How to Draw Don Draper: A Short Video Primer from Mad Men Insider Josh Weltman

Josh Welt­man, a 25 year vet­er­an of the adver­tis­ing busi­ness, has been a part of Mad Men since the show’s first sea­son. He has worked close­ly, he tells us on his web site, “with Matthew Wein­er and the show’s writ­ers and pro­duc­ers to help ensure that Mad Men accu­rate­ly depicts the process of cre­at­ing ads and ser­vic­ing clients, and that the show’s adver­tis­ing and busi­ness sto­ries play true to life, true to char­ac­ter and true to peri­od. He also cre­ates most of the orig­i­nal ads seen on the show.”

On his Vimeo channel, you can find just one video. But it’s an essen­tial one — a short quick primer on how to draw Don Drap­er. Start prac­tic­ing. The final sea­son of Mad Men kicks off on Sun­day, April 5, at 10 p.m. on AMC.

via Devour

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Hear John Lennon’s Final Interview, Taped on the Last Day of His Life (December 8, 1980)

(Note: The clip above is the first of six parts. Hear the remain­ing parts here: 2, 3, 4, 5, 6)

John Lennon’s last days were filled with pro­fes­sion­al and domes­tic rou­tines char­ac­ter­is­tic of both a typ­i­cal wealthy New York­er and a leg­endary rock star and activist: mak­ing break­fast and watch­ing Sesame Street with his son Sean, going on epic shop­ping sprees, spend­ing late nights in the stu­dio, stag­ing demon­stra­tions, argu­ing with his ret­inue of ser­vants and hang­ers-on. After five years in semi-retire­ment, or “siege­like retreat,” spent rais­ing Sean, John Lennon seemed ready to emerge from seclu­sion and renew his career. On his final day, Decem­ber 8, 1980, he was feel­ing hope­ful about his cre­ative future. He had just learned that his album with Yoko, Dou­ble Fan­ta­sy, had gone gold, and he and Yoko were engaged in pro­mo­tion, and were look­ing for­ward to their next musi­cal endeav­or.

That morn­ing, Annie Lei­bovitz and her assis­tant came to the Lennon’s apart­ment build­ing, The Dako­ta, to shoot those now icon­ic pho­tographs for Rolling Stone of the Lennons in bed. Mean­while, a devot­ed fan named Paul Gore­sh, and Lennon’s mur­der­er Mark David Chap­man, start­ed to hang around out­side the build­ing. Less than two hours lat­er, a crew from San Francisco’s RKO radio arrived at The Dako­ta to inter­view John and Yoko. Inter­view­er Dave Sholin remem­bers meet­ing Lennon, who was get­ting dressed after the nude pho­to shoot: “the door opens and John jumps in with his arms extend­ed, like ‘here I am folks!’ We were meet­ing John Lennon and we were all maybe a lit­tle ner­vous but that just put us right at ease in prob­a­bly less than a minute.” “He was a reg­u­lar guy, very, very sharp and extreme­ly quick wit­ted,” Sholin con­tin­ued. “And he con­nect­ed with all of us. He had been out of the pub­lic eye for five years and he was open to speak­ing about any­thing. He did not hold back.”

You can hear that inter­view, in six parts, above, and read a tran­script here at Bea­t­les Archive. John and Yoko talk in great detail about Dou­ble Fan­ta­sy, about par­ent­ing, about meet­ing, falling in love, and work­ing togeth­er. Lennon also talks about his social vision and the need for “holis­tic” solu­tions to “stop this para­noia of 90-year old men play­ing macho games with the world and pos­si­bly the galaxy.” Notably, he offers his assess­ment of the cul­tur­al shifts from the six­ties through the sev­en­ties.

