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60 Free-to-Stream Movies for Women’s History Month: Classic Agnès Varda, a Portrait of Susan Sontag, Greta Gerwig’s Lady Bird, and More

March is Wom­en’s His­to­ry Month, and every month is a good one for watch­ing movies. Well aware of both those facts, the peo­ple behind free-to-user online stream­ing ser­vice Kanopy have made a range of 60 woman-cen­tric and most­ly woman-made films avail­able this month. Some of the women involved include Nou­velle Vague auteur Agnès Var­da, direc­tor of Cléo from 5 to 7 and The Beach­es of Agnès; Susan Son­tag, the pro­lif­ic writer and sub­ject of Regard­ing Susan Son­tag; and Gre­ta Ger­wig, who went from respect­ed indie-cin­e­ma actress to even more respect­ed indie-cin­e­ma direc­tor with 2017’s Lady Bird.

If the trail­ers for these films in this post intrigue you, you can, of course, go right to Kanopy to watch them in full. First, though, you’ll want to pull out your local library card. “We stream thought­ful enter­tain­ment to your pre­ferred device with no fees and no com­mer­cials by part­ner­ing with pub­lic libraries and uni­ver­si­ties,” says Kanopy­’s about page, explain­ing that you need only “log in with your library mem­ber­ship and enjoy our diverse cat­a­log with new titles added every month.”

To check and see whether your library (or uni­ver­si­ty) is among Kanopy­’s part­ners, just type it into the search win­dow on this page.

After log­ging in you can explore the full breadth of Kanopy­’s list of Wom­en’s His­to­ry Month selec­tions, which also includes doc­u­men­taries like Won­der Women: The Untold Sto­ry of Amer­i­can Super­heroinesThe Girls in the Band: Female Jazz Musi­ciansWho Does She Think She Is?: A Por­trait of Female Artists, and Women of ’69: Unboxed: Women from the Six­ties Share their Sto­ries, as well as oth­er exam­i­na­tions of women in pol­i­tics, women in gam­ingwomen in STEM, and women in prison. Once you’ve seen them all, you might con­sid­er explor­ing Kanopy­’s oth­er cin­e­mat­ic offer­ings, from a vari­ety of oth­er doc­u­men­taries to dra­macom­e­dy, and even hor­ror and thriller as well as sci­ence fic­tion and fan­ta­sy.

That last sec­tion, one can’t help but notice, comes head­ed by Mark Saw­ers’ No Men Beyond This Point, which takes as its set­ting a world that has­n’t been able to pro­duce male babies for the past 60 years. Its main char­ac­ter is the last man alive. Kanopy describes it as “a wry mock­u­men­tary that asks the ques­tion, what would the world be like if women were in charge?” How­ev­er pos­i­tive or neg­a­tive an answer to that ques­tion just popped into your head, all these films will sure­ly give it a bit more nuance, and at no charge at that.

Kanopy­’s own list of five Wom­en’s His­to­ry Month films rec­om­mend­ed from each of their major col­lec­tion runs as fol­lows:

