Despite develÂopÂing in Asia, as the ChiÂnese form of a reliÂgion origÂiÂnalÂly brought over from India and latÂer refined in Japan, Zen BudÂdhism has long appealed to WestÂernÂers as well. Some of that owes to the spare, eleÂgant aesÂthetÂics with which popÂuÂlar culÂture assoÂciates it, and more to the promise it holds out: freeÂdom from stress, anxÂiÂety, and indeed sufÂferÂing of all kinds. In theÂoÂry, the Zen pracÂtiÂtionÂer attains that freeÂdom not through masÂterÂing a body of knowlÂedge or ascendÂing a hierÂarÂchy, but through direct expeÂriÂence of realÂiÂty, unmediÂatÂed by thoughts, unwarped by desires, and undiÂvidÂed by the clasÂsiÂfiÂcaÂtion schemes that sepÂaÂrate one thing from anothÂer. That’s easÂiÂer said than done, of course, and for some, not even a lifeÂtime of medÂiÂtaÂtion does the trick.
In the interÂview clip above, RinÂzai zen monk Yodo Kono explains how he arrived in the world of Zen. HavÂing come from a line of monks, he inherÂitÂed the role after the deaths of his grandÂfaÂther and his father. Already in his late twenÂties, he’d been workÂing as a physics teacher, an occuÂpaÂtion that — howÂevÂer fashÂionÂable the supÂposed conÂcorÂdances between advanced physÂiÂcal and BudÂdhist truths — hardÂly preÂpared him for the rigÂors of the temÂple.
“I entered a role comÂpleteÂly oppoÂsite to logÂic,” he rememÂbers, “a world where logÂic doesÂn’t exist.” Think of the Zen kĹŤans we’ve all heard, which demand seemÂingÂly imposÂsiÂble answers about the sound of one hand clapÂping, or the appearÂance of your face before your parÂents were born.
Advised by his masÂter to stop tryÂing to gain knowlÂedge, skills, and underÂstandÂing, the frusÂtratÂed Yodo Kono began to realÂize that “Zen is everyÂthing,” the key quesÂtion being “how to live withÂout worÂries withÂin Zen.” That can’t be learned from any amount of study, but expeÂriÂence alone. Only directÂly can one feel how we creÂate our own sufÂferÂing in our minds, and also that we can’t help but do so. This leaves us no choice but to relinÂquish our notions of conÂtrol over realÂiÂty. In daiÂly life, he explains in the clip just above (also from the docÂuÂmenÂtary FreeÂdom From SufÂferÂing, about the variÂeties of BudÂdhism), one must be able to move freely between “the undiÂvidÂed Zen world and the dividÂed world,” the latÂter being where nearÂly all of us already spend our days: not withÂout our pleaÂsures, of course, but also not withÂout wonÂderÂing, every so often, if we can ever know perÂmaÂnent satÂisÂfacÂtion.
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities and the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles. FolÂlow him on the social netÂwork forÂmerÂly known as TwitÂter at @colinmarshall.
As a New York City subÂway ridÂer, I am conÂstantÂly exposed to pubÂlic health posters. More often than not these feaÂture a phoÂto of a wholeÂsome-lookÂing teen whose sober expresÂsion is meant to conÂvey hindÂsight regret at havÂing takÂen up drugs, dropped out of school, or forÂgone conÂdoms. They’re well-intendÂed, but borÂing. I can’t imagÂine I’d feel difÂferÂentÂly were I a memÂber of the tarÂget demoÂgraphÂic. The Chelsea Mini StorÂage ads’ saucy regionÂal humor is far more enterÂtainÂing, as is the train wreck design approach favored by the ubiqÂuiÂtous Dr. Jonathan ZizÂmor.