The bit about the six­ties we were all full of hope and then every­body got depressed and the sev­en­ties were ter­ri­ble – that atti­tude that every­body has; that the six­ties was there­fore negat­ed for being naïve and dumb. And the sev­en­ties is real­ly where it’s at, which means, you know, putting make­up on and danc­ing in the dis­co – which was fine for the sev­en­ties – but I don’t negate the six­ties. I don’t negate the sev­en­ties. The … the seeds that were plant­ed in the six­ties – and pos­si­bly they were plant­ed gen­er­a­tions before – but the seed… what­ev­er hap­pened in the six­ties the… the flow­er­ing of that is in the fem­i­nist, fem­i­niza­tion of soci­ety. The med­i­ta­tion, the pos­i­tive learn­ing that peo­ple are doing in all walks of life. That is a direct result of the open­ing up of the six­ties. Now, maybe in the six­ties we were naïve and like chil­dren every­body went back to their room and said, ‘Well, we didn’t get a won­der­ful world of just flow­ers and peace and hap­py choco­late and, and, and it wasn’t just pret­ty and beau­ti­ful all the time’ and that’s what every­body did, ‘we didn’t get every­thing we want­ed’ just like babies and every­body went back to their rooms and sulked. And we’re just gonna play rock and roll and not do any­thing else . We’re gonna stay in our rooms and the world is a nasty, hor­ri­ble place ’cause it didn’t give us every­thing we cried for’, right? Cryin’ for it wasn’t enough. The thing the six­ties did was show us the pos­si­bil­i­ty and the respon­si­bil­i­ty that we all had. It wasn’t the answer. It just gave us a glimpse of the pos­si­bil­i­ty, and the sev­en­ties every­body gone ‘Nya, nya, nya, nya’. And pos­si­bly in the eight­ies everybody’ll say, ‘Well, ok, let’s project the pos­i­tive side of life again’, you know? The world’s been goin’ on a long time, right? It’s prob­a­bly gonna go on a long time… ”

After the inter­view, Sholin board­ed a plane back to San Fran­cis­co, and John and Yoko went back to work, meet­ing with pro­duc­er Jack Dou­glas. When they returned home that night, they found Mark David Chap­man still wait­ing out­side The Dako­ta with his .38. At 11:15 that night, Lennon was pro­nounced dead at Roo­sevelt Hos­pi­tal. Sholin tells the sto­ry in a lengthy intro to the inter­view above. You can also lis­ten to a stream­lined ver­sion of the inter­view with­out the intro below.

Relat­ed Con­tent:

What We Heard 34 Years Ago on the Night John Lennon Was Shot: TV & Radio

Bed Peace Revis­its John Lennon & Yoko Ono’s Famous Anti-Viet­nam Protests

Down­load the John Lennon/Yoko Ono “War is Over (If You Want It)” Poster in 100+ Lan­guages

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

Hear the Never Released Jimi Hendrix Track, “Station Break,” Which Shows Us the Guitar Legend as an R&B Sideman


As we’ve pre­vi­ous­ly not­ed, Jimi Hen­drix spent sev­er­al years as a jour­ney­man gui­tarist, play­ing the ear­ly rock ‘n’ roll cir­cuit with stars like Wil­son Pick­ett and Lit­tle Richard, before he final­ly came into his own. One point in his career, writes the Dai­ly Beast, found him “on the bad side of a hor­ri­ble record­ing con­tract” with “noto­ri­ous­ly shady label own­er and pro­duc­er” Ed Chalpin of RSVP Records. This was dur­ing his tenure with a group called Cur­tis Knight & The Squires, many of whose record­ings end­ed up “locked in lit­i­ga­tion for years, a peri­od that stretched to decades.”

Now that these tracks have been acquired by the Hen­drix-fam­i­ly run com­pa­ny Expe­ri­ence Hen­drix, they can final­ly be heard for the first time. Soon to be released as part of the com­pi­la­tion You Can’t Use My Name: Cur­tis Knight & The Squires (Fea­tur­ing Jimi Hen­drix), the instru­men­tal above, “Sta­tion Break”—unlike so many oth­er sup­pos­ed­ly “new” Hen­drix releases—has nev­er appeared before in any oth­er ver­sion. It’s not a Hen­drix com­po­si­tion, but it’s his gui­tar, restrained in some fair­ly stan­dard R&B licks.

“What makes [the record­ings] so spe­cial” on the new com­pi­la­tion album, says Hendrix’s sis­ter Janie, “is that they pro­vide an hon­est look at a great artist dur­ing a piv­otal time when he was on the cusp of his break­through.” Though Hen­drix may seem to have descend­ed from out­er space, he actu­al­ly honed his skills in groups like the Squires, before Ani­mals bassist Chas Chan­dler dis­cov­ered him and brought him to the UK. These ear­ly R&B releas­es “rep­re­sent a sig­nif­i­cant seg­ment in the time­line of Jimi’s musi­cal exis­tence.” They may not be as mind-blow­ing as, say, the psy­che­del­ic riffs in “Third Stone From the Sun,” but they show us an incred­i­bly tal­ent­ed gui­tarist at work, strain­ing to break free of a pop tem­plate and ven­ture into musi­cal realms unchart­ed.

via The Dai­ly Beast,

Relat­ed Con­tent:

Jimi Hendrix’s Final Inter­view on Sep­tem­ber 11, 1970: Lis­ten to the Com­plete Audio

Jimi Hen­drix at Wood­stock: The Com­plete Per­for­mance in Video & Audio (1969)

Pre­vi­ous­ly Unre­leased Jimi Hen­drix Record­ing, “Some­where,” with Bud­dy Miles and Stephen Stills

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

Noam Chomsky Talks About How Kids Acquire Language & Ideas in an Animated Video by Michel Gondry

These days Noam Chom­sky is prob­a­bly most famous for his con­sis­tent, out­spo­ken crit­i­cism of U.S. for­eign pol­i­cy. Yet before the War on Ter­ror and the War on Drugs, Chom­sky became inter­na­tion­al­ly famous for propos­ing a nov­el solu­tion to an age-old ques­tion: what does a baby know?

