pres­i­dent of the Unit­ed States.

Giv­en the pro­jec­t’s unques­tioned B‑movie con­text, crit­ics regard­ed Sina­tra as hav­ing made a rea­son­ably rich meal of this vil­lain­ous part. “Mr. Sina­tra deserves a spe­cial chunk of praise,” wrote the New York Times’ Bosley Crowther. “In Sud­den­ly he proves a melo­dra­mat­ic tour de force.” Vari­ety also looked favor­ably upon him: “Thesp inserts plen­ty of men­ace into a psy­cho char­ac­ter, nev­er too heav­i­ly done, and gets good back­ing from his costar, Ster­ling Hay­den, as sher­iff, in a less showy role but just as author­i­ta­tive­ly han­dled.” Yes, you read that right: this movie pits Frank Sina­tra against Ster­ling Hay­den. Sina­tra and his crew of killers take over a small-town hill­top fam­i­ly home, the ide­al van­tage point from which to shoot the pass­ing Pres­i­dent. Then Hay­den, the town’s sher­iff, turns up to check things out. How will this clash of titan­ic per­son­al­i­ties resolve? Hit play and find out whether “the num­ber-one man in the nation,” as Sud­den­ly’s sen­sa­tion­al­is­tic poster puts it, falls vic­tim to this “kill-hun­gry hood­lum.”

You will find Sud­den­ly list­ed in our col­lec­tion of Free Noir Films and also our larg­er list 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

 

Harry Taylor Brings 150-Year-Old Craft of Tintype Photography into the Modern Day

Award-win­ning film­mak­er Matt Mor­ris appre­ci­ates craft, hard work and peo­ple who just show up for each oth­er.

His Emmy-nom­i­nat­ed film Pickin’ and Trim­min’ fol­lows the men who cut hair and play blue­grass music togeth­er at Drexel’s bar­ber­shop in North Car­oli­na. In Mr. Hap­py Man, an 88-year-old man talks about the hours he spends every morn­ing greet­ing Bermuda’s com­muters as they endure traf­fic.

The sub­ject of his most recent work came to him in a round-about way, but fea­tures the same care­ful, affec­tion­ate film­mak­ing of his oth­er films. Amer­i­can Tin­type chron­i­cles the process of pho­tog­ra­ph­er Har­ry Tay­lor, who dis­cov­ered a pas­sion for the Civ­il War-era “wet plate” pho­tog­ra­phy.

Tay­lor, based in Wilm­ing­ton, North Car­oli­na, spe­cial­izes in tin­types and ambrotypes. He makes them with the same big cam­eras and messy chem­i­cals used dur­ing the late 1800s. At that time, the process pro­duced a whole new lay­er of detail than ear­li­er tech­niques had done, and allowed for an infi­nite num­ber of prints to be made.

Time con­sum­ing, labo­ri­ous and unpre­dictable, the process requires the pho­tog­ra­ph­er to use a portable dark room when shoot­ing out­side of the stu­dio. Tin pho­to­graph­ic plates are coat­ed with col­lo­di­on emul­sion. (The tech­nique is also called col­lo­di­on process. There’s a nice tuto­r­i­al here.) The plate must be coat­ed, exposed and devel­oped with­in fif­teen min­utes, before the col­lo­di­on los­es its sen­si­tiv­i­ty. It’s an incon­ve­nient sys­tem, espe­cial­ly by today’s stan­dards, but it pleas­es Tay­lor immense­ly as it forces both him and his sub­jects to slow down. You can view some of Tay­lor’s images here.

Mor­ris allows Tay­lor to speak for him­self in the four-minute doc­u­men­tary, let­ting the cam­era linger on Taylor’s wood and met­al equip­ment, the dreami­ness of his images and on Taylor’s own obser­va­tions about how long-expo­sure pho­tog­ra­phy reveals more of the subject’s thoughts. Even the flaws are inter­est­ing.

Make a point to notice the music. Mor­ris approached com­pos­er Hanan Town­shend, known for the scores he com­posed for direc­tor Ter­rence Mal­ick. Mor­ris blogs about the process of record­ing Amer­i­can Tin­type’s sound­track at Marin County’s Sky­walk­er Sound—a fun lit­tle peek behind the scenes.

Kate Rix writes about dig­i­tal media and edu­ca­tion. Read more of her work at and thenifty.blogspot.com.

Great Big Ideas: Free Course Features Top Thinkers Tackling the World’s Most Important Ideas in 12 Lectures

Begun in 2011 by Big Think and the Jack Park­er Cor­po­ra­tion, The Float­ing Uni­ver­si­ty is an online edu­ca­tion­al ini­tia­tive that debuted at Har­vard, Yale, and Bard Col­lege. The pur­pose of The Float­ing Uni­ver­si­ty, accord­ing to its site, is to “democ­ra­tize access to the world’s best thinkers” by pro­vid­ing free, approx­i­mate­ly one hour-long cours­es on a wide range of top­ics, taught at a uni­ver­si­ty lev­el by experts and pro­fes­sors in the var­i­ous fields. The inau­gur­al course, the most favored at the three uni­ver­si­ties, is Great Big Ideas, and it more or less does what it says: tack­les some of the largest, most per­plex­ing ques­tions in digestible intro­duc­tions that also man­age to be rig­or­ous, infor­ma­tive, and thought-pro­vok­ing.

