Bertrand Russell’s 10 Commandments for Living in a Healthy Democracy

russell rules 2

Image by J. F. Horra­bin, via Wiki­me­dia Com­mons

Bertrand Rus­sell saw the his­to­ry of civ­i­liza­tion as being shaped by an unfor­tu­nate oscil­la­tion between two oppos­ing evils: tyran­ny and anar­chy, each of which con­tains the seed of the oth­er. The best course for steer­ing clear of either one, Rus­sell main­tained, is lib­er­al­ism.

“The doc­trine of lib­er­al­ism is an attempt to escape from this end­less oscil­la­tion,” writes Rus­sell in A His­to­ry of West­ern Phi­los­o­phy. “The essence of lib­er­al­ism is an attempt to secure a social order not based on irra­tional dog­ma [a fea­ture of tyran­ny], and insur­ing sta­bil­i­ty [which anar­chy under­mines] with­out involv­ing more restraints than are nec­es­sary for the preser­va­tion of the com­mu­ni­ty.”

In 1951 Rus­sell pub­lished an arti­cle in The New York Times Mag­a­zine, “The Best Answer to Fanaticism–Liberalism,” with the sub­ti­tle: “Its calm search for truth, viewed as dan­ger­ous in many places, remains the hope of human­i­ty.” In the arti­cle, Rus­sell writes that “Lib­er­al­ism is not so much a creed as a dis­po­si­tion. It is, indeed, opposed to creeds.” He con­tin­ues:

But the lib­er­al atti­tude does not say that you should oppose author­i­ty. It says only that you should be free to oppose author­i­ty, which is quite a dif­fer­ent thing. The essence of the lib­er­al out­look in the intel­lec­tu­al sphere is a belief that unbi­ased dis­cus­sion is a use­ful thing and that men should be free to ques­tion any­thing if they can sup­port their ques­tion­ing by sol­id argu­ments. The oppo­site view, which is main­tained by those who can­not be called lib­er­als, is that the truth is already known, and that to ques­tion it is nec­es­sar­i­ly sub­ver­sive.

Rus­sell crit­i­cizes the rad­i­cal who would advo­cate change at any cost. Echo­ing the philoso­pher John Locke, who had a pro­found influ­ence on the authors of the Dec­la­ra­tion of Inde­pen­dence and the U.S. Con­sti­tu­tion, Rus­sell writes:

The teacher who urges doc­trines sub­ver­sive to exist­ing author­i­ty does not, if he is a lib­er­al, advo­cate the estab­lish­ment of a new author­i­ty even more tyran­ni­cal than the old. He advo­cates cer­tain lim­its to the exer­cise of author­i­ty, and he wish­es these lim­its to be observed not only when the author­i­ty would sup­port a creed with which he dis­agrees but also when it would sup­port one with which he is in com­plete agree­ment. I am, for my part, a believ­er in democ­ra­cy, but I do not like a regime which makes belief in democ­ra­cy com­pul­so­ry.

Rus­sell con­cludes the New York Times piece by offer­ing a “new deca­logue” with advice on how to live one’s life in the spir­it of lib­er­al­ism. “The Ten Com­mand­ments that, as a teacher, I should wish to pro­mul­gate, might be set forth as fol­lows,” he says:

1: Do not feel absolute­ly cer­tain of any­thing.

2: Do not think it worth­while to pro­duce belief by con­ceal­ing evi­dence, for the evi­dence is sure to come to light.

3: Nev­er try to dis­cour­age think­ing, for you are sure to suc­ceed.

4: When you meet with oppo­si­tion, even if it should be from your hus­band or your chil­dren, endeav­or to over­come it by argu­ment and not by author­i­ty, for a vic­to­ry depen­dent upon author­i­ty is unre­al and illu­so­ry.

5: Have no respect for the author­i­ty of oth­ers, for there are always con­trary author­i­ties to be found.

6: Do not use pow­er to sup­press opin­ions you think per­ni­cious, for if you do the opin­ions will sup­press you.

7: Do not fear to be eccen­tric in opin­ion, for every opin­ion now accept­ed was once eccen­tric.

8: Find more plea­sure in intel­li­gent dis­sent than in pas­sive agree­ment, for, if you val­ue intel­li­gence as you should, the for­mer implies a deep­er agree­ment than the lat­ter.

9: Be scrupu­lous­ly truth­ful, even when truth is incon­ve­nient, for it is more incon­ve­nient when you try to con­ceal it.

10. Do not feel envi­ous of the hap­pi­ness of those who live in a fool’s par­adise, for only a fool will think that it is hap­pi­ness.

Wise words then. Wise words now.

Note: An ear­li­er ver­sion of this post appeared on our site in March, 2013.

