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朝鲜战争对中国崛起的意义:既赢美国也赢苏联

百度 据介绍,溧阳至宁德国家高速公路黄山至千岛湖安徽段项目路线起自黄山市歙县呈村降东侧,接徽杭高速,经深渡、武阳、沸家潭、程家揭、地岭,终至塔岭附近,接黄千高速淳安段,全长约公里。

In one account of human affairs, an all-pow-er-ful deity rules over every-thing. Noth-ing can occur with-out the knowl-edge and sanc-tion of the omnipo-tent cre-ator god. In a much more recent iter-a-tion, we inhab-it an unimag-in-ably com-plex com-put-er sim-u-la-tion, in which every thing—ourselves included—has been cre-at-ed by all-pow-er-ful pro-gram-mers. The first sce-nario gives mil-lions of peo-ple com-fort, the sec-ond… well, maybe only a hand-ful of cult-like Sil-i-con Val-ley techo-futur-ists. But in either case, the ques-tion inevitably aris-es: how is it pos-si-ble that there is any such thing as true free-dom? The idea that free will is an illu-sion has haunt-ed philo-soph-i-cal thought for at least a cou-ple thou-sand years.

But in the exis-ten-tial-ist view, the real fear is not that we may have too lit-tle free-dom, but that we may have too much—indeed that we may have the ulti-mate free-dom, that of con-scious beings who appeared in the uni-verse unbid-den and by chance, and who can only deter-mine for them-selves what form and direc-tion their being might take. This was the ear-ly view of Jean-Paul Sartre. “We are left alone, with-out excuse”—he famous-ly wrote in his 1946 essay “Exis-ten-tial-ism is a Human-ism”—“This is what I mean when I say that man is con-demned to be free.” Free-dom is a bur-den; with-out gods, dev-ils, or soft-ware engi-neers to fault for our actions, or any pre-de-ter-mined course of action we might take, each of us alone bears the full weight of respon-si-bil-i-ty for our lives and choic-es.

Emerg-ing from com-fort-ing visions of human-i-ty as the cen-ter of the universe—says the nar-ra-tor in the video above from philo-soph-i-cal ani-ma-tion chan-nel Kurzge-sagt—“we learned that the twin-kling lights are not shin-ing beau-ti-ful-ly for us, they just are. We learned that we are not at the cen-ter of what we now call the uni-verse, and that it is much, much old-er than we thought.” We learned that we are alone in the cos-mos, on a com-plete-ly insignif-i-cant speck of space dust, more or less. Even the con-cepts we use to explain this over-whelm-ing sit-u-a-tion are total-ly arbi-trary in the face of our pro-found igno-rance. Add to this the prob-lem of our infin-i-tes-i-mal-ly brief lifes-pans and inevitable death and you’ve got the per-fect recipe for exis-ten-tial dread.

For this con-di-tion, Kurzge-sagt rec-om-mends a rem-e-dy: “Opti-mistic Nihilism,” a phi-los-o-phy that posits ulti-mate free-dom in the midst of, and sole-ly enabled by, the utter mean-ing-less-ness of exis-tence: “If our life is the only thing we get to expe-ri-ence, then it’s the only thing that mat-ters. If the uni-verse has no prin-ci-ples, then the only prin-ci-ples rel-e-vant are the ones we decide on. If the uni-verse has no pur-pose, then we get to dic-tate what its pur-pose is.” This is more or less a para-phrase of Sartre, who made vir-tu-al-ly iden-ti-cal claims in what he called his “athe-is-tic exis-ten-tial-ism,” but with the added force in his “doc-trine” that “there is no real-i-ty except in action… Man is noth-ing else but what he pur-pos-es, he exists only in so far as he real-izes him-self.” We not only get to deter-mine our pur-pose, he wrote, we have to do so, or we can-not be said to exist at all.

In the midst of this fright-en-ing-ly rad-i-cal free-dom, Sartre saw the ulti-mate oppor-tu-ni-ty: to make of our-selves what we will. But this dizzy-ing pos-si-bil-i-ty may send us run-ning back to com-fort-ing pre-fab illu-sions of mean-ing and pur-pose. How ter-ri-ble, to have to decide for your-self the pur-pose of the entire uni-verse, no? But the phi-los-o-phy of “Opti-mistic Nihilism” goes on to expound a the-sis sim-i-lar to that of the Zen pop-u-lar-iz-er, Alan Watts, who has soothed many a case of exis-ten-tial dread with his response to the idea that we are some-how sep-a-rate from the uni-verse, either hov-er-ing above it or crushed beneath it. Humans are not, as Watts col-or-ful-ly wrote, “iso-lat-ed ‘egos’ inside bags of skin.” Instead, as the video goes on, “We are as much the uni-verse as a neu-tron star, or a black hole, or a neb-u-la. Even bet-ter, actu-al-ly, we are its think-ing and feel-ing part, the sen-so-ry organs of the uni-verse.”