Films Direct­ed by Women
  1. Lady Bird — Direct­ed by Gre­ta Ger­wig and nom­i­nat­ed for five Oscars, this warm, affect­ing com­e­dy fol­lows a high school­er who must nav­i­gate a lov­ing, but tur­bu­lent rela­tion­ship with her strong-willed moth­er over the course of her event­ful and poignant senior year of high school.
  2. Cleo from 5 to 7 — Direc­tor Agnes Var­da elo­quent­ly cap­tures Paris in the ‘60s with this real-time por­trait of a singer (Corinne Marc­hand) set adrift as she awaits test results fol­low­ing a biop­sy.
  3. The Mise­d­u­ca­tion of Cameron Post — Direct­ed by Desiree Akha­van and Grand Jury Prize win­ner at the Sun­dance Film Fes­ti­val, the film fol­lows Cameron when she’s sent to a gay con­ver­sion ther­a­py cen­ter after get­ting caught with anoth­er girl in the back­seat of a car.
  4. Amer­i­can Hon­ey — Nom­i­nat­ed for six Film Inde­pen­dent Spir­it Awards and win­ner of two Spe­cial Jury Prizes at the Cannes Film Fes­ti­val, the film fol­lows an ado­les­cent girl from a trou­bled home who runs away with a trav­el­ing sales crew across the Amer­i­can Mid­west to sell sub­scrip­tions door-to-door.
  5. Made­line’s Made­line — From direc­tor Josephine Deck­er, the lines between per­for­mance and real­i­ty begin to blur when a young actress is pushed too far. An Offi­cial Selec­tion at the Berlin Inter­na­tion­al Fes­ti­val, Madeline’s Made­line stars Mol­ly Park­er (“Lost in Space”).
His­to­ry
  1. Ani­ta — Against a back­drop of sex, pol­i­tics, and race, Ani­ta reveals the inti­mate sto­ry of a woman who spoke truth to pow­er.
  2. Killing Us Soft­ly (Four-Part Series) — Jean Kil­bourne takes a fresh look at how print and tele­vi­sion adver­tise­ments bare a stun­ning pat­tern of dam­ag­ing gen­der stereo­types, dis­tort­ing the ideals of fem­i­nin­i­ty over the decades.
  3. Women of ’69: Unboxed — An inti­mate, per­son­al­ized por­trait of women of the 1960s through the eyes of one col­or­ful class that grad­u­at­ed in 1969 and start­ed to explore the New Old Age.
  4. Polit­i­cal Ani­mals — This mul­ti-award win­ning film tells the sto­ry of the civ­il rights strug­gle of this cen­tu­ry — the gay rights move­ment — through the eyes of the first four mem­bers of the LGBT Leg­isla­tive Cau­cus.
  5. The Girls in the Band — An award-win­ning doc­u­men­tary film that tells the poignant, untold sto­ries of female jazz and big band instru­men­tal­ists and their fas­ci­nat­ing, his­to­ry-mak­ing jour­neys from the late ‘30s to present day.
Major Fig­ures
  1. Regard­ing Susan Son­tag — An inti­mate and nuanced inves­ti­ga­tion into the life of one of the most impor­tant lit­er­ary, polit­i­cal and fem­i­nist icons of the 20th cen­tu­ry, Susan Son­tag.
  2. Maya Angelou: And Still I Rise — The film traces Dr. Angelou’s incred­i­ble jour­ney, shed­ding light on the untold aspects of her life through nev­er-before-seen footage, rare archival pho­tographs and videos in her own words.
  3. Jane’s Jour­ney — A 2010 film that fol­lows Jane Goodall across sev­er­al con­ti­nents, from her child­hood home in Eng­land to the Gombe Nation­al Park in Tan­za­nia, where she began her ground­break­ing research and where she still returns every year to enjoy the com­pa­ny of chim­panzees.
  4. The Beach­es of Agnes — From direc­tor Agnes Var­da, this cin­e­mat­ic self-por­trait touch­es on every­thing from the fem­i­nist move­ment and the Black Pan­thers to the filmmaker’s hus­band Jacques Demy and the birth of the French New Wave.
  5. Mavis! — An award-win­ning doc­u­men­tary on gospel/soul music leg­end and civ­il rights icon, Mavis Sta­ples and her fam­i­ly group, The Sta­ple Singers.
Cur­rent Events
  1. Wom­en’s March — Shot on loca­tion in five U.S. cities in 2017, this is a sto­ry about democ­ra­cy, human rights and what it means to stand up for val­ues in today’s Amer­i­ca.
  2. I am a Girl — Nom­i­nat­ed for four Aus­tralian Acad­e­my Awards includ­ing Best Doc­u­men­tary and Best Direc­tor, this inspi­ra­tional fea­ture-length doc­u­men­tary fol­lows six girls from around the world, paint­ing a clear pic­ture of the real­i­ty of what it means to be a female in the 21st cen­tu­ry.
  3. Miss Rep­re­sen­ta­tion — Writ­ten and direct­ed by Jen­nifer Siebel New­som, this film expos­es how main­stream media con­tributes to the under-rep­re­sen­ta­tion of women in posi­tions of pow­er and influ­ence in Amer­i­ca.
  4. Star­less Dreams — A stark tes­ti­mo­ni­al of the pre­vi­ous­ly unseen and unheard, this award-win­ning doc­u­men­tary plunges into the lives of young teenage girls shar­ing tem­po­rary quar­ters at a reha­bil­i­ta­tion and cor­rec­tion cen­ter on the out­skirts of Tehran.
  5. Hooli­gan Spar­row — Mav­er­ick activist Ye Haiyan (a.k.a Hooli­gan Spar­row) and her band of col­leagues trav­el to Hainan Province in south­ern Chi­na to protest the case of six ele­men­tary school girls who were sex­u­al­ly abused by their prin­ci­pal.

Relat­ed Con­tent:

Stream 48 Clas­sic & Con­tem­po­rary Ger­man Films Free Online: From Fritz Lang’s Metrop­o­lis to Mar­garethe von Trotta’s Han­nah Arendt

1,150 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc.

An Ambi­tious List of 1400 Films Made by Female Film­mak­ers

Watch Four Dar­ing Films by Lois Weber, “the Most Impor­tant Female Direc­tor the Amer­i­can Film Indus­try Has Known” (1913–1921)

The First Fem­i­nist Film, Ger­maine Dulac’s The Smil­ing Madame Beudet (1922)

11 Essen­tial Fem­i­nist Books: A New Read­ing List by The New York Pub­lic Library

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

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The Elaborate Pictogram Ernest Hemingway Received in the Hospital During WWI: Can You Decode Its Meaning?

Every­one who knows the work of Ernest Hem­ing­way knows A Farewell to Arms, and every­one who knows A Farewell to Arms knows that Hem­ing­way drew on his expe­ri­ence as a Red Cross ambu­lance dri­ver in Italy dur­ing World War I. Just a few months after ship­ping out, the eigh­teen-year-old writer-to-be — filled, he lat­er said, with “a great illu­sion of immor­tal­i­ty” — got caught by mor­tar fire while tak­ing choco­late and cig­a­rettes from the can­teen to the front line. Recov­er­ing from his wounds in a Milanese hos­pi­tal, he fell in love with an Amer­i­can nurse named Agnes Han­nah von Kurowsky, who would become the mod­el for Cather­ine Barkley in A Farewell to Arms.

Hem­ing­way wrote that nov­el years after Kurowsky had left him for an Ital­ian offi­cer, but when their prospects still looked good, they received this curi­ous let­ter, which at first glance looks like noth­ing more than a few pages of doo­dles. “We think it may be a rebus or anoth­er type of pic­togram that uses pic­tures to rep­re­sent words, parts of words, or phras­es,” wrote Jes­si­ca Green, an intern at the John F. Kennedy Pres­i­den­tial Library where it turned up, in 2012. “Can you help us solve this puz­zle?” Quite a few Hem­ing­way-enthu­si­ast com­menters duti­ful­ly got to their inter­pre­tive work below Green’s post, bring­ing to bear their knowl­edge of the writer’s life and work on these ani­mals, musi­cal notes, grin­ning faces, and mugs of beer, all strung togeth­er with log­ic sym­bols.