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Relat­ed Con­tent:

Bertrand Russell’s Advice to Peo­ple Liv­ing 1,000 Years in the Future: “Love is Wise, Hatred is Fool­ish”

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live and Learn More

Philoso­pher Bertrand Rus­sell Talks About the Time When His Grand­fa­ther Met Napoleon

Aldous Hux­ley Tells Mike Wal­lace What Will Destroy Democ­ra­cy: Over­pop­u­la­tion, Drugs & Insid­i­ous Tech­nol­o­gy (1958)

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Watch the Original Nosferatu, the Classic German Expressionist Vampire Film, Before the New Remake Arrives This December

F. W. Mur­nau’s Nos­fer­atu, far and away the most influ­en­tial ear­ly vam­pire movie, came out 102 years ago. For about ten of those years, Robert Eggers has been try­ing to remake it. He would­n’t be the first: Wern­er Her­zog cast Klaus Kin­s­ki as the blood-suck­ing aris­to­crat at the cen­ter of his own ver­sion in 1979, and, though not a remake, E. Elias Mer­hige’s Shad­ow of the Vam­pire, from 2000, brought fresh atten­tion to Mur­nau’s Nos­fer­atu by grotesque­ly fic­tion­al­iz­ing its pro­duc­tion. In the lat­ter pic­ture, Willem Dafoe plays Max Schreck, the actor who took on the orig­i­nal role of the Drac­u­la-inspired Count Orlok, as an actu­al vam­pire.

Dafoe changes sides in Eggers’ Nos­fer­atu, due out this Christ­mas (see trail­er below), by appear­ing as a vam­pire hunter. Play­ing Count Orlok is Bill Skars­gård, sure to be unrec­og­niz­able in full cos­tume and make­up. “This Orlok is more of a folk vam­pire than any oth­er film ver­sion,” says Eggers in a recent Van­i­ty Fair inter­view. “That means he’s a dead per­son. And he’s not like, ‘I look great and I’m dead.’ ” What’s more, “for the first time in a Drac­u­la or Nos­fer­atu sto­ry, this guy looks like a dead Tran­syl­van­ian noble­man. Every sin­gle thing he’s wear­ing down to the heels on his shoes is what he would’ve worn.” And lest any view­er with knowl­edge of ancient Roman­ian cul­ture accuse the film of blithe inac­cu­ra­cy, he also speaks a ver­sion of the extinct Dacian lan­guage.

This atten­tion to detail will come as no sur­prise to fans of Eggers, who’s made his name with the his­tor­i­cal films The Witch, The Light­house, and The North­man, all praised for their dis­tinc­tive folk­loric tex­tures. But with Nos­fer­atu, he pays direct homage to what’s pre­sum­ably one of the major influ­ences on his cin­e­mat­ic style. “The ver­sion that I watched as a kid didn’t have music,” he remem­bers. “It might not have had the same impact if it had had a cheesy organ score or synth score.” The video he watched was “a degrad­ed 16-mil­lime­ter print” that had “cer­tain frames where Max Schreck­’s eyes looked like cat eyes. It’s the ver­sion that gave rise to the leg­ends of Max Schreck actu­al­ly being a vam­pire.”

Grow­ing up in the rur­al New Hamp­shire of the nineties, Eggers’ inter­est in see­ing Nos­fer­atu meant that he “had to dri­ve to the town that was pop­u­lat­ed and had a video store to order it, and then it came in the mail a month and a half lat­er.” Today, we can watch it when­ev­er we like, free online, and if you hap­pen nev­er to have seen it, you should cer­tain­ly do so before catch­ing the new remake. If reac­tions to ear­ly screen­ings are any­thing to judge by, this new inter­pre­ta­tion of the mate­r­i­al more than stands on its own dead, accu­rate­ly heeled feet. But as Eggers sure­ly under­stands bet­ter than any­one, you can’t approach the dankly seduc­tive realm of Count Orlok with­out also being pulled back into cin­e­ma his­to­ry.

Relat­ed con­tent:

10 Great Ger­man Expres­sion­ist Films: Nos­fer­atu, The Cab­i­net of Dr. Cali­gari & More

What Is Ger­man Expres­sion­ism? A Crash Course on the Cin­e­mat­ic Tra­di­tion That Gave Us Metrop­o­lis, Nos­fer­atu & More

Time Out Lon­don Presents The 100 Best Hor­ror Films: Start by Watch­ing Four Hor­ror Clas­sics Free Online

Hor­ror Leg­end Christo­pher Lee Reads Bram Stoker’s Drac­u­la

101 Free Silent Films: The Great Clas­sics

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Behold the Oldest Written Text in the World: The Kish Tablet, Circa 3500 BC

Image by José-Manuel Ben­i­to, via Wiki­me­dia Com­mons

Some refer to the writ­ten Chi­nese lan­guage as ideo­graph­ic: that is, struc­tured accord­ing to a sys­tem in which each sym­bol rep­re­sents a par­tic­u­lar idea or con­cept, whether abstract or con­crete. That’s true of cer­tain Chi­nese char­ac­ters, but only a small minor­i­ty. Most of them are actu­al­ly logographs, each of which rep­re­sents a word or part of a word. But if you dig deep enough into their his­to­ry — and the his­to­ry of oth­er Asian lan­guages that use Chi­nese-derived vocab­u­lary — you’ll find that some start­ed out long ago as pic­tographs, designed visu­al­ly to rep­re­sent the thing to which they referred.