Pla­to argued that infants retain mem­o­ries of past lives and thus come into this world with a grasp of lan­guage. John Locke coun­tered that a baby’s mind is a blank slate onto which the world etch­es its impres­sion. After years of research, Chom­sky pro­posed that new­borns have a hard-wired abil­i­ty to under­stand gram­mar. Lan­guage acqui­si­tion is as ele­men­tal to being human as, say, dam build­ing is to a beaver. It’s just what we’re pro­grammed to do. Chomsky’s the­o­ries rev­o­lu­tion­ized the way we under­stand lin­guis­tics and the mind.

A lit­tle while ago, film direc­tor and music video auteur Michel Gondry inter­viewed Chom­sky and then turned the whole thing into an extend­ed ani­mat­ed doc­u­men­tary called Is the Man Who Is Tall Hap­py? (which is cur­rent­ly avail­able on Net­flix’s stream­ing ser­vice).

Above is a clip from the film. In his thick French accent, Gondry asks if there is a cor­re­la­tion between lan­guage acqui­si­tion and ear­ly mem­o­ries. For any­one who’s watched Eter­nal Sun­shine of the Spot­less Mind, you know that mem­o­ry is one of the director’s major obses­sions. Over Gondry’s rough-hewn draw­ings, Chom­sky expounds: “Chil­dren know quite a lot of a lan­guage, much more than you would expect, before they can exhib­it that knowl­edge.” He goes on to talk about new tech­niques for teach­ing deaf-blind chil­dren and how a day-old infant inter­prets the world.

As the father of a tod­dler who is at the cusp of learn­ing to form thoughts in words, I found the clip to be fas­ci­nat­ing. Now, if only Chom­sky can explain why my son has tak­en to shout­ing the word “bacon” over and over and over again.

To gain a deep­er under­stand­ing of Chom­sky’s thoughts on lin­guis­tics, see our pre­vi­ous post:  The Ideas of Noam Chom­sky: An Intro­duc­tion to His The­o­ries on Lan­guage & Knowl­edge (1977)

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.

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Relat­ed con­tent:

Michel Gondry’s Finest Music Videos for Björk, Radio­head & More: The Last of the Music Video Gods

Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er (1971)

What Makes Us Human?: Chom­sky, Locke & Marx Intro­duced by New Ani­mat­ed Videos from the BBC

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.

The Philosophy of Friedrich Nietzsche Explained with 8‑Bit Video Games

In the world of the 8‑bit video game, there may be no more a frus­trat­ing, Sisy­phuse­an task than com­plet­ing the var­i­ous iter­a­tions of Mega Man. Each suc­ces­sive lev­el can feel end­less, as one dies and starts again, time after time, with no glo­ri­ous end in sight. It can feel like, as Friedrich Niet­zsche might say, being caught in a cycle of “eter­nal recur­rence,” des­tined to repeat the same actions, over and over again for eter­ni­ty.

The videos here then—part of the pop­u­lar trend of 8‑bit shorts—use the graph­ics and bleep­ing sound effects and music of Mega Man to illus­trate Nietzsche’s seem­ing­ly pes­simistic ideas. First, with a nod to Rust Cohle, we have the theory—or rather the thought experiment—of “eter­nal recur­rence.” Draw­ing on Arthur Schopen­hauer’s inter­pre­ta­tion of Bud­dhism, Niet­zsche imag­ined a uni­verse with no end and no begin­ning, an end­less loop of suf­fer­ing in which one is des­tined to make the same mis­takes for­ev­er.

If this seems ter­ri­fy­ing­ly bleak to you, you may approach life through a haze of resen­ti­ment, Niet­zsche might say, a bit­ter tan­gle of anger and blame that rejects the world as it is. The one who over­comes this snare—the uber­men­sch—has achieved self-mas­tery. Strong in the ways of the “will to pow­er” is he, and delight­ed by the prospect of liv­ing in the present moment an infi­nite num­ber of times, even if the uni­verse is cold, cru­el, and indif­fer­ent to human exis­tence. The “will to pow­er” gov­erns all life, for Niet­zsche, and human life in par­tic­u­lar is weak­ened by ignor­ing this fact and cling­ing to moral sys­tems of resen­ti­ment like that of Chris­tian­i­ty.