If you need a hint, you might start with the appar­ent fact that the let­ter came from three of Hem­ing­way’s ambu­lance-dri­ver bud­dies. “The let­ter is a cheer­ful nar­ra­tive of the three friends’ recent hijinks,” writes Slate’s Rebec­ca Onion. “In the salu­ta­tion, the writ­ers used a foam­ing mug of beer to rep­re­sent Hemingway’s name (he was often called ‘Hem­ing­stein’); clear­ly, these were men who shared Hemingway’s love for ine­bri­a­tion.” But even before they addressed good old Hem­ing­stein, they addressed Kurowsky — as, in the visu­al lan­guage invent­ed for their pur­pos­es, a fry­ing pan with an egg in it. “Ag sounds like egg,” explains the deci­pher­ment Green lat­er post­ed to the JFK Library’s blog.

Green goes on to break down the pic­to­graph­ic let­ter sec­tion by sec­tion, from Brum­my, Bill, and Jenks’ plans to take leave time and come to Milan, Brum­my’s unfor­tu­nate recent expe­ri­ence with “mixed drinks made from Asti Spuman­ti, Rum, Cognac, Marsala, and Rock Syrup,” Jenks’ dri­ving of the bed­bugs in his bed into that of anoth­er dri­ver, and the glo­ri­ous results of Bil­l’s trim­ming and wax­ing of his mus­tache, and more besides. To mod­ern read­ers, the let­ter offers not just a glimpse into the sen­si­bil­i­ties of Hem­ing­way’s social cir­cle but life on the Ital­ian front in 1918. And for Hem­ing­way him­self, receiv­ing such an amus­ing piece of cor­re­spon­dence dur­ing six long months of recu­per­a­tion in the hos­pi­tal must sure­ly have done some­thing to lift the spir­its, though what effect its dis­tinc­tive com­po­si­tion­al style may have had on his own writ­ing seem­ing­ly remains to be stud­ied.

Click here to read a decod­ing of this pic­togram from 1918.

Relat­ed Con­tent:

Ernest Hemingway’s Very First Pub­lished Sto­ries, Free as an eBook

Ernest Hem­ing­way Cre­ates a Read­ing List for a Young Writer (1934)

Sev­en Tips From Ernest Hem­ing­way on How to Write Fic­tion

Hear Hem­ing­way Read Hem­ing­way, and Faulkn­er Read Faulkn­er (90 Min­utes of Clas­sic Audio)

Ernest Hemingway’s Favorite Ham­burg­er Recipe

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

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Download 10,000+ Books in Arabic, All Completely Free, Digitized and Put Online

If you’ve con­sid­ered learn­ing a new lan­guage to open up a new realm of read­ing, you could do much worse than Ara­bic. Though its mas­tery may demand a con­sid­er­able amount of time, it repays the invest­ment as the lan­guage of not just a coun­try but an entire region of the world, and a region with a deep tex­tu­al his­to­ry at that. Any­one inter­est­ed in becom­ing a stu­dent of Ara­bic, casu­al­ly or seri­ous­ly, can get their start at our col­lec­tion of Ara­bic lessons avail­able free online, and when up to speed on read­ing might con­sid­er a vis­it to Ara­bic Col­lec­tions Online (ACO), a dig­i­tal library of Ara­bic-lan­guage texts now boast­ing 10,042 vol­umes across 6,265 sub­jects, all of them also avail­able free online.

With a list of con­tribut­ing part­ners includ­ing insti­tu­tions in both Amer­i­ca (New York Uni­ver­si­ty, Prince­ton, Cor­nell, Colum­bia) and the Mid­dle East (the Amer­i­can Uni­ver­si­ty in Cairo, the Amer­i­can Uni­ver­si­ty of Beirut and Unit­ed Arab Emi­rates Nation­al Archives) — and, as ArabLit notesa $1.34 mil­lion grant received last August — ACO “aims to dig­i­tize, pre­serve, and pro­vide free open access to a wide vari­ety of Ara­bic lan­guage books in sub­jects such as lit­er­a­ture, phi­los­o­phy, law, reli­gion, and more.”

This mis­sion address­es not just a lack of wide­ly avail­able Ara­bic texts on the web, but the con­di­tion of much of the mate­r­i­al dig­i­tized, as “many old­er Ara­bic books are out-of-print, in frag­ile con­di­tion, and are oth­er­wise rare mate­ri­als that are in dan­ger of being lost.”

Though clear­ly an ever more valu­able resource for stu­dents of Ara­bic, ACO has much more to offer those already acquaint­ed with the joys of the lan­guage. ArabLit specif­i­cal­ly points out two of its fea­tured Egypt­ian titles this month, Taw­fiq al-Hakim’s Return of the Spir­it (عودة الروح), which Eng­lish trans­la­tor William May­nard Hutchins describes as “a glo­ri­ous­ly Roman­tic trib­ute to the sol­i­dar­i­ty of the Egypt­ian peo­ple of all class­es and reli­gions and to their good taste and excel­lent sense of humor,” andCol­ors (ألوان) by Taha Hus­sein, one of the coun­try’s most influ­en­tial intel­lec­tu­als of the 20th cen­tu­ry. But the full scope of Ara­bic-lan­guage lit­er­a­ture, as the already vast hold­ings of Ara­bic Col­lec­tions Online reveals, extends beyond Egypt, and far indeed beyond the past cou­ple of cen­turies. To those about to explore it,bil-taw­fiq.

via Goodread­er

Relat­ed Con­tent:

Free Ara­bic Lessons

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

The Only Sur­viv­ing Text Writ­ten in Ara­bic by an Amer­i­can Slave Has Been Dig­i­tized & Put Online: Read the Auto­bi­og­ra­phy of Enslaved Islam­ic Schol­ar, Omar Ibn Said (1831)

70,000+ Reli­gious Texts Dig­i­tized by Prince­ton The­o­log­i­cal Sem­i­nary, Let­ting You Immerse Your­self in the Curi­ous Works of Great World Reli­gions

A Map Show­ing How Much Time It Takes to Learn For­eign Lan­guages: From Eas­i­est to Hard­est

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

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Hear Underground 12, the Earliest Known Case of Musicians Recording While Under the Influence of LSD (1966)

Music and LSD: after “Tomor­row Nev­er Knows” and Sgt. Pep­per, we knew what an acid trip should sound like. Oth­er folks need­ed to know more. Some­where in Los Ange­les in 1966 a group of musi­cians were dos­ing and record­ing while trip­ping.