That does­n’t hold true for Chi­nese alone: it appears, in fact, that all writ­ten lan­guages began as forms of pic­to­graph­ic “pro­to-writ­ing,” at least judg­ing by the ear­li­est texts cur­rent­ly known to man. If we look at the old­est of them all, the lime­stone “Kish tablet” unearthed from the site of the epony­mous ancient Sumer­ian city in mod­ern-day Iraq, we can in some sense “read” sev­er­al of the sym­bols in its text, even five and a half mil­len­nia after it was writ­ten. “The writ­ing on its sur­face is pure­ly pic­to­graph­ic,” says the nar­ra­tor of the brief IFLScience video below, “and rep­re­sents a mid­point between pro­to-writ­ing and the more sophis­ti­cat­ed writ­ing of the cuneiform.”

Cuneiform, pre­vi­ous­ly fea­tured here on Open Cul­ture, was used by the ancient Baby­lo­ni­ans to label maps and record stew recipes, among oth­er impor­tant tasks. “First devel­oped around 3200 B.C. by Sumer­ian scribes in the ancient city-state of Uruk, in present-day Iraq, as a means of record­ing trans­ac­tions, cuneiform writ­ing was cre­at­ed by using a reed sty­lus to make wedge-shaped inden­ta­tions in clay tablets,” says Archae­ol­o­gy mag­a­zine. Over 3,000 years, this ear­li­est prop­er script “was used by scribes of mul­ti­ple cul­tures over that time to write a num­ber of lan­guages oth­er than Sumer­ian, most notably Akka­di­an, a Semit­ic lan­guage that was the lin­gua fran­ca of the Assyr­i­an and Baby­lon­ian Empires.”

Cuneiform was also used to write the Scheil dynas­tic tablet, which dates from the ear­ly sec­ond mil­len­ni­um BC. That means we can read it, and thus know that it com­pris­es a lit­er­ary-his­tor­i­cal text that lists off the reigns of var­i­ous rulers of Sumer­ian cities. We should note that the Scheil dynas­tic tablet is also, some­times, referred to as the “Kish tablet,” which sure­ly caus­es some con­fu­sion. But for the anony­mous writer of the ear­li­er Kish tablet, who would have lived about two mil­len­nia ear­li­er, the emer­gence of cuneiform and all the civ­i­liza­tion­al devel­op­ments it would make pos­si­ble lay far in the future. His pic­to­graph­ic text may nev­er be deci­phered prop­er­ly or mapped to a his­tor­i­cal­ly doc­u­ment­ed lan­guage, but at least we can tell that he must sure­ly have had hands and feet more or less like our own.

Relat­ed con­tent:

The Old­est Known Sen­tence Writ­ten in an Alpha­bet Has Been Found on a Head-Lice Comb (Cir­ca 1700 BC)

How to Write in Cuneiform, the Old­est Writ­ing Sys­tem in the World: A Short, Charm­ing Intro­duc­tion

Dic­tio­nary of the Old­est Writ­ten Lan­guage – It Took 90 Years to Com­plete, and It’s Now Free Online

How Writ­ing Has Spread Across the World, from 3000 BC to This Year: An Ani­mat­ed Map

40,000-Year-Old Sym­bols Found in Caves World­wide May Be the Ear­li­est Writ­ten Lan­guage

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear the Isolated Vocals of Peter Gabriel & Kate Bush in “Don’t Give Up”: The Power of Perseverance

Just by chance, could you use a song about per­se­ver­ance and over­com­ing adver­si­ty? Some­thing to give you a lit­tle encour­age­ment and reas­sur­ance? Then we sub­mit to you “Don’t Give Up,” fea­tur­ing the iso­lat­ed vocals of Peter Gabriel and Kate Bush.

When he released the song on his 1986 album So, Gabriel told NME: “The cat­a­lyst for ‘Don’t Give Up’ was a pho­to­graph I saw by Dorothea Lange,… which showed the dust-bowl con­di­tions dur­ing the Great Depres­sion in Amer­i­ca. With­out a cli­mate of self-esteem it’s impos­si­ble to func­tion.” Else­where, on his web­site, Gabriel explained that the song was also “informed by the high lev­els of unem­ploy­ment under the Con­ser­v­a­tive gov­ern­ment of Mar­garet Thatch­er of the 1980s.” What­ev­er the chal­lenges they’ve faced, lis­ten­ers have sought solace in this song for the past 38 years. No doubt, for some, it will come in handy dur­ing the weeks and months ahead.

Relat­ed Con­tent 

The Dorothea Lange Dig­i­tal Archive: Explore 600+ Pho­tographs by the Influ­en­tial Pho­tog­ra­ph­er (Plus Neg­a­tives, Con­tact Sheets & More

Kate Bush Enjoys a (Long-Over­due) Revival, Sparked by Sea­son 4 of Stranger Things

Peter Gabriel Re-Records “Biko,” His Anti-Apartheid Protest Song, with Musi­cians Around the World

Watch a New­ly-Restored Peter Gabriel-Era Gen­e­sis Con­cert Film From 1973 in Stun­ning 4K Qual­i­ty

Peter Gabriel and Gen­e­sis Live on Bel­gian TV in 1972: The Full Show

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How Car Chase Scenes Have Evolved Over 100 Years

For many a clas­sic action-movie enthu­si­ast, no car chase will ever top the one in Bul­litt. The nar­ra­tor of the Insid­er video above describes it as “the scene that set the stan­dard for all mod­ern car chas­es,” one made “icon­ic part­ly because of the char­ac­ters, but also because of their cars.” The pur­suer dri­ves a Dodge Charg­er, a mus­cle car that “explod­ed in pop­u­lar­i­ty dur­ing the late six­ties in the U.S.,” with a V‑8 engine and rear-wheel dri­ve that made it “basi­cal­ly built for infor­mal drag rac­ing.” The pur­sued, Steve McQueen’s detec­tive pro­tag­o­nist Frank Bul­litt, dri­ves an instant­ly rec­og­niz­able High­land Green Ford Mus­tang, “the first major pony car, a more com­pact, sporty take on the mus­cle car.”