In the lec­ture above, for exam­ple, Har­vard cog­ni­tive psy­chol­o­gist and lin­guist Steven Pinker presents an “eSem­i­nar” in lin­guis­tics, address­ing dogged ques­tions in the field over whether or not humans have an innate, uni­ver­sal gram­mar (as Noam Chom­sky has famous­ly argued); why lan­guage is so fun­da­men­tal to our social rela­tion­ships; and how lan­guage evolved.

Pinker, who describes human lan­guage in broad terms as a “mir­a­cle” and a “win­dow into the human mind,” also gets into the spe­cif­ic sub­fields of lin­guis­tics, dis­cussing them in terms that any layper­son can under­stand with­out much dilut­ing the fas­ci­nat­ing philo­soph­i­cal and sci­en­tif­ic debates around what Dar­win called our “instinc­tive ten­den­cy to speak” to one anoth­er, from infan­cy onward, all over the world, in some 6000 dif­fer­ent lan­guages.

The Great Big Ideas (now added to our list of 1200 Free Online Cours­es) lec­ture series con­sists of twelve lec­tures total, includ­ing Pinker’s. The oth­er eleven are:

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

The Normandy Invasion Captured on 16 mm Kodachrome Film (1944)

The Nor­mandy Inva­sion, oth­er­wise known as “Oper­a­tion Over­lord,” was launched by the Allies on June 6, 1944. On that day — D‑Day — Amer­i­can, British and Cana­di­an troops land­ed on five sep­a­rate beach­heads in Nor­mandy, on the west­ern shores of France. By the end of August 1944, the Allies had lib­er­at­ed all of north­ern France and start­ed march­ing towards Nazi Ger­many.

At the time, the film­mak­er George Stevens (1904–1975) was a lieu­tenant colonel in the U.S. Army’s Sig­nal Corps. Dwight D. Eisen­how­er, tasked with plan­ning and car­ry­ing out the Allied inva­sion of Nor­mandy, want­ed film crews present at the inva­sion to pro­vide footage for a doc­u­men­tary film. Stevens took charge of the Spe­cial Motion Pic­tures Unit and gath­ered a group of cam­era­men and writ­ers dubbed the “Stevens Irreg­u­lars”. They used the stan­dard Army motion pic­ture stock, 35 mm black and white news­reel film. But they also brought along a hand-held cam­era and some 16 mm Kodachrome col­or film. Stevens shot sev­er­al hours’ worth of col­or footage from France, Bel­gium and Ger­many. The scenes from the lib­er­a­tion of Dachau con­cen­tra­tion camp are par­tic­u­lar­ly shock­ing and left their mark on the lives of the cam­era­men. In 1994, Stevens’ son used this film footage to assem­ble the doc­u­men­tary George Stevens: D‑Day to Berlin.

Bonus mate­r­i­al:

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

‘The Needle and the Damage Done’: Neil Young Plays on The Johnny Cash Show, 1971

Here’s a scene from a clas­sic episode of The John­ny Cash Show, with Neil Young singing a deeply per­son­al song that he had only recent­ly writ­ten.

“John­ny Cash on Cam­pus” was a spe­cial edi­tion that aired on Feb­ru­ary 17, 1971.  Cash and his crew vis­it­ed Van­der­bilt Uni­ver­si­ty in Nashville to talk with stu­dents. In the pro­gram, one of them rais­es the sub­ject of drugs in the music indus­try, and Cash speaks briefly about his own prob­lem with drugs before intro­duc­ing Young, who sings “The Nee­dle and the Dam­age Done” in front of an all-stu­dent audi­ence at the Ryman Audi­to­ri­um. Young then puts down his gui­tar and moves to a piano to play “Jour­ney Through the Past.”

It was a busy time for Young. While he was in Nashville to appear on the show he was per­suad­ed by a local record pro­duc­er to record his next album there. He began work almost imme­di­ate­ly on what would become his mas­ter­piece, Har­vest. On the night of the John­ny Cash Show Young invit­ed two oth­er guests that night, Lin­da Ron­stadt and James Tay­lor, to go back to the stu­dio with him after­ward. Togeth­er the three sang the back­ing vocals on “Heart of Gold” and “Old Man,” and Tay­lor played the dis­tinc­tive ban­jo gui­tar part on “Old Man.”

The Feb­ru­ary 17, 1971 episode of The John­ny Cash Show is also notable for being the first time Cash per­formed “Man in Black.” He got the idea for the song from his dis­cus­sions with the stu­dents at Van­der­bilt, and fin­ished writ­ing the lyrics on the day of the show. The song was so new he need­ed cue cards to sing the words.