The result­ing recording–credited to “Under­ground 12” and con­sid­ered the ear­li­est known case of musi­cians record­ing while under the influ­ence of LSD–was only avail­able, as the leg­end goes, by mail order–you can see a copy of it here on discogs, a plain red label with only an address: 12457 Ven­tu­ra Blvd. in Stu­dio City, CA. A lit­tle bit of Google snoop­ing revealed this to be an office for Hunt­ing­ton Park First Sav­ings and Loan in 1966, but assum­ing there was anoth­er office there, an issue of Bill­board from that year also men­tions an artist man­ag­er called Bob Reed at the same address. (Bob, we’re on to you!).

There’s noth­ing par­tic­u­lar­ly groovy about this music. There’s no sitars, no fuzz ped­als, no incense, no pep­per­mints. There is, how­ev­er, a lot of echo and delay, a lot of sped up tape (which in parts sounds a bit like Zappa’s “King Kong”), plen­ty of aton­al laugh­ing, and welp, that’s about it for side one.

Side two is a bit bet­ter, with an actu­al piano played at nor­mal speed, and an elec­tric gui­tar solo­ing against it. This sounds a bit prog­gy, about five years ahead of its time. But then the pro­duc­er (Bob Reed, is that you again?) starts speed­ing up the tape again.

Con job or bad trip? Did these musi­cians know what they were in for? Did they real­ly dose, or was stu­dio trick­ery seen as a good enough place­bo? Did the LSD pro­duce some pret­ty ordi­nary stu­dio jam­ming and the LP is a sal­vage job? So many mys­ter­ies, so lit­tle time.

Lyser­gia, a Swedish label that re-releas­es rare grooves such as this has also put out The Psy­che­del­ic Expe­ri­ence: The Ulti­mate Jour­ney Through Late 60s Psy­che­delia, Acid Burns and Drug­gy Grooves by Patrick Lund­borg, a Swedish writer whose sub­ject was LSD, and rere­leased the only album by Madri­gal, a Mor­ris­town, New Jer­sey two­some which has a 13-minute track called “Stoned Freak­out.”

How­ev­er if the above sam­pler thrills you and you would like to own an orig­i­nal copy of this dubi­ous clas­sic by the Under­ground 12, it will set you back $666. The sell­er, obvi­ous­ly, knows what’s up.

Relat­ed Con­tent:

When Aldous Hux­ley, Dying of Can­cer, Left This World Trip­ping on LSD, Expe­ri­enc­ing “the Most Serene, the Most Beau­ti­ful Death” (1963)

Artist Draws 9 Por­traits While on LSD: Inside the 1950s Exper­i­ments to Turn LSD into a “Cre­ativ­i­ty Pill”

Watch The Bicy­cle Trip: An Ani­ma­tion of The World’s First LSD Trip Which Took Place on April 19, 1943

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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Watch Bauhaus World, a Free Documentary That Celebrates the 100th Anniversary of Germany’s Legendary Art, Architecture & Design School

This April 1st marks the 100th anniver­sary of the found­ing of the Bauhaus, the Ger­man art school that, though short-lived, launched an entire design move­ment with a stark, func­tion­al aes­thet­ic all its own. It can be tempt­ing, look­ing into that aes­thet­ic that finds the beau­ty in indus­try and the indus­try in beau­ty, to regard it as pure­ly a prod­uct of its time and place, specif­i­cal­ly a 20th-cen­tu­ry Europe between the wars search­ing for ways to invent the future. But as revealed in Bauhaus World, this three-part doc­u­men­tary from Ger­man broad­cast­er Deutsche Welle, the lega­cy of the Bauhaus lives on not just in the rep­u­ta­tions of its best known orig­i­nal mem­bers — Wal­ter Gropius, Paul Klee, Lás­zló Moholy-Nagy, and Josef Albers, among oth­ers — but in the cur­rent­ly active cre­ators it con­tin­ues to inspire in every cor­ner of the Earth.

“What do esca­la­tors in Medel­lín, Ara­bic let­ter­ing in Amman, sto­ry-telling fur­ni­ture from Lon­don, urban farm­ing in Detroit and a co-liv­ing com­plex in Tokyo have to do with the Bauhaus?” asks Deutsche Welle’s web site. They all draw from “the influ­ence that the phi­los­o­phy of the Bauhaus move­ment still exerts on the glob­al­ized soci­ety of the 21st cen­tu­ry,” a time that has its soci­etal par­al­lels with the year 1919.

To illus­trate those par­al­lels as well as the con­tin­u­ing rel­e­vance of Bauhaus teach­ings, “we meet archi­tects, urban plan­ners, design­ers and artists from around the globe who, in the spir­it of the Bauhaus, want to rethink and change the world.” True to its title, Bauhaus World’s jour­ney involves a wide vari­ety of coun­tries, and not just Euro­pean ones: dif­fer­ent seg­ments pro­file the work of Bauhaus-influ­enced design­ers every­where from Mex­i­co to Jor­dan, Colom­bia to Israel, the Unit­ed States to Japan.

