Three Leonard Cohen Animations

Leonard Cohen, High Priest Of Pathos…

     Lord Byron of Rock and Roll…

          Gen­tle­man Zen

                Mas­ter Of Misery…Morbidity… Erot­ic Despair…

                    Prince of Pessimism…Pain…

                         Trou­ba­dour For Trou­bled Souls…

The grav­el-voiced singer-song­writer accu­mu­lat­ed hun­dreds of nick­names over a career span­ning more than half a cen­tu­ry. He wasn’t thrilled by some of them, remark­ing to the BBC, “You get tired, over the years, hear­ing that you’re the cham­pi­on of gloom.”

Tak­en all togeth­er, how­ev­er, they make for a decent com­pos­ite por­trait of a pro­lif­ic artist whose sen­su­al­i­ty, mor­dant wit, and obses­sion with love, loss, and redemp­tion nev­er wavered.

He took some hia­tus­es, includ­ing a 5‑year stint as a monk in California’s Mount Baldy monastery, but nev­er retired.

His final stu­dio album, You Want It Dark­er, was released mere weeks before his death.

Jour­nal­ist Rob Sheffield artic­u­lat­ed the Cohen mys­tique in a Rolling Stone eulo­gy:

This man was both the crack in every­thing and the light that gets in. Nobody wrote such mag­nif­i­cent­ly bleak bal­lads for brood­ing alone in the dark, star­ing at a win­dow or wall – “Joan of Arc,” “Chelsea Hotel,” “Tow­er of Song,” “Famous Blue Rain­coat,” “Clos­ing Time.” He was music’s top Jew­ish Cana­di­an ladies’ man before Drake was born, run­ning for the mon­ey and the flesh. Like Bowie and Prince, he tapped into his own realm of spir­i­tu­al and sex­u­al gno­sis, and like them, he went out at the peak of his musi­cal pow­ers. No song­writer ever adapt­ed to old age with more cun­ning or gus­to. 

Cohen also excelled at inter­views, leav­ing behind a wealth of gen­er­ous, free­wheel­ing record­ings, at least three of which have become fod­der for ani­ma­tors.

The ani­ma­tion at the top of the page is drawn from Cohen’s 1966 inter­view with the Cana­di­an Broad­cast­ing Corporation’s Adri­enne Clark­son, short­ly after the release of his exper­i­men­tal nov­el, Beau­ti­ful Losers. (His debut album was still a year and a half away.)

Ear­li­er in the inter­view, Cohen men­tions the “hap­py rev­o­lu­tion” he encoun­tered in Toron­to after an extend­ed peri­od on the Greek island of Hydra:

I was walk­ing on Yorkville Street and it was jammed with beau­ti­ful, beau­ti­ful peo­ple last night. I thought maybe it could spread to the [oth­er] streets and maybe even … where’s the mon­ey dis­trict? Bay Street?… I thought maybe they could take that over soon, too.

How to tap into the source of all this hap­pi­ness?

The future Zen monk Cohen was pret­ty con­vinced it could be locat­ed by sit­ting qui­et­ly, though he doesn’t con­demn those using drugs or alco­hol as an assist, explain­ing that his fel­low Cana­di­an, abstract expres­sion­ist Harold Town, “gets beau­ti­ful under alco­hol. I get stu­pid and gen­er­al­ly throw up.”

8 years lat­er, WBAI’s Kath­leen Kendel came armed with a poem for Cohen to read on air, and also plumbed him as to the ori­gins of “Sis­ters of Mer­cy,” one of his best known songs, and the only one that did­n’t require him to “sweat over every word.” (Pos­si­bly the con­so­la­tion prize for his dashed hopes of erot­ic adven­ture with the song’s pro­tag­o­nists.)

(The ani­ma­tion here is by Patrick Smith for PBS’ Blank on Blank series.)

Ani­ma­tor Joe Don­ald­son riffs on an excerpt from Cohen’s final major inter­view, with The New York­er’s edi­tor-in-chief, David Rem­nick, above.