Bul­litt could change the game, as they say, thanks not just to the cars but also the cam­eras avail­able at the time, not least the Arri­flex 35 II. “Small­er and more rugged” than the bulky rigs of ear­li­er gen­er­a­tions, it made it pos­si­ble to shoot on actu­al city streets rather than just stu­dio sets and rear-pro­jec­tion setups. (To get a sense of the dif­fer­ence in feel that result­ed, sim­ply com­pare the Bul­litt chase to the one in Dr. No, the first James Bond pic­ture, from six years before.)

This threw down the gaunt­let before all action film­mak­ers, who over the sub­se­quent decades would take advan­tage of every tech­no­log­i­cal devel­op­ment that could pos­si­bly height­en the thrills of their own car chas­es.

The video also includes vehic­u­lar action movies from The French Con­nec­tion and Van­ish­ing Point to Ronin and Dri­ve. But the most impor­tant devel­op­ment in recent decades actu­al­ly owes to the horse-rac­ing movie Seabis­cuit, whose pro­duc­tion neces­si­tat­ed a rig, now known as “the bis­cuit,” that “makes it look like an actor is doing the dri­ving, while a stunt per­son actu­al­ly steers from the dri­ver’s pod.” Gone are the days when a star like Steve McQueen, a gen­uine rac­er of both motor­cy­cles and cars, could han­dle some of the stunt dri­ving him­self; gone, too, is the era of the mus­cle car not pro­grammed to shut down auto­mat­i­cal­ly when it goes into a drift. But for view­ers in con­stant need of ever more spec­tac­u­lar, tech­ni­cal­ly com­plex, and expen­sive car chas­es, it seems the Fast and the Furi­ous series will always come through.

Relat­ed con­tent:

William Fried­kin, RIP: Why the 80s Action Movie To Live and Die in L.A. Is His “Sub­ver­sive Mas­ter­piece”

The Rev­o­lu­tion­ary Title Sequences and Trail­ers Cre­at­ed by Pablo Fer­ro: Dr. Strangelove, A Clock­work Orange, Stop Mak­ing Sense, Bul­litt & Oth­er Films

The Dark Knight: Anato­my of a Flawed Action Scene

Take a Dri­ve Through 1940s, 50s & 60s Los Ange­les with Vin­tage Through-the-Car-Win­dow Films

Some of Buster Keaton’s Great, Death-Defy­ing Stunts Cap­tured in Ani­mat­ed Gifs

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Carl Jung Psychoanalyzes Hitler: “He’s the Unconscious of 78 Million Germans.” “Without the German People He’d Be Nothing” (1938)

Were you to google “Carl Jung and Nazism”—and I’m not sug­gest­ing that you do—you would find your­self hip-deep in the charges that Jung was an anti-Semi­te and a Nazi sym­pa­thiz­er. Many sites con­demn or exon­er­ate him; many oth­ers cel­e­brate him as a blood and soil Aryan hero. It can be nau­se­at­ing­ly dif­fi­cult at times to tell these accounts apart. What to make of this con­tro­ver­sy? What is the evi­dence brought against the famed Swiss psy­chi­a­trist and one­time close friend, stu­dent, and col­league of Sig­mund Freud?

Truth be told, it does not look good for Jung. Unlike Niet­zsche, whose work was delib­er­ate­ly bas­tardized by Nazis, begin­ning with his own sis­ter, Jung need not be tak­en out of con­text to be read as anti-Semit­ic. There is no irony at work in his 1934 paper The State of Psy­chother­a­py Today, in which he mar­vels at Nation­al Social­ism as a “for­mi­da­ble phe­nom­e­non,” and writes, “the ‘Aryan’ uncon­scious has a high­er poten­tial than the Jew­ish.” This is only one of the least objec­tion­able of such state­ments, as his­to­ri­an Andrew Samuels demon­strates.

One Jun­gian defend­er admits in an essay col­lec­tion called Lin­ger­ing Shad­ows that Jung had been “uncon­scious­ly infect­ed by Nazi ideas.” In response, psy­chol­o­gist John Con­ger asks, “Why not then say that he was uncon­scious­ly infect­ed by anti-Semit­ic ideas as well?”—well before the Nazis came to pow­er. He had expressed such thoughts as far back as 1918. Like the philoso­pher Mar­tin Hei­deg­ger, Jung was accused of trad­ing on his pro­fes­sion­al asso­ci­a­tions dur­ing the 30s to main­tain his sta­tus, and turn­ing on his Jew­ish col­leagues while they were purged.