It’s in Japan, in fact, that the first part of Bauhaus World, “The Code,” finds the out­er reach­es of the spread of Bauhaus that began with the exile of its mem­bers from Nazi Ger­many. The sec­ond part, “The Effect,” deals with the endur­ing influ­ence that has turned Bauhaus and its prin­ci­ples from a move­ment to a brand, one that has poten­tial­ly done more than its share to make us as design-obsessed as we’ve become in the 21st cen­tu­ry — a cen­tu­ry that, the third and final part “The Utopia” con­sid­ers, may or may not have a place for the orig­i­nal Bauhaus ideals. But what­ev­er Gropius, Klee, Moholy-Nagy, Albers, and the rest would think of what the Bauhaus they cre­at­ed has become over the past hun­dred years, over the next hun­dred years more and more design­ers — emerg­ing from a wider and wider vari­ety of soci­eties and tra­di­tions — will come to see them­selves as its descen­dants.

Bauhaus World will be added to our list of Free Doc­u­men­taries, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

How the Rad­i­cal Build­ings of the Bauhaus Rev­o­lu­tion­ized Archi­tec­ture: A Short Intro­duc­tion

An Oral His­to­ry of the Bauhaus: Hear Rare Inter­views (in Eng­lish) with Wal­ter Gropius, Lud­wig Mies van der Rohe & More

32,000+ Bauhaus Art Objects Made Avail­able Online by Har­vard Muse­um Web­site

The Female Pio­neers of the Bauhaus Art Move­ment: Dis­cov­er Gertrud Arndt, Mar­i­anne Brandt, Anni Albers & Oth­er For­got­ten Inno­va­tors

Down­load Beau­ti­ful­ly-Designed Bauhaus Books & Jour­nals for Free: Gropius, Klee, Kandin­sky, Moholy-Nagy & More

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

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Hear Neil Gaiman Read Aloud 15 of His Own Works, and Works by 6 Other Great Writers: From The Graveyard Book & Coraline, to Edgar Allan Poe’s The Raven & Dickens’ A Christmas Carol

Neil Gaiman is a sto­ry­teller. That title encom­pass­es quite a few pur­suits, most of which seem­ing­ly involve writ­ing — writ­ing nov­els, writ­ing radio dra­mas, writ­ing com­ic books — but he also occa­sion­al­ly tells sto­ries the old-fash­ioned way: speak­ing aloud, and to an audi­ence of rapt lis­ten­ers. Tra­di­tion­al­ly, such sto­ry­telling hap­pened in a cir­cle around the camp­fire, but as a sto­ry­teller of the 21st cen­tu­ry — albeit a mas­ter of time­less tech­niques who uses those tech­niques to deal with time­less themes — Gaiman can tell sto­ries to the entire world. Today we’ve gath­ered all of Gaiman’s stream­able read­ings, both video and audio, in one place.

Near­ly every type of text at which he has tried his hand appears in this col­lec­tion, from nov­els (The Grave­yard Book) to novel­las (Cora­line) to poet­ry (“Instruc­tions,” above) to man­i­festos (“Mak­ing Good Art”). Suit­able as his voice and deliv­ery are to his own work, Gaiman’s live sto­ry­telling tal­ent also extends to the works of oth­ers, as you’ll find out if you lis­ten to the selec­tions on the sec­ond list below.

The mate­r­i­al varies wide­ly, from non­sense or near-non­sense poet­ry like Dr. Seuss’ Green Eggs and Ham and Lewis Car­rol­l’s “Jab­ber­wocky” to the work of his friend Ursu­la K. Le Guin to a clas­sic like Edgar Allan Poe’s “The Raven,” whose Goth­ic atmos­phere will no doubt appeal to Gaiman’s fans.

And Gaiman cer­tain­ly has his fair share of fans. If you already count your­self in that group, you’ll need lit­tle con­vinc­ing to do a binge-lis­ten of his read­ings here. But if you aren’t yet famil­iar with Gaiman’s work in all its var­i­ous forms, you might con­sid­er using these pieces of video and audio as an entry­way into his nar­ra­tive world, with its emo­tion­al chiaroscuro, it mod­ern-day mythol­o­gy, and its unflag­ging sense of humor. There’s plen­ty of Neil Gaiman out there to read, of course, but with his style of sto­ry­telling, some­times he must sim­ply be heard — if not around an actu­al camp­fire, then on that largest camp­fire ever cre­at­ed, the inter­net. These texts will be added to our list, 1,000 Free Audio Books: Down­load Great Books for Free.

His own work
Works by oth­ers
  • A Christ­mas Car­ol by Charles Dick­ens — Free Audio
  • Green Eggs and Ham by Dr. Seuss — Free Video
  • “Democ­ra­cy” by Leonard Cohen — Free Video
  • “How It Seems to Me,” a Poem by Ursu­la K Le Guin — Free Video
  • “Jab­ber­wocky” by Lewis Car­roll — Free Video
  • “The Raven” by Edgar Allan Poe — Free Video 

Relat­ed Con­tent:

18 Sto­ries & Nov­els by Neil Gaiman Online: Free Texts & Read­ings by Neil Him­self

Neil Gaiman Reads His Man­i­festo on Mak­ing Art: Fea­tures the 10 Things He Wish He Knew As a Young Artist

Where Do Great Ideas Come From? Neil Gaiman Explains

Neil Gaiman Teach­es the Art of Sto­ry­telling in His New Online Course

Aman­da Palmer Ani­mates & Nar­rates Hus­band Neil Gaiman’s Uncon­scious Mus­ings

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

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Dieter Rams Lists the 10 Timeless Principles of Good Design–Backed by Music by Brian Eno

Near­ly all of us have heard the dic­tum “Less, but bet­ter,” and near­ly all of us have used Braun prod­ucts. But how many of us know that both of those owe their con­sid­er­able pop­u­lar­i­ty to the same man? After study­ing archi­tec­ture, inte­ri­or dec­o­ra­tion, and car­pen­try, the Ger­man indus­tri­al design­er Dieter Rams spent 40 years at Braun, most of them as the com­pa­ny’s chief design offi­cer. There he cre­at­ed such hits as the 606 uni­ver­sal shelv­ing sys­tem, the SK61 record play­er, and the ET66 cal­cu­la­tor. That last pro­vid­ed the mod­el for the cal­cu­la­tor appli­ca­tion inter­face in Apple’s iOS 3, among oth­er homages Apple has paid to Rams.