Nei-ther Sartre nor Watts, with their very dif-fer-ent approach-es to the same set of exis-ten-tial con-cerns, would like-ly endorse the tidy sum-ma-tion offered by the phi-los-o-phy of “Opti-mistic Nihilism.” But just as we would be fool-ish to expect a six-minute ani-mat-ed video to offer a com-plete phi-los-o-phy of life, we would be painful-ly na?ve to think of free-dom as a con-di-tion of com-fort and ease, built on ratio-nal cer-tain-ties and absolute truths. For all of the dis-agree-ment about what we should do with rad-i-cal exis-ten-tial free-dom, every-one who rec-og-nizes it agrees that it entails rad-i-cal uncertainty—the ver-tig-i-nous sense of unknow-ing that is the source of our con-stant free-float-ing anx-i-ety.

If we are to act in the face of doubt, mys-tery, igno-rance, and the immen-si-ty of seem-ing-ly gra-tu-itous suf-fer-ing, we might heed John Keats’ pre-scrip-tion to devel-op “Neg-a-tive Capa-bil-i-ty,” the abil-i-ty to remain “con-tent with half-knowl-edge.” This was not, as Lionel Trilling writes in an intro-duc-tion to Keats’ let-ters, advice only for artists, but “a cer-tain way of deal-ing with life”—one in which, Keats wrote else-where, “the only means of strength-en-ing one’s intel-lect,” and thus a sense of iden-ti-ty, mean-ing, and pur-pose in life, “is to make up one’s mind about nothing—to let the mind be a thor-ough-fare for all thoughts.”

Keats’ is a very Zen sen-ti-ment, a moody ver-sion of the “don’t-know mind” that rec-og-nizes empti-ness and suf-fer-ing as hall-marks of exis-tence, and finds in them not a rea-son for opti-mism but for the indef-i-nite sus-pen-sion of judge-ment. Still, the approach of Roman-tic poets and Bud-dhist monks is not for every-one, and even Sartre even-tu-al-ly turned to ortho-dox Marx-ism to impose a mean-ing upon exis-tence that claimed depen-dence on the hard facts of mate-r-i-al con-di-tions rather than the unbound-ed abstrac-tions of the intel-lect.

Per-haps we are are free, at least, to com-mit to an ide-ol-o-gy to assuage our exis-ten-tial dread. We are also free to adopt the trag-ic defi-ance of anoth-er Marx-ist, Anto-nio Gram-sci, who con-fessed to some-thing of an “Opti-mistic Nihilism” of his own. Only he referred to it as a “pes-simism of the intel-lect” and “opti-mism of the will”—an atti-tude that rec-og-nizes the severe social and mate-r-i-al lim-its imposed on us by our often painful, short, seem-ing-ly mean-ing-less exis-tence in a mate-r-i-al world, and that strives nonethe-less toward impos-si-ble ideals.

Relat-ed Con-tent:

Free Online Phi-los-o-phy Cours-es

A Crash Course in Exis-ten-tial-ism: A Short Intro-duc-tion to Jean-Paul Sartre & Find-ing Mean-ing in a Mean-ing-less World

Alan Watts Explains the Mean-ing of the Tao, with the Help of the Great-est Nan-cy Pan-el Ever Drawn

Are We Liv-ing Inside a Com-put-er Sim-u-la-tion?: An Intro-duc-tion to the Mind-Bog-gling “Sim-u-la-tion Argu-ment”

Josh Jones is a writer and musi-cian based in Durham, NC. Fol-low him at @jdmagness

A Free Trial Offer for The Great Courses Plus: A Special Deal for Open Culture Readers

We’ve told you about the Great Cours-es Plus (now called Won-dri-um)  before–a new video sub-scrip-tion ser-vice that lets you watch free cours-es (about 8,000 lec-tures in total) across a wide range of sub-jects, all taught by some of the best lec-tur-ers in the coun-try. The top-ics cov-er every-thing from His-to-ry, Phi-los-o-phy, Lit-er-a-ture, and Eco-nom-ics, to Math, Sci-ence, Pro-fes-sion-al Devel-op-ment, Cook-ing, and Pho-tog-ra-phy. And you can binge-watch entire col-lege cours-es in a mat-ter of days by watch-ing videos on your TV, tablet, lap-top and smart phone, with the help of apps designed for Apple, Google Play, Kin-dle Fire, and Roku.