Niet­zsche’s argu­ment against Chris­tian­i­ty, as explained above at least, is that it encour­ages, even cel­e­brates medi­oc­rity and frowns upon excel­lence. That such is the gen­er­al tenor of our cur­rent age—an assess­ment the nar­ra­tor makes—is debat­able. Yes, we may pro­mote medi­oc­ri­ties at an alarm­ing rate, but we also at least nom­i­nal­ly cel­e­brate uber men (almost always men), who may not tru­ly be self made but who sure­ly live by the dic­tates of the will to pow­er, tak­ing what they want when they want it. Whether Nietzsche’s char­ac­ter­i­za­tion of this preda­to­ry behav­ior as the high­est of human pos­si­bil­i­ties inspires you or not may depend on how far you feel your­self to be above the com­mon herd.

Nietzsche’s amoral phi­los­o­phy has appealed to some pret­ty preda­to­ry char­ac­ters, but it also appeals to anti-author­i­tar­i­an, post-mod­ern types because of his crit­i­cal stance toward not only reli­gion, but also what can seem like its sec­u­lar replace­ment, sci­ence. Niet­zsche respect­ed the sci­en­tif­ic method, but he rec­og­nized its lim­i­ta­tions as a means of describ­ing, rather than explain­ing the world. All of our descrip­tions are inter­pre­ta­tions that do not pen­e­trate into the realm of ulti­mate caus­es or mean­ings, and can­not pro­vide a priv­i­leged, god-like van­tage point from which to make absolute judg­ments.

When, in the hopes of replac­ing the cer­tain­ties of reli­gious moral­i­ty and meta­physics, we ele­vate sci­ence to the posi­tion of ulti­mate truth for­mer­ly grant­ed to the mind of god, we lose sight of this basic lim­i­ta­tion; we com­mit the same fal­la­cy as the reli­gious, mis­tak­ing our sto­ries about the world for the world itself. Would Nietzsche’s extreme skep­ti­cism have made him sym­pa­thet­ic to today’s cli­mate sci­ence deniers and anti­vaxxers? Prob­a­bly not. He did rec­og­nize that, like the phys­i­cal bod­ies where thought takes place, some ideas are healthy descrip­tions of real­i­ty and some are not. Nonethe­less, our expla­na­tions, Niet­zsche argued, whether sci­en­tif­ic or oth­er­wise, are contingent—effects of lan­guage, not exposés of Truth, cap­i­tal T.

For more 8‑Bit Phi­los­o­phy, see our posts on Pla­to, Sartre, Der­ri­da, as well as Kierkegaard and Camus, all illus­trat­ed in short, nos­tal­gic recre­ations of clas­sic video games.

Relat­ed Con­tent:

The Phi­los­o­phy of Niet­zsche: An Intro­duc­tion by Alain de Bot­ton

Niet­zsche Dis­pens­es Dat­ing Advice in a Short Screw­ball Film, My Friend Friedrich

The Dig­i­tal Niet­zsche: Down­load Nietzsche’s Major Works as Free eBooks

Human, All Too Human: 3‑Part Doc­u­men­tary Pro­files Niet­zsche, Hei­deg­ger & Sartre

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

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

A Guide to Logical Fallacies: The “Ad Hominem,” “Strawman” & Other Fallacies Explained in 2‑Minute Videos

Here at Open Cul­ture, we like to think we keep dis­cus­sions rea­son­able. Not every site can say that; if you’ve ever dared to scroll down into the com­ments on Youtube (to pick an exam­ple pure­ly at ran­dom) you know what I mean. But on that very same repos­i­to­ry of stream­ing videos and shout­ing match­es, you can also find a help­ful aid to your debates both online and off: PBS Idea Chan­nel’s “Guide to Com­mon Fal­lac­i­es.”