Rams, in turn, has been com­pli­men­ta­ry to Apple, call­ing it one of the few com­pa­nies in exis­tence that designs prod­ucts accord­ing to his prin­ci­ples. Any­one can sense the affin­i­ty between the most endur­ing Apple prod­ucts and Rams-designed Braun prod­ucts, but what are those prin­ci­ples?

You can hear them laid out by the man him­self him­self in the trail­er above for Rams, last year’s doc­u­men­tary by Gary Hus­twit, he of Hel­veti­ca (the doc­u­men­tary about the font) and Objec­ti­fied (the doc­u­men­tary about indus­tri­al design that fea­tured Rams as an inter­vie­wee). The list is as fol­lows:

  1. Good design is inno­v­a­tive. “Design always comes about in con­nec­tion with inno­v­a­tive tech­nol­o­gy. How can design be good if the tech­nol­o­gy is not on the same lev­el?”
  2. Good design makes a prod­uct use­ful. “Good design opti­mizes use­ful­ness and ignores any­thing that does­n’t serve the pur­pose or works against it.”
  3. Good design is aes­thet­ic. “Objects you use dai­ly sig­nif­i­cant­ly shape your sur­round­ings and your sense of well-being. Only some­thing that is well-made can be beau­ti­ful.”
  4. Good design makes a prod­uct under­stand­able. “It makes it easy to under­stand the struc­ture of the prod­uct. Even more, it can make the prod­uct ‘talk.’ Ide­al­ly, it explains itself best.”
  5. Good design is unob­tru­sive. “Prod­ucts that serve a pur­pose have the char­ac­ter­is­tics of a tool. Their design should be neu­tral and leave room for the user’s self-expres­sion.”
  6. Good design is hon­est. “Hon­est means not try­ing to make a prod­uct look more inno­v­a­tive, pow­er­ful, or valu­able than it real­ly is.”
  7. Good design is long-last­ing. “In con­trast to fash­ion­able design, it lasts many years even in our cur­rent throw­away soci­ety.”
  8. Good design is thor­ough down to the last detail. “Noth­ing should be arbi­trary or left to chance. Thor­ough­ness and pre­ci­sion are expres­sions of respect for the user.”
  9. Good design is envi­ron­men­tal­ly friend­ly. “Design makes an impor­tant con­tri­bu­tion to pre­serv­ing the envi­ron­ment. It con­serves resources and min­i­mizes phys­i­cal and visu­al pol­lu­tion.”
  10. Good design is as lit­tle design as pos­si­ble. “Back to sim­plic­i­ty. Back to puri­ty. Less, but bet­ter.”

The trail­er illus­trates each of these prin­ci­ples with one of Rams’ designs, devel­oped at Braun or else­where: the T 1000 CD radio, the MPZ 21 cit­rus juicer, the 740 stool, the 620 chair. Though designed forty, fifty, even six­ty years ago, these gad­gets and pieces of fur­ni­ture have stood the test of time. Some have even made a return to the mar­ket in recent years of our both aes­thet­i­cal­ly and envi­ron­men­tal­ly con­scious age. You can watch Rams on Vimeo on Demand, and if you do, you’ll not only get to enjoy its Bri­an Eno-com­posed score, you’ll learn much more about how Rams designed his most beloved prod­ucts — and about where he still sees ways to improve them. That holds true even for his design prin­ci­ples them­selves: “I always empha­sized that they weren’t meant to last for­ev­er,” he says. “They should be updat­ed.”

via Uncrate

Relat­ed Con­tent:

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Pao­la Antonel­li on Design as the Inter­face Between Progress and Human­i­ty

Saul Bass’ Oscar-Win­ning Ani­mat­ed Short Pon­ders Why Man Cre­ates

Saul Bass’ Advice for Design­ers: Make Some­thing Beau­ti­ful and Don’t Wor­ry About the Mon­ey

Sketch­es of Artists by the Late New Media Design­er Hill­man Cur­tis

Abstract: Netflix’s New Doc­u­men­tary Series About “the Art of Design” Pre­mieres Today

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

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Watch 66 Oscar-Nominated-and-Award-Winning Animated Shorts Online, Courtesy of the National Film Board of Canada

I recent­ly heard some­one quip that pro­pos­als to cut the Acad­e­my Awards are tan­ta­mount to sug­gest­ing that the NFL trim down the Super Bowl. Cer­tain­ly for many who would rather watch the for­mer any day of the week, even the play-by-play of tech­ni­cal cat­e­gories repays atten­tion. Yet peo­ple who think of the Oscars as a major sport­ing event with big stars and block­busters going head-to-head can still appre­ci­ate the show as more than spec­ta­cle. How else, for exam­ple, would most of us learn about bril­liant ani­mat­ed short films like the Nation­al Film Board of Canada’s Ani­mal Behav­iour, made by hus­band and wife team Ali­son Snow­den and David Fine and nom­i­nat­ed in this year’s Oscars? (See the trail­er above.)