PubÂlic health posters were able to conÂvey their desÂigÂnatÂed horÂrors far more memÂoÂrably before phoÂtos became the graphÂiÂcal norm. Take SalÂvador DalĂ’s sketch (below) and final conÂtriÂbuÂtion (top) to the WWII-era anti-veneÂreÂal disÂease camÂpaign.
Which image would cause you to steer clear of the red light disÂtrict, were you a young solÂdier on the make?
A porÂtrait of a glum felÂlow solÂdier (“If I’d only known then…”)?
Or a grinÂning green death’s head, whose chopÂpers douÂble as the frankly exposed thighs of two faceÂless, loose-breastÂed ladies?
CreÂatÂed in 1941, DalĂ’s nightÂmare vision eschewed the sort of manÂly, milÂiÂtarisÂtic sloÂgan that retroacÂtiveÂly ramps up the kitsch valÂue of its ilk. Its mesÂsage is clear enough withÂout:
Stick it in—we’ll bite it off!
(Thanks to blogÂger RebecÂca M. BenÂder for pointÂing out the composition’s resemÂblance to the vagiÂna denÂtaÂta.)
As a femÂiÂnist, I’m not crazy about depicÂtions of women as pestiÂlenÂtial, one-way deathÂtraps, but I conÂcede that, in this instance, subÂvertÂing the girlie pin up’s explicÂitÂly physÂiÂcal pleaÂsures might well have had the desired effect on horny enlistÂed men.
A decade latÂer DalĂ would colÂlabÂoÂrate with phoÂtogÂraÂphÂer Philippe HalsÂman on “In VolupÂtas Mors,” stackÂing sevÂen nude modÂels like cheerÂleadÂers to form a peaceÂtime skull that’s far less threatÂenÂing to the male figÂure in the lowÂer left corÂner (in this instance, the very dapÂper DalĂ himÂself).
Note: An earÂliÂer verÂsion of this post appeared on our site in 2014.
I rememÂber the first time I sat down and watched Andrei Tarkovsky’s lyriÂcal, meanÂderÂing sci-fi epic StalkÂer. It was a long time ago, before the advent of smartÂphones and tablets. I watched a beat-up VHS copy on a non-“smart” TV, and had no abilÂiÂty to pause every few minÂutes and swing by FaceÂbook, TwitÂter, or InstaÂgram for some instant disÂtracÂtion and digÂiÂtal small talk. The almost three-hour film—with its long, lanÂguid takes and endÂless stretchÂes of silence—is a medÂiÂtaÂtive exerÂcise, a test in patience that at times seems like its own reward.
I recall at the time thinkÂing about how didacÂtic Tarkovsky’s work is, in the best posÂsiÂble sense of the word. It teachÂes its viewÂers to watch, lisÂten, and wait. It’s a course best takÂen alone, like the jourÂney into the film’s mysÂteÂriÂous “Zone,” since the presÂence of anothÂer, likeÂly perÂplexed, viewÂer might break the quiÂet spell the movie casts. But while watchÂing a Tarkovsky film—whether StalkÂer, Andrei Rublev, Solaris, or any of his othÂer penÂsive creÂations (watch them online here)—may be a soliÂtary activÂiÂty, it need not at all be a loneÂly one.
The disÂtincÂtion between healthy soliÂtude and loneÂliÂness is one Tarkovsky is parÂticÂuÂlarÂly interÂestÂed in. It’s a cinÂeÂmatÂic theme he purÂsues, and a pedÂaÂgogÂiÂcal one as well. In the video above from The CriÂteÂriÂon ColÂlecÂtion, Tarkovsky offers some thoughtÂful insights that can only seem all the more relÂeÂvant to today’s always-on, mulÂti-screen culÂture. UnforÂtuÂnateÂly, the subÂtiÂtles transÂlate his words selecÂtiveÂly, but Maria PopoÂva at The MarÂginÂaÂlian has a full transÂlaÂtion of the filmmaker’s answer to the quesÂtion “What would you like to tell young peoÂple?” Like some ancient Pan disÂpensÂing timeÂless wisÂdom, Tarkovsky reclines in an old, gnarled tree—on what may very well be one of his wild, woodÂed film sets—and says,
I don’t know… I think I’d like to say only that they should learn to be alone and try to spend as much time as posÂsiÂble by themÂselves. I think one of the faults of young peoÂple today is that they try to come togethÂer around events that are noisy, almost aggresÂsive at times. This desire to be togethÂer in order to not feel alone is an unforÂtuÂnate sympÂtom, in my opinÂion. Every perÂson needs to learn from childÂhood how to spend time with oneÂself. That doesn’t mean he should be loneÂly, but that he shouldn’t grow bored with himÂself because peoÂple who grow bored in their own comÂpaÂny seem to me in danÂger, from a self-esteem point of view.