When humans talk, some­times we adhere to the rules of log­ic, and some­times we break from them. In every­day life it does­n’t mat­ter that much either way, but, in the heat of an argu­ment, and espe­cial­ly amid the poten­tial con­fla­gra­tion of an inter­net argu­ment, con­sis­ten­cy is all. Under such con­di­tions, some­one who com­mits even a com­mon log­i­cal fal­la­cy may well do so with­out real­iz­ing it, and if you feel like edu­cat­ing them, you can reply with a link to whichev­er of these videos cov­ers the fal­la­cy they used:

Host Mike Rugnetta (whom you might remem­ber from the pre­vi­ous Idea Chan­nel video we fea­tured, “Math Might Not Actu­al­ly Exist”) breaks down the fal­la­cy in ques­tion, accom­pa­ny­ing his expla­na­tion with a visu­al stream of illus­tra­tions, clips from movies, TV, and video games — and of course those main­stays of com­ment threads, ani­mat­ed GIFs. And he does­n’t just explain, he demon­strates, stag­ing a short debate with a straw-filled, shod­di­ly argu­ing ver­sion of him­self each and every time.

Log­ic has always struck me as an inher­ent­ly fas­ci­nat­ing sub­ject, and these videos cer­tain­ly pro­vide quick and fun­ny hits of it. I do have my doubts as to whether they’ll actu­al­ly help any­one win an argu­ment. So point out oth­ers’ log­i­cal fal­lac­i­es if you must, but bear in mind that you might be the only one who learns any­thing as a result.

Relat­ed Con­tent:

Oxford’s Free Course Crit­i­cal Rea­son­ing For Begin­ners Will Teach You to Think Like a Philoso­pher

Does Math Objec­tive­ly Exist, or Is It a Human Cre­ation? A New PBS Video Explores a Time­less Ques­tion

Free Online Phi­los­o­phy Cours­es

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.

Download The Newly-Discovered Sherlock Holmes Story as a Free Audio Book

audible lost sherlock holmes

Quick fyi: A cou­ple weeks ago, the lit­er­ary world gasped when a lost Sher­lock Holmes sto­ry was appar­ent­ly dis­cov­ered in an attic in Scot­land. Read it online here. It has­n’t been com­plete­ly con­firmed that the sto­ry came from the pen of Arthur Conan Doyle. Some experts still have their doubts. But even so, the fine folks at Audi­ble have pro­duced an audio record­ing of the sto­ry, nar­rat­ed by the award-win­ning narrator/actor Simon Vance. You can down­load it for free at Audi­ble (on the con­di­tion that you cre­ate a user­name and pass­word).

It’s also worth not­ing that if you start a 30-day free tri­al with Audi­ble, you can down­load two free audio books, includ­ing many con­tem­po­rary best­sellers. At the end of the 30 days, you can join Audi­ble’s sub­scrip­tion ser­vice, or you can can­cel. Either way, you can keep the two free audio books. Get more details here

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.

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Jorge Luis Borges Selects 74 Books for Your Personal Library

borges personal library

“Jorge Luis Borges 1951, by Grete Stern” by Grete Stern (1904–1999). Licensed under Pub­lic Domain via Wiki­me­dia Com­mons.

Jorge Luis Borges’ terse, mind-expand­ing sto­ries reshaped mod­ern fic­tion. He was one of the first authors to mix high cul­ture with low, merg­ing such pop­u­lar gen­res as sci­ence fic­tion and the detec­tive sto­ry with heady philo­soph­i­cal dis­cours­es on author­ship, real­i­ty and exis­tence. His sto­ry “The Gar­den of the Fork­ing Paths,” which describes a nov­el that is also a labyrinth, pre­saged the hyper­tex­tu­al­i­ty of the inter­net age. His tone of iron­ic detach­ment influ­enced gen­er­a­tions of Latin Amer­i­can authors. The BBC argued that Borges was the most impor­tant writer of the 20th cen­tu­ry.

Of course, Borges wasn’t just an author. When not writ­ing fic­tion, Borges worked as a lit­er­ary crit­ic, occa­sion­al film crit­ic, a librar­i­an, and, for a spell, as the direc­tor of the Bib­liote­ca Nacional in Buenos Aires. His tastes were famous­ly eclec­tic. He did not think of much of canon­i­cal writ­ers like Goethe, Jane Austen, James Joyce and Gabriel Gar­cia Mar­quez. He favored the 19th sto­ry­tellers like Edgar Allan Poe and Rud­yard Kipling.

In 1985, Argen­tine pub­lish­er Hys­pamer­i­ca asked Borges to cre­ate A Per­son­al Library — which involved curat­ing 100 great works of lit­er­a­ture and writ­ing intro­duc­tions for each vol­ume. Though he only got through 74 books before he died of liv­er can­cer in 1988, Borges’s selec­tions are fas­ci­nat­ing and deeply idio­syn­crat­ic. He list­ed adven­ture tales by Robert Louis Steven­son and H.G. Wells along­side exot­ic holy books, 8th cen­tu­ry Japan­ese poet­ry and the mus­ing of Kierkegaard. You can see the full list below. A num­ber of the select­ed works can be found in our Free eBooks and Free Audio Books col­lec­tions.