Snow­den and Fine pre­vi­ous­ly won an Oscar in 1995 for Bob’s Birth­day, a hilar­i­ous short about an unhap­py British den­tist. Their lat­est film takes a charm­ing, anthro­po­mor­phic route to the ques­tion Fine pos­es as, “Should what comes nat­u­ral­ly to you be some­thing that you seek to change to please oth­ers, or should oth­ers accept you as you are?”

Group ther­a­py par­tic­i­pants seek­ing accep­tance include Lor­raine, a leech with sep­a­ra­tion anx­i­ety, Vic­tor, an ape with anger issues, and Cheryl, a pray­ing man­tis, writes the Nation­al Film Board, “who can’t seem to keep a man.”

The NFB informs us that Ani­mal Behav­iour is their 75th Oscar-nom­i­na­tion in the cat­e­go­ry of Ani­mat­ed Short Film, and whether you’re inclined to watch this part of the awards or not, you can get caught up with their exten­sive playlist of 66 Oscar-win­ning and nom­i­nat­ed films on YouTube. (Bob’s Birth­day is not avail­able, at least in the U.S., but you can watch it here.) See Snow­den and Fine’s first film, George and Rose­mary, a sto­ry in which “two gold­en agers prove that pas­sion isn’t reserved for the very young.”


Watch the very impres­sive stop-motion ani­ma­tion of 2007’s Madame Tut­li-Put­li, an “exhil­a­rat­ing exis­ten­tial jour­ney” direct­ed by Chris Lavis & Maciek Szczer­bows­ki. See Chris Landreth’s 2013 Oscar-win­ning com­put­er-ani­mat­ed short, Ryanabout a char­ac­ter “liv­ing every artist’s worst night­mare.”

And see the 2007 Oscar-win­ning exis­ten­tial ani­mat­ed short The Dan­ish Poet, direct­ed by Torill Kove and fea­tur­ing nar­ra­tion by Liv Ull­mann. The offer­ings are vast and var­ied, dis­play­ing the very best of Cana­di­an ani­ma­tion, a nation­al art that usu­al­ly goes unseen and unac­knowl­edged by audi­ences out­side its bor­ders. But after watch­ing sev­er­al of these films you might agree that NFB ani­ma­tion deserves its long his­to­ry of recog­ni­tion at the Oscars. See the com­plete playlist of films here.


Many of these films can be found in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Ear­ly Japan­ese Ani­ma­tions: The Ori­gins of Ani­me (1917 to 1931)

The Psy­che­del­ic 1970s Ani­ma­tions of Kei­ichi Tanaa­mi: A Music Video for John Lennon’s “Oh Yoko!,” Sur­re­al Trib­utes to Elvis & Mar­i­lyn Mon­roe, and More

Free Ani­mat­ed Films: From Clas­sic to Mod­ern 

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

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Watch a Towering Orchestral Tribute to Kate Bush: A 40th Anniversary Celebration of Her First Single, “Wuthering Heights”

Some Amer­i­cans like their pop musi­cians to be more acces­si­ble, less the­atri­cal, and eccentric—and gen­er­al­ly more des­per­ate for the approval of their audi­ence. Kate Bush, thank­ful­ly, has nev­er seemed both­ered by this need. She could leave the spot­light when she need­ed to, or leave the music busi­ness alto­geth­er for a time, and yet remain a cre­ative force to be reck­oned with for four decades now. Her lega­cy has per­me­at­ed con­tem­po­rary music since she appeared in 1978, then retired from the stage the fol­low­ing year after her first tour to focus sole­ly on writ­ing, record­ing, and mak­ing short musi­cal films.

Her debut, The Kick Inside, proved that an orig­i­nal new song­writer worth watch­ing had arrived, and she deliv­ered on the promise in ten stu­dio albums and a career she seemed to sum up in the title of “This Woman’s Work,” from 1989’s The Sen­su­al World. It is work she has always done in her own delight­ful­ly odd, pas­sion­ate, eccen­tri­cal­ly British, the­atri­cal, and deft­ly lit­er­ary way, all qual­i­ties that have made her a mas­sive star in the UK and a hero to artists like Tori Amos, Annie Lennox, Grimes, Flo­rence and the Machine, and too many more to name.

Bush’s unusu­al traits also make her a per­fect artist to pay trib­ute to in an orches­tral set­ting, as Sweden’s Gothen­burg Sym­pho­ny has done in the 2018 con­cert also titled “This Woman’s Work” and fea­tur­ing the very-Bush-wor­thy vocal tal­ents of guest singers Jen­nie Abra­ham­son and Malin Dahlström. It’s “a tow­er­ing trib­ute,” the Sym­pho­ny writes, “with hit songs and pure poet­ry in spe­cial arrange­ments by Mar­tin Schaub.” And it arrived to mark a spe­cial moment indeed: the 40th anniver­sary of the release of Bush’s bril­liant­ly strange debut sin­gle “Wuther­ing Heights.” See the full per­for­mance at the top of the post and excerpt­ed songs through­out, includ­ing Abra­ham­son’s cov­er of “This Wom­an’s Work,” above.

Appear­ing in the ghost­ly guise and ethe­re­al­ly high-pitched voice of Cathy Earn­shaw, doomed hero­ine of Emi­ly Brontë’s nov­el, Bush cap­ti­vat­ed mil­lions in two videos that are now absolute clas­sics. She drew on the mime the­atrics of her teacher Lind­say Kemp, who pre­vi­ous­ly men­tored David Bowie, and gave us the indeli­ble image of a woman pos­sessed by weird imag­i­na­tion, uncan­ny musi­cal tal­ent, and some fright­en­ing dance moves. The images and sounds she cre­at­ed in just those 3 and a half min­utes are icon­ic. Or, putting it a lit­tle dif­fer­ent­ly in a short BBC doc­u­men­tary, John Lydon says, “Kate Bush and her grand piano… that’s like John Wayne and his sad­dle… her shrieks and war­bles are beau­ty beyond belief.”