Relat­ed con­tent:

Neil Young Busk­ing in Glas­gow, 1976: The Sto­ry Behind the Footage

Neil Young Reveals the New Killer Gad­get That Will Save Music

Google Revisits the Fall of the Iron Curtain in New Online Exhibition

I like to col­lect sounds while trav­el­ing. A few favorites that come to mind include the whine of scoot­ers buzzing down the streets of Paris, the calm female voice announc­ing the next stop on the Prague Metro and the clink clink of peo­ple chip­ping away chunks of the Berlin Wall.

That was 1990, just a few months after mil­lions of Germans—from both sides of the wall—succeeded in end­ing the East Ger­man regime through street protests.

The Google Cul­tur­al Insti­tute cap­tures this amaz­ing peri­od of recent his­to­ry with The Fall of the Iron Cur­tain, a new col­lec­tion of his­tor­i­cal doc­u­mentsvideos and pho­tos curat­ed by Niall Fer­gu­son, an emi­nent Har­vard his­to­ri­an.

The 1980s saw the Cold War come to an end with a wave of cit­i­zen protests that swept across Europe. Google’s col­lec­tion includes 13 exhibits that begin with Poland’s Sol­i­dar­i­ty Move­ment but then con­sid­ers the his­to­ry and sig­nif­i­cance of the Berlin Wall.

Google part­nered with major Ger­man and Pol­ish muse­ums to cre­ate the exhibits so the expe­ri­ence is rich with con­text, includ­ing inter­views with his­to­ri­ans and images from the pop­u­lar cul­ture of the time.

Fol­low the riv­et­ing events of Decem­ber 14, 1989 as Roman­ian cit­i­zens crowd­ed Maria Plaza in Timisoara call­ing for lead­ers Nico­lae and Ele­na Ceauces­cu to step down. By evening the crowd filled all of the roads off the plaza and the mil­i­tary opened fire, killing 62 peo­ple. The peri­od of the Ceauces­cu tri­al and exe­cu­tion is brought to life in anoth­er exhib­it with images and inter­views.

The exhibits con­clude with the rapid accel­er­a­tion of events that led to the fall of the Berlin Wall itself.

Each exhib­it is rich and com­plete with anec­dotes, includ­ing a diary of life dur­ing Ger­man reuni­fi­ca­tion.

Speak­ing of col­lect­ing sounds while trav­el­ing, check out the Pink Floyd’s live per­for­mance we brought you of The Wall in east­ern Berlin, a mere eight months after the Wall had come down.

Kate Rix writes about dig­i­tal media and edu­ca­tion. You can con­tact her and find more of her work at and thenifty.blogspot.com.

The Creators Project Presents the Future of Art and Design, Brought to You by Intel and Vice Magazine

The Cre­ators Project, a col­lab­o­ra­tion between Intel and Vice Mag­a­zine, pro­duces behind-the-scenes short films with con­tem­po­rary artists, musi­cians, and film­mak­ers. Call­ing itself “a glob­al cel­e­bra­tion of art and tech­nol­o­gy,” the three-year-old project offers per­haps the best way to keep up with incred­i­ble advances in visu­al and audio tech­nol­o­gy in the arts. The project also spon­sors new work (from, for exam­ple, visu­al artists Mick Rock and Bar­ney Clay and musi­cians J. Space­man and Karen O) and hosts glob­al events and meet-ups.

I per­son­al­ly check in with the project’s YouTube chan­nel on a semi-dai­ly basis, and I nev­er fail to find some­thing cap­ti­vat­ing, whether an intro­duc­tion to a new artist or new work from an old favorite (if you pre­fer Vimeo, they’ve got you cov­ered there too). Most recent­ly I’ve dis­cov­ered the aston­ish­ing work of a per­for­mance artist/photographer from Bei­jing, Li Wei, whose work involves Buster Keaton-style stunts—or, more pre­cise­ly, Kung Fu-film high-wire action—captured on cam­era in ver­ti­go-induc­ing images of impos­si­bil­i­ty. In the short film above, Li Wei walks us through his process and his phi­los­o­phy, which begins with the unset­tling notion, “We are all con­trolled by some­one else. Our thoughts and actions are con­trolled by unseen forces.” His work is a high-tech attempt to out­wit one of those forces for brief moments, ren­dered time­less by pho­tog­ra­phy and the mag­ic of Pho­to­shop.

In the video below, a for­mer aero­space engi­neer for NASA, James Pow­der­ly, now occu­pies strange ter­ri­to­ry between design and engi­neer­ing. Inspired by anoth­er cor­po­rate engi­neer­ing dropout, Pow­der­ley left aero­space engi­neer­ing for a res­i­den­cy at New York art and tech­nol­o­gy cen­ter Eye­beam to refine his visu­al aes­thet­ic, which he’s tak­en all over the world.

Final­ly, in the short video below, The Cre­ators Project vis­it­ed Min­Suk Cho, founder of futur­is­tic Seoul archi­tec­ture firm Mass Stud­ies. Cho describes the vision and pur­pose of Mass Stud­ies over a mind-blow­ing series of images of archi­tec­tur­al designs from worlds you’ve nev­er seen before but (if you’re like me) always hoped exist­ed some­where.

https://vimeo.com/44749711

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.


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