Though I speak as one who grew up in an anaÂlogue world free from social media—the only world Tarkovsky ever knew—I don’t think it’s just the cranky old man in me who finds this advice comÂpellingÂly sound. As a Tom TomorÂrow carÂtoon satirÂiÂcalÂly illusÂtratÂed, our rapid-fire, presÂsure-cookÂer pubÂlic disÂcourse may grant us instant access to information—or misinformation—but it also encourÂages, nay urges, us to form hasty opinÂions, ignore nuance and subÂtleties, and parÂticÂiÂpate in groupÂthink rather than digestÂing things slowÂly and comÂing to our own conÂcluÂsions. It’s an enviÂronÂment parÂticÂuÂlarÂly hosÂtile to mediÂums like poetÂry, or the kinds of poetÂic films Tarkovsky made, which teach us the valÂue of judgÂment withÂheld, and immerse us in the kinds of aesÂthetÂic expeÂriÂences the interÂnet and teleÂviÂsion, with their nonÂstop chatÂter, push to the marÂgins.
In 590 AD, Pope GreÂgoÂry I unveiled a list of the SevÂen DeadÂly Sins – lust, glutÂtony, greed, sloth, wrath, envy and pride – as a way to keep the flock from strayÂing into the thorny fields of ungodÂliÂness. These days, though, for all but the most devout, Pope Gregory’s list seems less like a means to moral behavÂior than a descripÂtion of cable TV proÂgramÂming.
So instead, let’s look to one of the saints of the 20th cenÂtuÂry–MahatÂma GandÂhi. On OctoÂber 22, 1925, GandÂhi pubÂlished a list he called the SevÂen Social Sins in his weekÂly newsÂpaÂper Young India.
PolÂiÂtics withÂout prinÂciÂples.
Wealth withÂout work.
PleaÂsure withÂout conÂscience.
KnowlÂedge withÂout charÂacÂter.
ComÂmerce withÂout moralÂiÂty.
SciÂence withÂout humanÂiÂty.
WorÂship withÂout sacÂriÂfice.
The list sprang from a corÂreÂsponÂdence that GandÂhi had with someÂone only idenÂtiÂfied as a “fair friend.” He pubÂlished the list withÂout comÂmenÂtary save for the folÂlowÂing line: “NatÂuÂralÂly, the friend does not want the readÂers to know these things mereÂly through the intelÂlect but to know them through the heart so as to avoid them.”
Unlike the Catholic Church’s list, Gandhi’s list is expressÂly focused on the conÂduct of the indiÂvidÂual in sociÂety. GandÂhi preached non-vioÂlence and interÂdeÂpenÂdence and every sinÂgle one of these sins are examÂples of selfÂishÂness winÂning out over the comÂmon good.
It’s also a list that, if fulÂly absorbed, will make the folks over at the US ChamÂber of ComÂmerce and Ayn Rand InstiÂtute itch. After all, “Wealth withÂout work,” is a pretÂty accuÂrate descripÂtion of America’s 1%. (InvestÂments ain’t work. Ask Thomas PiketÂty.) “ComÂmerce withÂout moralÂiÂty” sounds a lot like every sinÂgle oil comÂpaÂny out there and “knowlÂedge withÂout charÂacÂter” describes half the hacks on cable news. “PolÂiÂtics withÂout prinÂciÂples” describes the othÂer half.