If you came to Bush lat­er in her career, say dur­ing 1985’s huge Hounds of Love, and some­how missed her unbe­liev­able first fine art-rock per­for­mances on film, watch both the white and red dress ver­sions first, then watch the Gothen­burg Symphony’s glow­ing, career-span­ning trib­ute to a woman who “laid the ground­work for [a] gen­er­a­tion of per­form­ers,” as Marc Hirsh writes at NPR. Even though he is an Amer­i­can who does not care for Kate Bush, Hirsh can’t seem to help enu­mer­at­ing the very rea­sons she is so spe­cial to so many, and he fea­tures a num­ber of her videos that demon­strate why she’s an artist her fans love “from the very core of their being.”

via Metafil­ter

Relat­ed Con­tent:

2009 Kate Bush Doc­u­men­tary Dubs Her “Queen of British Pop”

Kate Bush’s First Ever Tele­vi­sion Appear­ance, Per­form­ing “Kite” & “Wuther­ing Heights” on Ger­man TV (1978)

The Largest Ever Trib­ute to Kate Bush’s “Wuther­ing Heights” Chore­o­graphed by a Flash­mob in Berlin

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

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Pioneering Sci-Fi Author William Gibson Predicts in 1997 How the Internet Will Change Our World

“What’s the one thing that all great works of sci­ence fic­tion have in com­mon?” asks a 1997 episode of The Net, the BBC’s tele­vi­sion series about the pos­si­bil­i­ties of this much-talked-about new thing called the inter­net. “They all tried to see into the future, and they all got it wrong. Orwell’s 1984, Hux­ley’s Brave New World, Arthur C. Clarke’s 2001: all, to some extent or oth­er, wrong. And there’s anoth­er name to add to this list: William Gib­son.” But then on strolls Gib­son him­self, fresh off the writ­ing of Idoru, a nov­el involv­ing a human who wants to mar­ry a dig­i­tal­ly gen­er­at­ed Japan­ese pop star, to grant the inter­view above.

In it Gib­son admits that com­put­ers had­n’t gone quite the way he’d imag­ined thir­teen years ear­li­er in his debut nov­el Neu­ro­mancer — but in which he also offers pre­scient advice about how we should regard new tech­nol­o­gy even today. “The thing that Neu­ro­mancer pre­dicts as being actu­al­ly like the inter­net isn’t actu­al­ly like the inter­net at all!” Gib­son says in a more recent inter­view with Wired. “I did­n’t get it right but I said there was going to be some­thing.” Back in the mid-1980s, as he tells the BBC, “there was effec­tive­ly no inter­net to extrap­o­late from. The cyber­space I made up isn’t being used in Neu­ro­mancer the way we’re using the inter­net today.”

Gib­son had envi­sioned a cor­po­rate-dom­i­nat­ed net­work infest­ed with “cyber­net­ic car thieves skulk­ing through it attempt­ing to steal tid­bits of infor­ma­tion.” By the mid-1990s, though, the inter­net had become a place where “a real­ly tal­ent­ed and deter­mined fif­teen-year-old” could cre­ate some­thing more com­pelling than “a multi­na­tion­al enter­tain­ment con­glom­er­ate might come up with.” He tells the BBC that “what the inter­net has become is as much a sur­prise to me as the col­lapse of the Sovi­et Union was,” but at that point he had begun to per­ceive the shape of things to come. “I can’t see why it won’t become com­plete­ly ubiq­ui­tous,” he says, envi­sion­ing its evo­lu­tion “into some­thing like tele­vi­sion to the extent that it pen­e­trates every lev­el of soci­ety.”

At the same time, “it does­n’t mat­ter how fast your modem is if you’re being shelled by eth­nic sep­a­ratists” — still very much a con­cern in cer­tain parts of the world — and even the most promis­ing tech­nolo­gies don’t mer­it our uncrit­i­cal embrace. “I think we should respect the pow­er of tech­nol­o­gy and try to fear it in a ratio­nal way,” he says. “The only appro­pri­ate response” is to give in to nei­ther techno­pho­bia nor technophil­ia, but “to teach our­selves to be absolute­ly ambiva­lent about them and imag­ine their most inad­ver­tent side effects,” the side effects “that tend to get us” — not to men­tion the ones that make the best plot ele­ments. See­ing as how we now live in a world where mar­riage to syn­thet­ic Japan­ese idols has become a pos­si­bil­i­ty, among oth­er devel­op­ments seem­ing­ly pulled from the pages of Gib­son’s nov­els, we would do well to heed even these decades-old words of advice about his main sub­ject.

via Big Think

Relat­ed Con­tent:

Take a Road Trip with Cyber­space Vision­ary William Gib­son, Watch No Maps for These Ter­ri­to­ries (2000)

How Chris Marker’s Rad­i­cal Sci­Fi Film La Jetée Changed the Life of Cyber­punk Prophet William Gib­son

Cyber­punk: 1990 Doc­u­men­tary Fea­tur­ing William Gib­son & Tim­o­thy Leary Intro­duces the Cyber­punk Cul­ture

Sci-Fi Author J.G. Bal­lard Pre­dicts the Rise of Social Media (1977)

Mark Twain Pre­dicts the Inter­net in 1898: Read His Sci-Fi Crime Sto­ry, “From The ‘Lon­don Times’ in 1904”

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

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