Inter-est-ed in try-ing out this ser-vice? Right now, the Great Cours-es Plus/Won-dri-um is offer-ing a spe-cial deal for Open Cul-ture read-ers. If you click here, and sign up for a free tri-al, you can use this ser-vice for 30 days … for free. And then, if you would like, you can con-tin-ue to sub-scribe and pay their nor-mal prices. If you have time on your hands, this is a great way to keep your mind engaged and stream what PC Mag-a-zine has called “an excel-lent library of col-lege-lev-el lec-tures.”

Note: The Great Cours-es is a part-ner with Open Cul-ture. So if you sign up for a free tri-al, it ben-e-fits not just you and Great Cours-es Plus. It ben-e-fits Open Cul-ture too. So con-sid-er it win-win-win.

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Hear 15 Hours of Frank Zappa’s Legendary 1977 Halloween Performances at New York’s Palladium

What do you give the Zap-pa fan who has every-thing? Why, of course, the three-disc set, Frank Zap-pa Hal-loween 77—a doc-u-ment of Zap-pa per-for-mances at New York’s Pal-la-di-um in 1977 dur-ing a Hal-loween week-end stint—just released only a few days ago in an offi-cial form, as well as in a box set fea-tur-ing 158 tracks and a Zap-pa mask and cos-tume. Ah, it is too late! Too late! you say. The day is upon us! Tru-ly, it is, but a Zap-pa cos-tume nev-er goes out of style—it can be worn year-round with-out embar-rass-ment. And while you wait for the swag to arrive, light up your Hal-loween night with 15 hours of tracks from the four-night engage-ment in the Spo-ti-fy playlist below.

By the time of these record-ings, Zappa’s Hal-loween shows were “already the stuff of leg-ends,” we learn from the offi-cial source, Zappa.com. “While the shows began in the late ‘60s, around 1972, these mon-u-men-tal per-for-mances would become annu-al events, ini-tial-ly in Pas-sa-ic, NJ and Chica-go IL before mov-ing to New York City in 1974, where they’d remain…. From Octo-ber 28–31, Zap-pa and his band played six his-toric shows at the 3,000 capac-i-ty Pal-la-di-um. All the per-for-mances were record-ed with four being filmed, result-ing in Zappa’s mam-moth film project, ‘Baby Snakes.’”

The 1979 film failed to find an audi-ence beyond Zappa’s rabid-ly loy-al cult fol-low-ing, or a dis-trib-u-tor beyond Zap-pa him-self. Many of the songs Zap-pa and his band played dur-ing the series of con-certs appeared that same year on Sheik Yer-bouti (say it out loud), an album that made sure to piss peo-ple off. The song “Bob-by Brown” was banned from the radio in the U.S.; The Anti-Defama-tion League demand-ed an apol-o-gy, which Zap-pa refused, for the song “Jew-ish Princess,” which was only per-formed once, dur-ing the ’77 Hal-loween shows; and the album’s major hit, “Dancin’ Fool,” made audi-ences dance to a song that made fun of them.

Zappa’s anti-social antics were not bugs but features—he main-tained a rabid fan-base no mat-ter what he did because he was a phe-nom-e-nal-ly tal-ent-ed, irre-press-ibly cre-ative musi-cian who attract-ed the best play-ers in the busi-ness. The 1977 Hal-loween show band—including mad-man drum-mer Ter-ry Bozzio and King Crim-son gui-tarist Adri-an Belew—could not have been in fin-er form. Zappa’s arro-gance may have rubbed non-fans of his music the wrong way, but to those who couldn’t get enough of his vir-tu-oso prog-rock car-ni-val, he had every rea-son to hold such peo-ple in con-tempt.