Yet his biog­ra­ph­er Deirdre Bair claims Jung’s name was used to endorse per­se­cu­tion with­out his con­sent. Jung was incensed, “not least,” Mark Ver­non writes at The Guardian, “because he was actu­al­ly fight­ing to keep Ger­man psy­chother­a­py open to Jew­ish indi­vid­u­als.” Bair also reveals that Jung was “involved in two plots to oust Hitler, essen­tial­ly by hav­ing a lead­ing physi­cian declare the Führer mad. Both came to noth­ing.” And unlike Hei­deg­ger, Jung strong­ly denounced anti-Semit­ic views dur­ing the war. He “pro­tect­ed Jew­ish ana­lysts,” writes Con­ger, “and helped refugees.” He also worked for the OSS, pre­cur­sor to the CIA, dur­ing the war.

His recruiter Allen Dulles wrote of Jung’s “deep antipa­thy to what Nazism and Fas­cism stood for.” Dulles also cryp­ti­cal­ly remarked, “Nobody will prob­a­bly ever know how much Prof. Jung con­tributed to the allied cause dur­ing the war.” These con­tra­dic­tions in Jung’s words, char­ac­ter, and actions are puz­zling, to say the least. I would not pre­sume to draw any hard and fast con­clu­sions from them. They do, how­ev­er, serve as the nec­es­sary con­text for Jung’s obser­va­tions of Adolf Hitler. Nazis of today who praise Jung most often do so for his sup­posed char­ac­ter­i­za­tion of Hitler as “Wotan,” or Odin, a com­par­i­son that thrills neo-pagans who, like the Ger­mans did, use ancient Euro­pean belief sys­tems as clothes hang­ers for mod­ern racist nation­al­ism.

In his 1936 essay, “Wotan,” Jung describes the old god as a force all its own, a “per­son­i­fi­ca­tion of psy­chic forces” that moved through the Ger­man peo­ple “towards the end of the Weimar Republic”—through the “thou­sands of unem­ployed,” who by 1933 “marched in their hun­dreds of thou­sands.” Wotan, Jung writes, “is the god of storm and fren­zy, the unleash­er of pas­sions and the lust of bat­tle; more­over he is a superla­tive magi­cian and artist in illu­sion who is versed in all secrets of an occult nature.” In per­son­i­fy­ing the “Ger­man psy­che” as a furi­ous god, Jung goes so far as to write, “We who stand out­side judge the Ger­mans far too much as if they were respon­si­ble agents, but per­haps it would be near­er the truth to regard them also as vic­tims.”

“One hopes,” writes Per Brask, “evi­dent­ly against hope, that Jung did not intend” his state­ments “as an argu­ment of redemp­tion for the Ger­mans.” What­ev­er his inten­tions, his mys­ti­cal racial­iza­tion of the uncon­scious in “Wotan” accord­ed per­fect­ly well with the the­o­ries of Alfred Rosen­berg, “Hitler’s chief ide­ol­o­gist.” Like every­thing about Jung, the sit­u­a­tion is com­pli­cat­ed. In a 1938 inter­view, pub­lished by Omni­book Mag­a­zine in 1942, Jung repeat­ed many of these dis­turb­ing ideas, com­par­ing the Ger­man wor­ship of Hitler to the Jew­ish desire for a Mes­si­ah, a “char­ac­ter­is­tic of peo­ple with an infe­ri­or­i­ty com­plex.” He describes Hitler’s pow­er as a form of “mag­ic.” But that pow­er only exists, he says, because “Hitler lis­tens and obeys….”

His Voice is noth­ing oth­er than his own uncon­scious, into which the Ger­man peo­ple have pro­ject­ed their own selves; that is, the uncon­scious of sev­en­ty-eight mil­lion Ger­mans. That is what makes him pow­er­ful. With­out the Ger­man peo­ple he would be noth­ing.

Jung’s obser­va­tions are bom­bas­tic, but they are not flat­ter­ing. The peo­ple may be pos­sessed, but it is their will, he says, that the Nazi leader enacts, not his own. “The true leader,” says Jung, “is always led.” He goes on to paint an even dark­er pic­ture, hav­ing close­ly observed Hitler and Mus­soli­ni togeth­er in Berlin:

In com­par­i­son with Mus­soli­ni, Hitler made upon me the impres­sion of a sort of scaf­fold­ing of wood cov­ered with cloth, an automa­ton with a mask, like a robot or a mask of a robot. Dur­ing the whole per­for­mance he nev­er laughed; it was as though he were in a bad humor, sulk­ing. He showed no human sign.

His expres­sion was that of an inhu­man­ly sin­gle-mind­ed pur­po­sive­ness, with no sense of humor. He seemed as if he might be a dou­ble of a real per­son, and that Hitler the man might per­haps be hid­ing inside like an appen­dix, and delib­er­ate­ly so hid­ing in order not to dis­turb the mech­a­nism.

With Hitler you do not feel that you are with a man. You are with a med­i­cine man, a form of spir­i­tu­al ves­sel, a demi-deity, or even bet­ter, a myth. With Hitler you are scared. You know you would nev­er be able to talk to that man; because there is nobody there. He is not a man, but a col­lec­tive. He is not an indi­vid­ual, but a whole nation. I take it to be lit­er­al­ly true that he has no per­son­al friend. How can you talk inti­mate­ly with a nation?