1. Sto­ries by Julio Cortázar (not sure if this refers to Hop­scotch, Blow-Up and Oth­er Sto­ries, or nei­ther)
2. & 3. The Apoc­ryphal Gospels
4. Ameri­ka and The Com­plete Sto­ries by Franz Kaf­ka
5. The Blue Cross: A Father Brown Mys­tery by G.K. Chester­ton
6. & 7. The Moon­stone by Wilkie Collins
8. The Intel­li­gence of Flow­ers by Mau­rice Maeter­linck
9. The Desert of the Tar­tars by Dino Buz­za­ti
10. Peer Gynt and Hed­da Gabler by Hen­rik Ibsen
11. The Man­darin: And Oth­er Sto­ries by Eça de Queirós
12. The Jesuit Empire by Leopol­do Lugones
13. The Coun­ter­feit­ers by André Gide
14. The Time Machine and The Invis­i­ble Man by H.G. Wells
15. The Greek Myths by Robert Graves
16. & 17. Demons by Fyo­dor Dos­toyevsky
18. Math­e­mat­ics and the Imag­i­na­tion by Edward Kas­ner
19. The Great God Brown and Oth­er Plays, Strange Inter­lude, and Mourn­ing Becomes Elec­tra by Eugene O’Neill
20. Tales of Ise by Ari­wara no Nar­i­hara
21. Ben­i­to Cereno, Bil­ly Budd, and Bartle­by, the Scriven­er by Her­man Melville
22. The Trag­ic Every­day, The Blind Pilot, and Words and Blood by Gio­van­ni Pap­i­ni
23. The Three Impos­tors
24. Songs of Songs tr. by Fray Luis de León
25. An Expla­na­tion of the Book of Job tr. by Fray Luis de León
26. The End of the Teth­er and Heart of Dark­ness by Joseph Con­rad
27. The Decline and Fall of the Roman Empire by Edward Gib­bon
28. Essays & Dia­logues by Oscar Wilde
29. Bar­bar­ian in Asia by Hen­ri Michaux
30. The Glass Bead Game by Her­mann Hesse
31. Buried Alive by Arnold Ben­nett
32. On the Nature of Ani­mals by Claudius Elianus
33. The The­o­ry of the Leisure Class by Thorstein Veblen
34. The Temp­ta­tion of St. Antony by Gus­tave Flaubert
35. Trav­els by Mar­co Polo
36. Imag­i­nary lives by Mar­cel Schwob
37. Cae­sar and Cleopa­tra, Major Bar­bara, and Can­dide by George Bernard Shaw
38. Macus Bru­tus and The Hour of All by Fran­cis­co de Queve­do
39. The Red Red­maynes by Eden Phillpotts
40. Fear and Trem­bling by Søren Kierkegaard
41. The Golem by Gus­tav Meyrink
42. The Les­son of the Mas­ter, The Fig­ure in the Car­pet, and The Pri­vate Life by Hen­ry James
43. & 44. The Nine Books of the His­to­ry of Herodotus by Her­do­tus
45. Pedro Páramo by Juan Rul­fo
46. Tales by Rud­yard Kipling
47. Vathek by William Beck­ford
48. Moll Flan­ders by Daniel Defoe
49. The Pro­fes­sion­al Secret & Oth­er Texts by Jean Cocteau
50. The Last Days of Emmanuel Kant and Oth­er Sto­ries by Thomas de Quincey
51. Pro­logue to the Work of Sil­ve­rio Lan­za by Ramon Gomez de la Ser­na
52. The Thou­sand and One Nights
53. New Ara­bi­an Nights and Markheim by Robert Louis Steven­son
54. Sal­va­tion of the Jews, The Blood of the Poor, and In the Dark­ness by Léon Bloy
55. The Bha­gavad Gita and The Epic of Gil­gamesh
56. Fan­tas­tic Sto­ries by Juan José Arreo­la
57. Lady into Fox, A Man in the Zoo, and The Sailor’s Return by David Gar­nett
58. Gul­liv­er’s Trav­els by Jonathan Swift
59. Lit­er­ary Crit­i­cism by Paul Grous­sac
60. The Idols by Manuel Muji­ca Láinez
61. The Book of Good Love by Juan Ruiz
62. Com­plete Poet­ry by William Blake
63. Above the Dark Cir­cus by Hugh Wal­pole
64. Poet­i­cal Works by Eze­quiel Mar­tinez Estra­da
65. Tales by Edgar Allan Poe
66. The Aeneid by Vir­gil
67. Sto­ries by Voltaire
68. An Exper­i­ment with Time by J.W. Dunne
69. An Essay on Orlan­do Furioso by Atilio Momigliano
70. & 71. The Vari­eties of Reli­gious Expe­ri­ence and The Study of Human Nature by William James
72. Egil’s Saga by Snor­ri Sturlu­son
73. The Book of the Dead
74. & 75. The Prob­lem of Time by J. Alexan­der Gunn

As you will observe, Borges’ list is very short on books by women writ­ers. As a counter-offer­ing, you might want to explore this list: 74 Essen­tial Books for Your Per­son­al Library: A List Curat­ed by Female Cre­atives.