Zap-pa inspired so much devo-tion among fel-low musi-cians that a num-ber of them have agreed to tour with a holo-gram of the late gui-tarist-band-leader, to be pro-duced by Eye-l-lu-sion, “live music’s pre-mier holo-gram pro-duc-tion com-pa-ny,” explains the offi-cial Zap-pa site. The project has proven, in the words of Belew, who signed on then dropped out of the tour, “caus-tic and divi-sive.” It may also, whether you’re a fan of Zap-pa or not, seem more than a lit-tle spooky, and not in the fun trick-or-treat way. Maybe you, or your Zap-pa fan, would pre-fer to remem-ber him as he was, in the flesh, sneer-ing and shred-ding at the Pal-la-di-um on Hal-loween night, 1977.

via @jhoffman

Relat-ed Con-tent:

Frank Zappa’s Amaz-ing Final Con-certs: Prague and Budapest, 1991

Hear the Musi-cal Evo-lu-tion of Frank Zap-pa in 401 Songs

Frank Zap-pa Explains the Decline of the Music Busi-ness (1987)

Josh Jones is a writer and musi-cian based in Durham, NC. Fol-low him at @jdmagness

Hear 14 Hours of Weird H.P. Lovecraft Stories on Halloween: “The Call of Cthulhu,” “The Dunwich Horror” & More

Image by Dominique Sig-noret, via Wiki-me-dia Com-mons

“The most mer-ci-ful thing in the world, I think, is the inabil-i-ty of the human mind to cor-re-late all its con-tents. We live on a placid island of igno-rance in the midst of black seas of infin-i-ty, and it was not meant that we should voy-age far.” So writes the nar-ra-tor of “The Call of Cthul-hu,” the best-known sto-ry by Howard Phillips Love-craft, who, before he burnt out and died young, spent his whole lit-er-ary career look-ing into that infin-i-ty and report-ing on the psy-cho-log-i-cal effects of what he sensed lurk-ing there. What bet-ter writer to read on Hal-loween night, when — amid all the par-ty-ing and the can-dy — we all per-mit our-selves a glimpse into the abyss?

Indeed, what bet-ter writer to hear on Hal-loween night? Once it gets dark, con-sid-er fir-ing up this four-teen-hour Spo-ti-fy playlist of H.P. Love-craft audio-books, fea-tur-ing read-ings of not just “The Call of Cthul-hu” but The Shad-ow over Inns-mouth, “The Dun-wich Hor-ror,” “The Thing on the Doorstep,” and oth-er sto-ries besides. (If you don’t have Spo-ti-fy’s free soft-ware, you can down-load it here.)

Though Love-craft has a much wider read-er-ship now than he ever accrued in his life-time, some of your guests might still nev-er have heard his work and thus strug-gle to pin it down: is it hor-ror? Is it sus-pense? Is it the macabre, the sort of thing per-fect-ed by Love-craft’s pre-de-ces-sor in fright-en-ing Amer-i-can let-ters Edgar Allan Poe?

The word they need is “weird,” not in the mod-ern sense of “some-what unusu-al,” but in the ear-ly 20th-cen-tu-ry sense — the sense of Weird Tales, the pulp mag-a-zine that pub-lished Love-craft — of a heady blend of the super-nat-ur-al, the myth-i-cal, the sci-en-tif-ic, and the mun-dane. Joyce Car-ol Oates once wrote that Love-craft’s sto-ries, sel-dom sen-sa-tion-al, “devel-op by way of incre-men-tal detail, begin-ning with quite plau-si-ble sit-u-a-tions — an expe-di-tion to Antarc-ti-ca, a trip to an ancient sea-side town, an inves-ti-ga-tion of an aban-doned eigh-teenth-cen-tu-ry house in Prov-i-dence, Rhode Island, that still stood in Lovecraft’s time. One is drawn into Love-craft by the very air of plau-si-bil-i-ty and char-ac-ter-is-tic under-state-ment of the prose, the ques-tion being When will weird-ness strike?” An ide-al ques-tion to ask while float-ing along the black sea of Hal-loween night.

This playlist of Love-craft sto-ries will be added to our col-lec-tion, 1,000 Free Audio Books: Down-load Great Books for Free.

Relat-ed Con-tent:

H.P. Lovecraft’s Clas-sic Hor-ror Sto-ries Free Online: Down-load Audio Books, eBooks & More

23 Hours of H.P. Love-craft Sto-ries: Hear Read-ings & Drama-ti-za-tions of “The Call of Cthul-hu,” “The Shad-ow Over Inns-mouth,” & Oth-er Weird Tales

Hear Drama-ti-za-tions of H.P. Lovecraft’s Sto-ries On His Birth-day: “The Call of Cthul-hu,” “The Dun-wich Hor-ror,” & More

H.P. Lovecraft’s Mon-ster Draw-ings: Cthul-hu & Oth-er Crea-tures from the “Bound-less and Hideous Unknown”

H.P. Love-craft Gives Five Tips for Writ-ing a Hor-ror Sto-ry, or Any Piece of “Weird Fic-tion”

Love-craft: Fear of the Unknown (Free Doc-u-men-tary)

Based in Seoul, Col-in Mar-shall writes and broad-casts on cities and cul-ture. His projects include the book The State-less City: a Walk through 21st-Cen-tu-ry Los Ange-les and the video series The City in Cin-e-ma. Fol-low him on Twit-ter at @colinmarshall or on Face-book.