Read the full inter­view here. Jung goes on to fur­ther dis­cuss the Ger­man resur­gence of the cult of Wotan, the “par­al­lel between the Bib­li­cal tri­ad… and the Third Reich,” and oth­er pecu­liar­ly Jun­gian for­mu­la­tions. Of Jung’s analy­sis, inter­view­er H.R. Knicker­bock­er con­cludes, “this psy­chi­atric expla­na­tion of the Nazi names and sym­bols may sound to a lay­man fan­tas­tic, but can any­thing be as fan­tas­tic as the bare facts about the Nazi Par­ty and its Fuehrer? Be sure there is much more to be explained in them than can be explained by mere­ly call­ing them gang­sters.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent:

George Orwell Reviews Mein Kampf: “He Envis­ages a Hor­ri­ble Brain­less Empire” (1940)

Carl Jung Offers an Intro­duc­tion to His Psy­cho­log­i­cal Thought in a 3‑Hour Inter­view (1957)

How Carl Jung Inspired the Cre­ation of Alco­holics Anony­mous

Carl Jung on the Pow­er of Tarot Cards: They Pro­vide Door­ways to the Uncon­scious & Per­haps a Way to Pre­dict the Future

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

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Watch 70+ Classic Literary Films Free Online: The Snows of Kilimanjaro, Gulliver’s Travels, Jane Eyre, and More

The term gaslight has gained so much trac­tion in pop­u­lar dis­course so recent­ly that you’d swear it was coined around 2010. In fact, that par­tic­u­lar usage goes at least as far back as 1938, when British nov­el­ist and play­wright Patrick Hamil­ton wrote a stage thriller about a hus­band who sur­rep­ti­tious­ly rearranges things in the house so as to make his wife believe that she’s gone insane. Gas Light proved enough of a hit to be adapt­ed for the cin­e­ma two years lat­er, with the two words of its title stream­lined into one. You can watch Thorold Dick­in­son’s Gaslight just above, and if you enjoy it, have a look at the rest of the more than 70 lit­er­ary movies col­lect­ed into this playlist from the ver­i­fied YouTube chan­nel Cult Cin­e­ma Clas­sics.

If you know your cin­e­ma his­to­ry, you’ll know that Gaslight was remade in Hol­ly­wood in 1944, direct­ed by George Cukor and star­ring Charles Boy­er, Ingrid Bergman, Joseph Cot­ten, and Angela Lans­bury. (That ver­sion inspired Steely Dan’s song “Gaslight­ing Abbie,” where I first heard the word myself.)

In those days, the Amer­i­can film indus­try looked to the British one for proven mate­r­i­al — mate­r­i­al the British film indus­try, for its part, had found in lit­er­a­ture. Take the work of a ris­ing young direc­tor called Alfred Hitch­cock, who adapt­ed Charles Ben­net­t’s Black­mail in 1929, John Buchan’s The Thir­ty-Nine Steps in 1935, Joseph Con­rad’s The Secret Agent as Sab­o­tage in 1936, and Daphne du Mau­ri­er’s Jamaica Inn in 1939.

Today, lit­er­ary adap­ta­tion seems to have become a rel­a­tive­ly niche prac­tice in Hol­ly­wood, but in the mid-twen­ti­eth cen­tu­ry, it had real cachet: hence the increas­ing ambi­tion of pro­duc­tions like The Scar­let Let­ter (1934), Of Mice and Men 1939, Fleis­ch­er Stu­dios’ ani­mat­ed Gul­liv­er’s Trav­els (1939), The Snows of Kil­i­man­jaro (1952), and Jane Eyre (1970). Nat­u­ral­ly, these films reflect their own eras as much as they do the autho­r­i­al visions of Hawthorne, Stein­beck, Swift, Hem­ing­way, and Char­lotte Bron­të. Each of these pic­tures offers its own way of regard­ing its source mate­r­i­al. And would it seem so insane to believe that some of them may even have influ­ence still to exert on pop­u­lar cul­ture here in the twen­ty-first cen­tu­ry? Watch the playlist of 70 lit­er­ary films here.

Relat­ed con­tent:

Watch Very First Film Adap­ta­tions of Shakespeare’s Plays: King John, The Tem­pest, Richard III & More (1899–1936)

The First-Ever Film Ver­sion of Lewis Carroll’s Tale Alice in Won­der­land (1903)

Watch the Trail­er for the Long-Lost First Film Adap­ta­tion of The Great Gats­by (1926)

When François Truf­faut Made a Film Adap­ta­tion of Ray Bradbury’s Fahren­heit 451 (1966)

Watch the Huge­ly-Ambi­tious Sovi­et Film Adap­ta­tion of War and Peace Free Online (1966–67)

Watch an 8‑Part Film Adap­ta­tion of Tolstoy’s Anna Karen­i­na Free Online

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Download 1,600+ Publications from the Metropolitan Museum of Art: Books, Guides, Magazines & More

Many of us in these past few gen­er­a­tions first heard of the Met­ro­pol­i­tan Muse­um of Art while read­ing E. L. Konigs­burg’s nov­el From the Mixed-Up Files of Mrs. Basil E. Frankweil­er. More than a few of us also fan­ta­sized about run­ning away to live in that vast cul­tur­al insti­tu­tion like the book’s young pro­tag­o­nists Clau­dia and Jamie Kin­caid. Yet among oth­er, more prac­ti­cal con­cerns, we might have won­dered where we were going to secure enough read­ing mate­r­i­al to get us through those long after-hours nights. Konigs­burg had Clau­dia and Jamie vis­it the for­mer Don­nell Library Cen­ter, but what about in the Met itself?