In 1947, GandÂhi gave his fifth grandÂson, Arun GandÂhi, a slip of paper with this same list on it, sayÂing that it conÂtained “the sevÂen blunÂders that human sociÂety comÂmits, and that cause all the vioÂlence.” The next day, Arun returned to his home in South Africa. Three months latÂer, GandÂhi was shot to death by a HinÂdu extremÂist.
Note: An earÂliÂer verÂsion of this post appeared on our site in 2014.
Bertrand RusÂsell, the great British philosoÂpher and social critÂic, appeared on the BBC proÂgram Face-to-Face in 1959 and was asked a closÂing quesÂtion: What would you tell a genÂerÂaÂtion livÂing 1,000 years from now about the life you’ve lived and the lessons you’ve learned? His answer is short, but pithy. You can read a tranÂscript below:
I should like to say two things, one intelÂlecÂtuÂal and one moral:
The intelÂlecÂtuÂal thing I should want to say to them is this: When you are studyÂing any matÂter or conÂsidÂerÂing any phiÂlosÂoÂphy, ask yourÂself only what are the facts and what is the truth that the facts bear out. NevÂer let yourÂself be divertÂed either by what you wish to believe or by what you think would have benefÂiÂcent social effects if it were believed, but look only and soleÂly at what are the facts. That is the intelÂlecÂtuÂal thing that I should wish to say.
The moral thing I should wish to say to them is very simÂple. I should say: Love is wise, hatred is foolÂish. In this world, which is getÂting more and more closeÂly interÂconÂnectÂed, we have to learn to tolÂerÂate each othÂer. We have to learn to put up with the fact that some peoÂple say things that we don’t like. We can only live togethÂer in that way, and if we are to live togethÂer and not die togethÂer we must learn a kind of charÂiÂty and a kind of tolÂerÂance which is absoluteÂly vital to the conÂtinÂuÂaÂtion of human life on this planÂet.
No truer words have been spoÂken. You can watch the comÂplete 1959 episode below.
If you would like to sign up for Open Culture’s free email newsletÂter, please find it here. It’s a great way to see our new posts, all bunÂdled in one email, each day.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
The SmithÂsonÂian sets the scene for this ChristÂmas card sent in 1933, a few years into the Great DepresÂsion. They write:
Despite the glum ecoÂnomÂic sitÂuÂaÂtion, the Pinero famÂiÂly used a brown paper bag to fashÂion an inexÂpenÂsive holÂiÂday greetÂing card. They penned a clever rhyme and added some charmÂing line drawÂings of Mom, Dad, and the kids with the mesÂsage: “Oh, well—in spite of it all—here’s a MerÂry ChristÂmas from the Pineros.” On DecemÂber 19, 1933, they mailed it from ChicaÂgo to friends in MassÂaÂchuÂsetts, using a one-and-a-half-cent stamp. For a minÂiÂmal outÂlay of cash, they were able to keep in touch with friends and comÂment on their reduced cirÂcumÂstances with wit and humor.
This hand-letÂtered poem is a delightÂful examÂple of light verse, a whimÂsiÂcal form of poetÂry intendÂed to enterÂtain or amuse, even if treatÂing a seriÂous subÂject in a humorÂous manÂner. In the poem, the Pineros sugÂgest that they had strugÂgled ecoÂnomÂiÂcalÂly for some time, but now, due to the conÂtinÂuÂing DepresÂsion, othÂers shared their finanÂcial plight, which enabled them to be more open and canÂdid about their sitÂuÂaÂtion.