A New 2?In?1 Illustrated Edition of Philip K. Dick’s Do Androids Dream of Electric Sheep? & A Scanner Darkly

FYI: Illus-tra-tors Chris Skin-ner and Andrew Archer present a new illus-trat-ed edi-tion of two Philip K. Dick-’s nov-els, Do Androids Dream of Elec-tric Sheep? & A Scan-ner Dark-ly. And it comes in a great for-mat. Read one nov-el, then flip the book upside down and enter the next altered real-i-ty.

The 2?in?1 book is only avail-able through the Folio Soci-ety web-site.

If you would like to sign up for Open Culture’s free email newslet-ter, please find it here. It’s a great way to see our new posts, all bun-dled in one email, each day.

If you would like to sup-port the mis-sion of Open Cul-ture, con-sid-er mak-ing a dona-tion to our site. It’s hard to rely 100% on ads, and your con-tri-bu-tions will help us con-tin-ue pro-vid-ing the best free cul-tur-al and edu-ca-tion-al mate-ri-als to learn-ers every-where. You can con-tribute through Pay-Pal, Patre-on, and Ven-mo (@openculture). Thanks!

Relat-ed Con-tent:

Hear VALIS, an Opera Based on Philip K. Dick’s Meta-phys-i-cal Nov-el

Philip K. Dick Takes You Inside His Life-Chang-ing Mys-ti-cal Expe-ri-ence

Hear 6 Clas-sic Philip K. Dick Sto-ries Adapt-ed as Vin-tage Radio Plays

Philip K. Dick Makes Off-the-Wall Pre-dic-tions for the Future: Mars Colonies, Alien Virus-es & More (1981)

The Penul-ti-mate Truth About Philip K. Dick: Doc-u-men-tary Explores the Mys-te-ri-ous Uni-verse of PKD

The Inksect: Award Winning Animation Envisions a Dystopian Future Without Books, Paying Homage to Kafka & Poe

“Where would we be with-out books?” That ques-tion, sung over and over again by Sparks in the theme song of the long-run-ning pub-lic-radio show Book-worm, gets a trou-bling answer in The Ink-sect, the ani-mat-ed film above by Mex-i-can Film-mak-er Pablo Calvil-lo. In the book-less dystopia it envi-sions, fos-sil fuels have run out — one premise it shares with many mod-ern works of its sub-genre — but the pow-ers that be found a way to delay the inevitable by burn-ing all of human-i-ty’s print-ed mat-ter for ener-gy instead. “Soon after,” announce the open-ing titles, “we, the human race, devolved into illit-er-ate cock-roach-es.”

But among those cock-roach-es, a few still remem-bered books, and not only did they remem-ber them, they “knew that their pow-ers could lib-er-ate our minds and help us evolve into human beings once again.”

Tak-ing place in a grim, gray, tech-no-log-i-cal-ly malev-o-lent, and elab-o-rate-ly ren-dered New York City, the sto-ry fol-lows the jour-ney of one such rel-a-tive-ly enlight-ened man-bug’s quest for not just a return to his pri-or form but to the rich-er, brighter world con-tained in and made pos-si-ble by books. He catch-es a glimpse of Edgar Allan Poe with the raven of his most famous poem perched atop his head, a sight that might look absurd to us but inspires the pro-tag-o-nist to put pen to paper and write a sin-gle word: lib-er-ty.

The Ink-sect’s lit-er-ary ref-er-ences don’t end with The Raven. Nor do they begin with it: you’ll no doubt have already made the con-nec-tions between the film’s notions of a book-burn-ing dystopia or men turn-ing into cock-roach-es and their prob-a-ble inspi-ra-tions. Even apart from the many visu-al-ly strik-ing qual-i-ties on its sur-face, Calvil-lo’s film illus-trates just how deeply works of lit-er-a-ture, from Ray Brad-bury and Franz Kaf-ka and many oth-er minds besides, lie buried in the foun-da-tion of our col-lec-tive cul-ture. Even a film so expres-sive of 21st-cen-tu-ry anx-i-eties has to under-stand and incor-po-rate the con-cerns that human-i-ty has always dealt with — and so often dealt with, in many dif-fer-ent areas and many dif-fer-ent ways, through books.