Relat­ed Con­tent:

Borges: Pro­file of a Writer” Presents the Life and Writ­ings of Argentina’s Favorite Son, Jorge Luis Borges

Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

Jorge Luis Borges’ Favorite Short Sto­ries (Read 7 Free Online)

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.

The Visual Art of William S. Burroughs: Book Covers, Portraits, Collage, Shotgun Art & More

burroughs_books

As an artist, William S. Bur­roughs was undoubt­ed­ly his own man, behold­en to no par­tic­u­lar aes­thet­ic, move­ment, or school, always inde­pen­dent even as a fre­quent col­lab­o­ra­tor with many oth­er notable writ­ers and artists. It didn’t hurt that he came from money—Burroughs’ grand­fa­ther invent­ed the adding machine, and the writer’s inher­i­tance, writes the Dai­ly Beast, “left the young scion free to pur­sue edu­ca­tion and drugs at his leisure.” Yet, although he pur­sued the lat­ter with­out reser­va­tion, he also worked hard­er than most of his con­tem­po­raries, con­stant­ly inno­vat­ing and pur­su­ing new paths. Bur­roughs’ “entire cre­ative project,” writes blog­ger Dan She­lalevy, “encom­passed art, graph­ics, cal­lig­ra­phy, type, pho­tog­ra­phy, film, assem­blage, poet­ry, spo­ken word, and music…. Cul­ture itself was his medi­um.”

Burroughs Art 1

He may be asso­ci­at­ed pri­mar­i­ly with the Beats, but Bur­roughs him­self reject­ed the label, say­ing, “We’re not doing at all the same thing, either in writ­ing or in out­look.” As a visu­al artist, London’s Octo­ber Gallery informs us, he “col­lab­o­rat­ed with Kei­th Har­ing, George Con­do, Robert Rauschen­berg, and oth­ers.” As in his writ­ing, Bur­roughs exper­i­ment­ed through­out his art career with col­lage, incor­po­rat­ing pho­tographs and pop cul­ture ephemera like com­ic strips and adver­tis­ing into paint­ings rich­ly textured—as in the thick impas­to sur­round­ing the por­trait of Samuel Beck­ett above—and often vio­lent, as below.

burroughs_mink1

The noto­ri­ous gun enthu­si­ast often blast­ed holes through his can­vass­es and even exper­i­ment­ed with shot­gun paint­ing. (See him with his shot­gun below, on the front page of a Times arti­cle cov­er­ing a 2005 exhib­it of his work.) Bur­roughs also incor­po­rat­ed gun imagery into his paintings—often made on slabs of plywood—and used pop art tech­niques like sten­cils and spray paint, as below.

burroughs2

Bur­roughs even designed his own book cov­ers, as you can see at the top of the post in the rel­a­tive­ly aus­tere paper­back cov­ers for Naked Lunch and The Soft Machine, both fea­tur­ing repeat­ing pat­terns of sym­bols. His visu­al art reflects the same obses­sions we find in all of his work. These recur­ring motifs are what Paul Pieroni, co-orga­niz­er of the 2005 gallery show at The Rifle­mak­er gallery in Lon­don, describes as a “het­ero-ontol­ogy of forces at work,” includ­ing the “cen­tral themes” of “vice, vio­lence and pas­sion.”

Burroughs-Times

The same imagery that recurs in hal­lu­ci­na­to­ry nov­els like Junky, Naked Lunch, and The West­ern Lands appears in the writer’s art­work: “thus, as in his lit­er­a­ture,” says Pieroni, “we find war, cocks, vio­lence, dirt, par­a­sites, guns—junk.” In Bur­roughs’ hands the detri­tus of Amer­i­can culture—the con­tents of adver­tise­ments, for­eign pol­i­cy briefs, and seedy motel rooms—takes on an omi­nous, myth­ic sig­nif­i­cance that shows us as much about our­selves as it does about the artist.

burroughs_face

Relat­ed Con­tent:

Gun Nut William S. Bur­roughs & Gonzo Illus­tra­tor Ralph Stead­man Make Polaroid Por­traits Togeth­er

William S. Bur­roughs Shows You How to Make “Shot­gun Art”

William S. Bur­roughs on the Art of Cut-up Writ­ing

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

The 1981 TIME Magazine Profile That Introduced Michel Foucault to America

michel-simeon-and-michael1
These days, would we expect to find a pro­file of a homo­sex­u­al rad­i­cal-left philoso­pher spe­cial­iz­ing in dis­ci­pline and pun­ish­ment in the pages of Time mag­a­zine? Maybe, maybe not—and few of us would find out if there were one, giv­en that the mag­a­zine seems to have long since ced­ed its cen­tral­i­ty in Amer­i­can cul­ture, falling back on a sub­scriber base of retirees and den­tist offices. But in Novem­ber 1981, when Time was def­i­nite­ly still TIME, it did indeed run such a pro­file, and now you can read it in full in PDF form.

“Watch­ing French Marx­ists grap­ple with the rad­i­cal the­o­ries of Michel Fou­cault, says the philoso­pher’s trans­la­tor Alan Sheri­dan, is like watch­ing ‘a police­man attempt­ing to arrest a par­tic­u­lar­ly out­ra­geous drag queen.’ ” So reports jour­nal­ist and cul­tur­al his­to­ri­an Otto Friedrich in the piece’s open­ing. “The solemn spe­cial­ists who patrol the Amer­i­can uni­ver­si­ty have their own dif­fi­cul­ties with Fou­cault. Leo Bersani of the French depart­ment at Berke­ley eulo­gizes him as ‘our most bril­liant philoso­pher of pow­er,’ but Yale His­to­ri­an Peter Gay dis­miss­es him: ‘He does­n’t do any research, he just goes on instinct.’ ”

Oth­er sources offer­ing acco­lade, con­dem­na­tion, and a mix­ture of both for the author of The Archae­ol­o­gy of Knowl­edge and The His­to­ry of Sex­u­al­i­ty, include (broad­ly speak­ing) col­leagues like lit­er­ary the­o­rist Edward Said, who com­plains that Fou­cault “has nev­er been able to explain his­tor­i­cal change,” and philoso­pher Richard Rorty, who sug­gests Fou­cault “join the bour­geois lib­er­als he despis­es.” When Fou­cault him­self speaks, he exhibits the expect­ed ten­den­cy toward intel­lec­tu­al defi­ance and rug-pulling rede­f­i­n­i­tion of terms, though the arti­cle also gath­ers sev­er­al moments of sur­pris­ing frank­ness about his own life. (“I can­not expe­ri­ence plea­sure,” he claims.)

Of course, not every Amer­i­can of the day got to know Fou­cault through Time. Rather than in that most main­stream of all mag­a­zines, they may have dis­cov­ered him through one of the least: Chez Fou­cault, the low bud­get fanzine we fea­tured last week. And the con­nec­tion goes deep­er: “In 1981, when Time mag­a­zine pub­lished an arti­cle on Fou­cault,” writes James Miller in his biog­ra­phy The Pas­sion of Michel Fou­cault, “the pho­to­graph accom­pa­ny­ing the piece [above] showed Fou­cault sit­ting with Sime­on Wade”—publisher of Chez Fou­caultWade put the ‘zine togeth­er with oth­er Uni­ver­si­ty of Cal­i­for­nia stu­dents, a group whom the philoso­pher’s ideas would con­tin­ue to influ­ence until his death, as evi­denced by his final UC Berke­ley lec­tures in 1983, and beyond—as col­le­gians cur­rent­ly work­ing under the sys­tem of con­trol known as the cul­tur­al the­o­ry depart­ment can attest.

via Crit­i­cal Theory/Pro­gres­sive Geo­gra­phies

Relat­ed Con­tent:

Hear Michel Fou­cault Deliv­er His Lec­ture on “Truth and Sub­jec­tiv­i­ty” at UC Berke­ley, In Eng­lish (1980)

Hear Michel Foucault’s Lec­ture “The Cul­ture of the Self,” Pre­sent­ed in Eng­lish at UC Berke­ley (1983)

Michel Fou­cault – Beyond Good and Evil: 1993 Doc­u­men­tary Explores the Theorist’s Con­tro­ver­sial Life and Phi­los­o­phy

Watch a “Lost Inter­view” With Michel Fou­cault: Miss­ing for 30 Years But Now Recov­ered

Read Chez Fou­cault, the 1978 Fanzine That Intro­duced Stu­dents to the Rad­i­cal French Philoso­pher

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.


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