Like many famÂiÂlies, the Pineros probÂaÂbly had lots of bills for necesÂsiÂties includÂing rent, groÂceries, utilÂiÂties, milk, and ice. Because not every famÂiÂly had elecÂtric refrigÂerÂaÂtion in 1933, many relied on regÂuÂlar delivÂerÂies of ice to keep their perÂishÂable foods cold. These bills for milk and ice were sepÂaÂrate; they were not part of the groÂcery account. Local dairies supÂplied milk and othÂer prodÂucts on a daiÂly basis. Both the Ice Man and the Milk Man would cometh, as long as they were paid!
It’s a hisÂtorÂiÂcal case of when less is indeed more…
If you would like to sign up for Open Culture’s free email newsletÂter, please find it here. It’s a great way to see our new posts, all bunÂdled in one email, each day.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
There’s one thing right with our world, and it’s Dick Van Dyke. AppearÂing in a new ColdÂplay music video, Mr. Van Dyke dances bareÂfoot and sings knowÂingÂly a litÂtle off-key—before reflectÂing on a cenÂtuÂry of life on this planÂet. What is love? Is he afraid of dying? What does luck look like? He knows the answers. Mr. Van Dyke turns 99 this week. And we’ll be rootÂing him on when he turns 100 next year. Enjoy the direcÂtor’s cut of the touchÂing new music video, “All My Love,” directÂed by Spike Jonze.
If you would like to sign up for Open Culture’s free email newsletÂter, please find it here. It’s a great way to see our new posts, all bunÂdled in one email, each day.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
Charles MinÂgus, the innoÂvÂaÂtive jazz musiÂcian, was known for havÂing a bad temÂper. He once got so irriÂtatÂed with a heckÂler that he endÂed up trashÂing his $20,000 bass. AnothÂer time, when a pianist didÂn’t get things right, MinÂgus reached right inside the piano and ripped the strings out with his bare hands — a true stoÂry menÂtioned in the BBC docÂuÂmenÂtary, 1959: The Year that Changed Jazz.
But MinÂgus had a softÂer, nurÂturÂing side too. If you head to the offiÂcial Charles MinÂgus webÂsite, you will find a copy of the Charles MinÂgus Cat ToiÂlet TrainÂing ProÂgram, a lovÂing litÂtle guide creÂatÂed for cat ownÂers everyÂwhere. The trick to potÂty trainÂing your cat comes down to edgÂing the litÂter box closÂer to the bathÂroom, evenÂtuÂalÂly placÂing the box on the potÂty, and then cutÂting a hole in the cenÂter of the box. Expect to spend about three weeks makÂing the tranÂsiÂtion. And who knows, MinÂgus says, your cat may even learn to flush. The full guide appears here. Or read it below:
1
First, you must train your cat to use a home-made cardÂboard litÂter box, if you have not already done so. (If your box does not have a one-piece botÂtom, add a cardÂboard that fits inside, so you have a false botÂtom that is smooth and strong. This way the box will not become sogÂgy and fall out at the botÂtom. The groÂcery store will have extra flat cardÂboards which you can cut down to fit exactÂly inside your box.)
Be sure to use torn up newsÂpaÂper, not kitÂty litÂter. Stop using kitÂty litÂter. (When the time comes you canÂnot put sand in a toiÂlet.)
Once your cat is trained to use a cardÂboard box, start movÂing the box around the room, towards the bathÂroom. If the box is in a corÂner, move it a few feet from the corÂner, but not very noticeÂably. If you move it too far, he may go to the bathÂroom in the origÂiÂnal corÂner. Do it gradÂuÂalÂly. You’ve got to get him thinkÂing. Then he will gradÂuÂalÂly folÂlow the box as you move it to the bathÂroom. (ImporÂtant: if you already have it there, move it out of the bathÂroom, around, and then back. He has to learn to folÂlow it. If it is too close to the toiÂlet, to begin with, he will not folÂlow it up onto the toiÂlet seat when you move it there.) A cat will look for his box. He smells it.