The Ink-sect, named the best exper-i-men-tal film at the Cannes Short Film Fes-ti-val in 2016, will be added to our list of Ani-ma-tions, a sub-set of our col-lec-tion, 4,000+ Free Movies Online: Great Clas-sics, Indies, Noir, West-erns, Doc-u-men-taries & More.

via The Laugh-ing Squid

Relat-ed Con-tent:

How to Rec-og-nize a Dystopia: Watch an Ani-mat-ed Intro-duc-tion to Dystopi-an Fic-tion

Hear Clas-sic Read-ings of Poe’s “The Raven” by Vin-cent Price, James Earl Jones, Christo-pher Walken, Neil Gaiman, Stan Lee & More

Franz Kaf-ka Says the Insect in The Meta-mor-pho-sis Should Nev-er Be Drawn; Vladimir Nabokov Draws It Any-way

Ray Brad-bury Reveals the True Mean-ing of Fahren-heit 451: It’s Not About Cen-sor-ship, But Peo-ple “Being Turned Into Morons by TV”

Ray Brad-bury Explains Why Lit-er-a-ture is the Safe-ty Valve of Civ-i-liza-tion (in Which Case We Need More Lit-er-a-ture!)

Based in Seoul, Col-in Mar-shall writes and broad-casts on cities and cul-ture. His projects include the book The State-less City: a Walk through 21st-Cen-tu-ry Los Ange-les and the video series The City in Cin-e-ma. Fol-low him on Twit-ter at @colinmarshall or on Face-book.

Watch a Step-by-Step Breakdown of La La Land’s Incredibly Complex, Off Ramp Opening Number

La La Land, writer and direc-tor Damien Chazelle’s award-win-ning Valen-tine to Hol-ly-wood musi-cals, attract-ed legions of fans upon its release last Decem-ber.

Their ardor is book-end-ed by the enmi-ty of Broad-way diehards under-whelmed by the stars’ singing and danc-ing chops and those who detest musi-cals on prin-ci-ple.

The above video may not lead the detrac-tors to swal-low Chazelle’s Kool-Aid col-ored vision, but lis-ten-ing to chore-o-g-ra-ph-er Mandy Moore’s behind-the-scenes blow-by-blow of the com-pli-cat-ed open-ing num-ber, “Anoth-er Day of Sun,” should inspire respect for the mas-sive feat of cin-e-mat-ic coor-di-na-tion below.

This may be the first time in his-to-ry that a chore-o-g-ra-ph-er has sin-gled out the Trans-port Depart-ment for pub-lic praise.

Remem-ber how your folks used to freak out about you dent-ing the hood when you capered atop the fam-i-ly Coun-try Squire? Turns out they were right.

One of the Trans-po’ crew’s cru-cial assign-ments was plac-ing vehi-cles with spe-cial-ly rein-forced hoods and roofs in the spots where dancers had been chore-o-graphed to bound on top of them. Get-ting it wrong ear-ly on would have wast-ed valu-able time on a two day shoot that shut down an exit ramp con-nect-ing the 110 and 105 free-ways.

The real La La Land con-jures fan-tasies of Ange-lyne clad in head-to-toe pink behind the wheel of her match-ing pink Corvette, but for this num-ber, the Cos-tume Depart-ment col-lab-o-rat-ed with the Trans-port Depart-ment to diver-si-fy the palette.

In oth-er words, the red-gowned fla-men-co dancer could emerge from a yel-low car, and the yel-low-shirt-ed krumper could emerge from a red car, but not vice ver-sa.

Mer-ci-ful-ly, the art depart-ment refrained from a total col-or-coor-di-na-tion black-out. That moment when a gust of wind catch-es the skirts of the blonde conductor’s yel-low dress plays like an inten-tion-al trib-ute to Mar-i-lyn Mon-roe, when in fact it was a lucky acci-dent made all the more glo-ri-ous by the sun-ny draw-ers she was sport-ing under-neath.

Oth-er day-of acci-dents required on-the-fly inge-nu-ity, such as enlist-ing three burly crew mem-bers to pro-vide off screen help to a per-former strug-gling with a mal-func-tion-ing door to the truck con-ceal-ing a Latin band with-in. (With tem-per-a-tures soar-ing to 104°, they were hot in more ways than one.)

Moore was also off-cam-era, hid-ing under a chas-sis to cue the skate-board-er, who was unfa-mil-iar with the 8?count the 30 main dancers were trained to respond to.