What we prob­a­bly did­n’t real­ize in our youth was that, in addi­tion to being a muse­um, the Met is a pub­lish­er. Now, at the Met­Pub­li­ca­tions dig­i­tal archive, we can read a great vari­ety of the books, guides, and peri­od­i­cals it’s put out for more than a century–from a 1911 cat­a­log of the muse­um’s col­lec­tion of pot­tery, porce­lain, and faïence (which refers to pot­tery of the tin-glazed vari­ety) to — as of this writ­ing — the lat­est issue of the Met’s Bul­letin, on Mex­i­can print­mak­ers includ­ing Diego Rivera and José Clemente Oroz­co. They and the more than 1,600 pub­li­ca­tions that lie between them are free for you to explore, some read­able online, and some down­load­able in PDF form.

You might find issues of the Bul­letin on every­thing from Frank Lloyd Wright to inter­war pho­tog­ra­phy to Kore­an art, as well as cat­a­logs for exhi­bi­tions like Anglo­Ma­nia: Tra­di­tion and Trans­gres­sion in British Fash­ion, The Art of Illu­mi­na­tion: The Lim­bourg Broth­ers and the Belles Heures of Jean de France, Duc de Berry (whose cen­tral work of cal­en­dri­cal art was pre­vi­ous­ly fea­tured here on Open Cul­ture), Van Gogh in Arles, The Milk­maid by Johannes Ver­meer, and The Poet­ry of Nature: Edo Paint­ings from the Fish­bein-Ben­der Col­lec­tion. Met­Pub­li­ca­tions offers plen­ty of inter­est­ing read­ing, but if you find you sud­den­ly have to do some seri­ous art-his­tor­i­cal research, you’ll also find that it’s a far more con­ve­nient resource than Clau­dia and Jamie had.

Enter the Met­Pub­li­ca­tions dig­i­tal archive here, and, once there, par­tic­u­lar­ly explore the “Free to Down­load” sec­tion.

Relat­ed con­tent:

The Met­ro­pol­i­tan Muse­um of Art Puts 490,000 High-Res Images Online & Makes Them Free to Use

Take a New Vir­tu­al Real­i­ty Tour of the Met­ro­pol­i­tan Muse­um of Art

An Unbe­liev­ably Detailed, Hand-Drawn Map Lets You Explore the Rich Col­lec­tions of the Met Muse­um

A World of Art: The Met­ro­pol­i­tan Muse­um of Art

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch The Cure Perform a Three-Hour Concert in London, Celebrating the Release of Their New Album


Last Fri­day, The Cure cel­e­brat­ed the release of their new album, Songs of a Lost World, with a three-hour set at the Troxy in Lon­don. The band kicked off the show by per­form­ing all eight tracks from the album, before then play­ing anoth­er 23 songs, most­ly hits from their large cat­a­log of music. Orig­i­nal­ly live streamed on YouTube, you can now watch the entire show online. Just click play above.

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

The Cure Per­formed the Entire “Dis­in­te­gra­tion” Album on the 30th Anniver­sary of Its Release: Watch The Com­plete Con­cert Online

Watch The Cure’s First TV Appear­ance in 1979 … Before The Band Acquired Its Sig­na­ture Goth Look

Lost Depeche Mode Doc­u­men­tary Is Now Online: WatchOur Hob­by is Depeche Mode

 

Discover Paul Éluard and Max Ernst’s Still-Bizarre Proto-Surrealist Book Les Malheurs des immortels (1922)

When the names of French poet Paul Élu­ard and Ger­man artist Max Ernst arise, one sub­ject always fol­lows: that of their years-long ménage à trois — or rather, “mar­riage à trois,” as a New York Times arti­cle by Annette Grant once put it. It start­ed in 1921, Grant writes, when the Sur­re­al­ist move­men­t’s co-founder André Bre­ton put on an exhi­bi­tion for Ernst in Paris. “Élu­ard and his Russ­ian wife, Gala, were fas­ci­nat­ed by the show and arranged to meet Ernst in the Aus­tri­an Alps and lat­er in Ger­many. Ernst, Élu­ard and Gala quick­ly became insep­a­ra­ble. The artist and the poet start­ed a life­long series of col­lab­o­ra­tions on books even as Ernst and Gala start­ed an affair.”

This arrange­ment “even­tu­al­ly pro­pelled the trio on a jour­ney from Cologne to Paris to Saigon,” which con­sti­tutes quite a sto­ry in its own right. But on pure artis­tic val­ue, no result of the encounter between Élu­ard and Ernst has remained as fas­ci­nat­ing as Les Mal­heurs des immor­tels, the book on which they col­lab­o­rat­ed in 1922.

“It appears that Ernst, still in Ger­many at that stage, cre­at­ed the images first: twen­ty-one col­lages com­posed of engrav­ings cut out of nine­teenth-cen­tu­ry mag­a­zines and cat­a­logues,” writes Daisy Sains­bury at The Pub­lic Domain Review. Unlike in the Dada works known at the time, “the artist is care­ful to dis­guise the images’ com­pos­ite nature. He blends each sec­tion into a seam­less, coher­ent whole.”