2
Now, as you move the box, also start cutÂting the brim of the box down, so the sides get lowÂer. Do this gradÂuÂalÂly.
FinalÂly, you reach the bathÂroom and, evenÂtuÂalÂly, the toiÂlet itself. Then, one day, preÂpare to put the box on top of the toiÂlet. At each corÂner of the box, cut a litÂtle slash. You can run string around the box, through these slashÂes, and tie the box down to the toiÂlet so it will not fall off. Your cat will see it there and jump up to the box, which is now sitÂting on top of the toiÂlet (with the sides cut down to only an inch or so.)
Don’t bug the cat now, don’t rush him, because you might throw him off. Just let him relax and go there for awhile-maybe a week or two. MeanÂwhile, put less and less newsÂpaÂper inside the box.
3
One day, cut a small hole in the very cenÂter of his box, less than an apple-about the size of a plum-and leave some paper in the box around the hole. Right away he will start aimÂing for the hole and posÂsiÂbly even try to make it bigÂger. Leave the paper for awhile to absorb the waste. When he jumps up he will not be afraid of the hole because he expects it. At this point you will realÂize that you have won. The most difÂfiÂcult part is over.
From now on, it is just a matÂter of time. In fact, once when I was cleanÂing the box and had removed it from the toiÂlet, my cat jumped up anyÂway and almost fell in. To avoid this, have a temÂpoÂrary flat cardÂboard ready with a litÂtle hole, and slide it under the toiÂlet lid so he can use it while you are cleanÂing, in case he wants to come and go, and so he will not fall in and be scared off comÂpleteÂly. You might add some newsÂpaÂper up there too, while you are cleanÂing, in case your cat is not as smart as Nightlife was.
4
Now cut the box down comÂpleteÂly until there is no brim left. Put the flat cardÂboard, which is left, under the lid of the toiÂlet seat, and pray. Leave a litÂtle newsÂpaÂper, still. He will rake it into the hole anyÂway, after he goes to the bathÂroom. EvenÂtuÂalÂly, you can simÂply get rid of the cardÂboard altoÂgethÂer. You will see when he has got his balÂance propÂerÂly.
Don’t be surÂprised if you hear the toiÂlet flush in the midÂdle of the night. A cat can learn how to do it, spurred on by his instinct to covÂer up. His main thing is to covÂer up. If he hits the flush knob acciÂdenÂtalÂly and sees that it cleans the bowl inside, he may rememÂber and do it intenÂtionÂalÂly.
Also, be sure to turn the toiÂlet paper roll around so that it won’t roll down easÂiÂly if the cat paws it. The cat is apt to roll it into the toiÂlet, again with the intenÂtion of covÂerÂing up- the way he would if there were still kitÂty litÂter.
It took me about three or four weeks to toiÂlet train my cat, Nightlife. Most of the time is spent movÂing the box very gradÂuÂalÂly to the bathÂroom. Do it very slowÂly and don’t conÂfuse him. And, rememÂber, once the box is on the toiÂlet, leave it a week or even two. The main thing to rememÂber is not to rush or conÂfuse him.
Bonus: Below you can hear The Wire’s Reg E. Cathey read “The Charles MinÂgus CAT-alog for ToiÂlet TrainÂing Your Cat.”
If you would like to sign up for Open Culture’s free email newsletÂter, please find it here. It’s a great way to see our new posts, all bunÂdled in one email, each day.
If you would like to supÂport the misÂsion of Open CulÂture, conÂsidÂer makÂing a donaÂtion to our site. It’s hard to rely 100% on ads, and your conÂtriÂbuÂtions will help us conÂtinÂue proÂvidÂing the best free culÂturÂal and eduÂcaÂtionÂal mateÂriÂals to learnÂers everyÂwhere. You can conÂtribute through PayÂPal, PatreÂon, and VenÂmo (@openculture). Thanks!
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