Oth-er “spe-cial skills” per-form-ers include a BMX bik-er, a Park-our traceur, the director’s hula hoop-ing sis-ter, and a stunt woman whose abil-i-ty to back-flip into the nar-row chan-nel between two parked cars  land-ed her the part… and kept her injury-free for over 40 takes.

Half of the fin-ished film’s grid-locked cel-e-brants are CGI gen-er-at-ed, but the live per-form-ers had to remain in synch with the pre-record-ed song by Justin Hur-witz, Benj Pasek, and Justin Paul, a par-tic-u-lar chal-lenge giv-en the size of the out-door film-ing area. Exec-u-tive music pro-duc-er Mar-ius de Vries and engi-neer Nicholai Bax-ter solved that one by loop-ing the track into each car’s radio, plus a num-ber of hid-den speak-ers and two more on a mov-ing rig.

Moore was deter-mined to keep her care-ful-ly plot-ted moves from feel-ing too dance?y—the only time the dancers per-form in uni-son is at the very end, right before they hop back down, reen-ter their vehi-cles, and slam their doors shut as one.

For a more nat-u-ral-is-tic vision, watch direc-tor Chazelle’s iPhone footage of the main dancers rehears-ing in a park-ing lot, pri-or to the shoot.

Fun-ny how, left to their own devices, these Ange-lenos seem to wear almost as much black and grey as their coun-ter-parts on the east coast….

The exu-ber-ance of the orig-i-nal has giv-en rise to numer-ous com-mu-ni-ty-based trib-utes and par-o-dies, with stand-outs com-ing from the Xia-men For-eign Lan-guage School in Chi-na, North Carolina’s Camp Mer-rie-Woode, Notre Dame High School in Chazelle’s home state of New Jer-sey, and a 17-year-old Ari-zona boy mak-ing a prompos-al to lead-ing lady Emma Stone.

Relat-ed Con-tent:

Rita Hay-worth, 1940s Hol-ly-wood Icon, Dances Dis-co to the Tune of The Bee Gees Stayin’ Alive: A Mashup

1944 Instruc-tion-al Video Teach-es You the Lindy Hop, the Dance That Orig-i-nat-ed in 1920’s Harlem Ball-rooms

The Addams Fam-i-ly Dance to The Ramones’ “Blitzkrieg Bop”

Ayun Hal-l-i-day is an author, illus-tra-tor, the-ater mak-er and Chief Pri-ma-tol-o-gist of the East Vil-lage Inky zine. She is cur-rent-ly direct-ing The-ater of the Apes Sub-Adult Divi-sion in George Orwell’s Ani-mal Farm, open-ing next week in New York City.  Fol-low her @AyunHalliday.

What Makes The Death of Socrates a Great Work of Art?: A Thought-Provoking Reading of David’s Philosophical & Political Painting

When we think of polit-i-cal pro-pa-gan-da, we do not typ-i-cal-ly think of French Neo-clas-si-cal painter Jacques-Louis David. There’s some-thing debased about the term—it stinks of insin-cer-i-ty, stagi-ness, emo-tion-al manip-u-la-tion, qual-i-ties that can-not pos-si-bly belong to great art. But let us put aside this prej-u-dice and con-sid-er David’s 1787 The Death of Socrates. Cre-at-ed two years before the start of the French Rev-o-lu-tion, the paint-ing “gave expres-sion to the prin-ci-ple of resist-ing unjust author-i-ty,” and—like its source, Plato’s Phae-do—it makes a mar-tyr of its hero, who is the soul of rea-son and a thorn in the side of dog-ma and tra-di-tion.

Nonethe-less, as Evan Puschak, the Nerd-writer, shows us in the short video above, The Death of Socrates sit-u-ates itself firm-ly with-in the tra-di-tions of Euro-pean art, draw-ing heav-i-ly on clas-si-cal sculp-tures and friezes as well as the great-est works of the Renais-sance. There are echoes of da Vinci’s Last Sup-per in the num-ber of fig-ures and their place-ment, and a dis-tinct ref-er-ence of Raphael’s School of Athens in Socrates’ upward-point-ing fin-ger, which belongs to Pla-to in the ear-li-er paint-ing. Here, David has Pla-to, already an old man, seat-ed at the foot of the bed, the scene arranged behind him as if “explod-ing from the back of his head.”