“Ernst and Élu­ard then worked togeth­er on twen­ty prose poems to accom­pa­ny the illus­tra­tions, send­ing frag­ments of text to each oth­er to revise or sup­ple­ment.” The result, which pre­dates by two years Breton’s Man­i­feste du sur­réal­isme, “rep­re­sents a pro­to-Sur­re­al­ist exper­i­ment par excel­lence.” In the text, phras­es like “Le petit est malade, le petit va mourir” recall “children’s nurs­ery rhymes, with a sing-song qual­i­ty stripped of sense”; in the images, “a caged bird, an upturned croc­o­dile, and a webbed foot trans­formed through col­lage into the ulti­mate sym­bol of human friv­o­li­ty, a fan, evoke the clas­si­fi­ca­tion sys­tems of mod­ern sci­ence (and reli­gion before that) as well as their poten­tial mis­use in human hands.”

It’s worth putting all this in its his­tor­i­cal con­text, a Europe after the First World War in which mod­ern life no longer made quite as much sense as it once seemed. The often-inex­plic­a­ble respons­es of cul­tur­al fig­ures involved in move­ments like Sur­re­al­ism — in their work or in their lives — were attempts at hit­ting the reset but­ton, to use an anachro­nis­tic metaphor. Not that, a cen­tu­ry lat­er, human­i­ty has made much progress in com­ing to grips with our place in a world of rapid­ly evolv­ing tech­nol­o­gy and large-scale geopol­i­tics. Or at least we might feel that way while read­ing Les Mal­heurs des immor­tels, avail­able online at the Inter­net Archive and the Uni­ver­si­ty of Iowa’s dig­i­tal Dada col­lec­tion, and regard­ing these tex­tu­al-visu­al con­struc­tions as deeply strange as any­thing designed by our arti­fi­cial-intel­li­gence engines today.

via Pub­lic Domain Review

Relat­ed Con­tent:

An Intro­duc­tion to Sur­re­al­ism: The Big Aes­thet­ic Ideas Pre­sent­ed in Three Videos

Watch Dreams That Mon­ey Can Buy, a Sur­re­al­ist Film by Man Ray, Mar­cel Duchamp, Alexan­der Calder, Fer­nand Léger & Hans Richter

A Brief, Visu­al Intro­duc­tion to Sur­re­al­ism: A Primer by Doc­tor Who Star Peter Capal­di

Europe After the Rain: Watch the Vin­tage Doc­u­men­tary on the Two Great Art Move­ments, Dada & Sur­re­al­ism (1978)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Metropolitan Museum of Art Puts 490,000 High-Res Images Online & Makes Them Free to Use


Update: The Met­ro­pol­i­tan Muse­um of Art has put online 492,000 high-res­o­lu­tion images of artis­tic works. Even bet­ter, the muse­um has placed the vast major­i­ty of these images into the pub­lic domain, mean­ing they can be down­loaded direct­ly from the museum’s web­site for non-com­mer­cial use. When you browse the Met col­lec­tion and find an image that you fan­cy, just look at the low­er left-hand side of the image. If you see an “OA” icon and the words “pub­lic domain” (as shown in the exam­ple below), you’re free to use the image, pro­vid­ed that you abide by the Met’s terms.

In mak­ing this col­lec­tion avail­able online, the Met joined oth­er world-class muse­ums in putting large troves of dig­i­tal art online. Wit­ness the 88,000 images from the Get­ty in L.A., the 125,000 Dutch mas­ter­pieces from the Rijksmu­se­umthe 50,000 artis­tic images from the Nation­al Gallery, and the 1.9 mil­lion images from the British Muse­um.

It takes a lit­tle patience. But once you start surf­ing through the Met’s dig­i­tal col­lec­tions, you can find and down­load images of some won­der­ful mas­ter­pieces. We’ve embed­ded a few of our favorite picks. At the top, you will find the 1874 paint­ing “Boat­ing,” by Édouard Manet. In the mid­dle, Rem­brandt’s “Self-Por­trait” from 1660. At the bot­tom, a 1907 pho­to­graph by Alfred Stieglitz called “The Steer­age.” And that’s just start­ing to scratch the sur­face.

Hap­py rum­mag­ing. And, when you have some free time on your hands, you should also check out anoth­er open ini­tia­tive from the Met. The muse­um has also put 500+ free art books online. You can learn about them here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2014. We have updat­ed it to reflect some of the changes made in the Met col­lec­tion over the past decade.

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:

The British Muse­um Puts 1.9 Mil­lion Works of Art Online

The Rijksmu­se­um in Ams­ter­dam Has Dig­i­tized 818,000 Works of Art, Includ­ing Famous Works by Rem­brandt and Ver­meer

Down­load 50,000 Works of Art from the Nation­al Gallery, Includ­ing Mas­ter­pieces by Van Gogh, Gau­guin, Rem­brandt & More

Down­load 50,000 Art Books & Cat­a­logs from the Met­ro­pol­i­tan Muse­um of Art’s Dig­i­tal Col­lec­tions

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