Socrates, says Puschak, “has been dis-cussing at length the immor-tal-i-ty of the soul, and he doesn’t even seem to care that he’s about to take the imple-ment of his death in hand. On the con-trary, Socrates is defi-ant… David ide-al-izes him… he would have been 70 at the time and some-what less mus-cu-lar and beau-ti-ful than paint-ed here.” He is a “sym-bol of strength over pas-sion, of sto-ic com-mit-ment to an abstract ide-al,” a theme David artic-u-lat-ed with much less sub-tle-ty in an ear-li-er paint-ing, The Oath of the Hor-atii, with its Roman salutes and bun-dled swords—a “severe, moral-is-tic can-vas,” with which the artist “effec-tive-ly invent-ed the Neo-clas-si-cal style.”

In The Death of Socrates, David refines his moral-is-tic ten-den-cies, and Puschak ties the com-po-si-tion loose-ly to a sense of prophe-cy about the com-ing Ter-ror after the storm-ing of the Bastille. The Nerd-writer sum-ma-tion of the painting’s angles and influ-ences does help us see it anew. But Puschak’s vague his-tori-ciz-ing doesn’t quite do the artist jus-tice, fail-ing to men-tion David’s direct part in the wave of bloody exe-cu-tions under Robe-spierre.

David was an active sup-port-er of the Rev-o-lu-tion and designed “uni-forms, ban-ners, tri-umphal arch-es, and inspi-ra-tional props for the Jacobin Club’s pro-pa-gan-da,” notes a Boston Col-lege account. He was also “elect-ed a Deputy form the city of Paris, and vot-ed for the exe-cu-tion of Louis XVI.” His-to-ri-ans have iden-ti-fied over “300 vic-tims for whom David signed exe-cu-tion orders.” The sever-i-ty of his ear-li-er clas-si-cal scenes comes into greater focus in The Death of Socrates around the cen-tral fig-ure, a great man of his-to-ry, one whose hero-ic feats and trag-ic sac-ri-fices dri-ve the course of all events worth men-tion-ing.

Indeed, we can see David’s work as a visu-al pre-cur-sor to philoso-pher and his-to-ri-an Thomas Carlyle’s the-o-ries of “the hero-ic in his-to-ry.” (Car-lyle also hap-pened to write the 19th century’s defin-i-tive his-to-ry of the French Rev-o-lu-tion.) In 1793, David took his visu-al great man the-o-ry and Neo-clas-si-cal style and applied them for the first time to a con-tem-po-rary event, the mur-der of his friend Jean-Paul Marat, Swiss Jacobin jour-nal-ist, by the Girondist Char-lotte Cor-day. (Learn more in the Khan Acad-e-my video above.) This is one of three can-vas-es David made of “mar-tyrs of the Revolution”—the oth-er two are lost to his-to-ry. And it is here that we can see the evo-lu-tion of his polit-i-cal paint-ing from clas-si-cal alle-go-ry to con-tem-po-rary pro-pa-gan-da, in a can-vas wide-ly hailed, along with The Death of Socrates, as one of the great-est Euro-pean paint-ings of the age.

We can look to David for both for-mal mas-tery and didac-tic intent. But we should not look to him for polit-i-cal con-stan-cy. He was no John Mil-ton—the poet of the Eng-lish Rev-o-lu-tion who was still devot-ed to the cause even after the restora-tion of the monarch. David, on the oth-er hand, “could eas-i-ly be denounced as a bril-liant cyn-ic,” writes Michael Glover at The Inde-pen-dent. Once Napoleon came to pow-er and began his rapid ascen-sion to the self-appoint-ed role of Emper-or, David quick-ly became court painter, and cre-at-ed the two most famous por-traits of the ruler.

We’re quite famil-iar with The Emper-or Napoleon in His Study at the Tui-leries, in which the sub-ject stands in an awk-ward pose, his hand thrust into his waist-coat. And sure-ly know Napoleon at the Saint-Bernard Pass, above. Here, the fin-ger point-ing upward takes on an entire-ly new res-o-nance than it has in The Death of Socrates. It is the ges-ture not of a man nobly pre-pared to leave the world behind, but of one who plans to con-quer and sub-due it under his absolute rule.

Relat-ed Con-tent:

The Art of Restor-ing a 400-Year-Old Paint-ing: A Five-Minute Primer

Gus-tav Klimt’s Haunt-ing Paint-ings Get Re-Cre-at-ed in Pho-tographs, Fea-tur-ing Live Mod-els, Ornate Props & Real Gold

The MoMA Teach-es You How to Paint Like Pol-lock, Rothko, de Koon-ing & Oth-er Abstract Painters

Josh Jones is a writer and musi-cian based in Durham, NC. Fol-low him at @jdmagness

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