Rem­nick recalled that his sub­ject, who died a few days lat­er, was “in an ebul­lient mood for a man… who knew exact­ly where he was going, and he was head­ed there in a hur­ry. And at the same time, he was incred­i­bly gra­cious.”

The 82-year-old Cohen spoke enthu­si­as­ti­cal­ly if some­what pes­simisti­cal­ly about hav­ing a lot of new mate­r­i­al to get through, “to put (his) house in order,” but also admit­ted, “some­times I just need to lie down.”

Relat­ed Con­tent:

Hear Leonard Cohen’s Final Inter­view: Record­ed by David Rem­nick of The New York­er

Ladies and Gen­tle­men… Mr. Leonard Cohen: The Poet-Musi­cian Fea­tured in a 1965 Doc­u­men­tary

Leonard Cohen Plays a Spell­bind­ing Set at the 1970 Isle of Wight Fes­ti­val

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

Watch Badiou, the First Feature-Length Film on France’s Most Famous Living Philosopher

Above you can watch Badiou, the first fea­ture-length film on France’s most famous liv­ing philoso­pher. On the film’s accom­pa­ny­ing web­site, the directors–Gorav Kalyan and Rohan Kalyan–write:

Niet­zsche wrote that all phi­los­o­phy is a biog­ra­phy of the philoso­pher. The life of philoso­pher Alain Badiou sug­gests that the reverse of this is also true: from one’s life sto­ry, we might deduce an entire sys­tem of thought.

From his birth in Moroc­co, to the events of May 1968 in Paris, to his twi­light years as a nomadic pub­lic intel­lec­tu­al, Badiou’s own biog­ra­phy is per­haps his most com­plex and thought-pro­vok­ing work. He is a man who demands to be con­sid­ered the ally of both Pla­to and Sartre, St. Paul and Lucifer, the math­e­mati­cian and the poet.

With inti­mate access, Gorav and Rohan Kalyan have pro­duced the first fea­ture-length doc­u­men­tary about Alain Badiou. By address­ing the inher­ent con­tra­dic­tions in Badiou’s life and work through cin­e­mat­ic means, the film­mak­ers are con­front­ed by the inher­ent con­tra­dic­tions of cin­e­ma itself: thought vs action, inte­ri­or­i­ty vs exte­ri­or­i­ty, pres­ence vs absence. And in order to bring to their com­plex sub­ject a sense of empa­thy, clar­i­ty, and cri­tique, they must ask a ques­tion as old as the medi­um: can cin­e­ma think?

Badiou has been made avail­able through Rohan Kalyan’s Vimeo page, and it will be added to our col­lec­tion of Free Doc­u­men­taries, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

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

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Philoso­pher Alain Badiou Per­forms a Scene From His Play, Ahmed The Philoso­pher (2011)

Michel Fou­cault and Alain Badiou Dis­cuss “Phi­los­o­phy and Psy­chol­o­gy” on French TV (1965)

The Entire Archives of Rad­i­cal Phi­los­o­phy Go Online: Read Essays by Michel Fou­cault, Alain Badiou, Judith But­ler & More (1972–2018)

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Social Psychologist Erich Fromm Diagnoses Why People Wear a Mask of Happiness in Modern Society (1977)

Mod­ern man still is anx­ious and tempt­ed to sur­ren­der his free­dom to dic­ta­tors of all kinds, or to lose it by trans­form­ing him­self into a small cog in the machine. —Erich Fromm

There are more think pieces pub­lished every day than any one per­son can read about our cur­rent moment of social dis­in­te­gra­tion. But we seem to have lost touch with the insights of social psy­chol­o­gy, a field that dom­i­nat­ed pop­u­lar intel­lec­tu­al dis­course in the post-war 20th cen­tu­ry, large­ly due to the influ­en­tial work of Ger­man exiles like Erich Fromm. The human­ist philoso­pher and psychologist’s “pre­scient 1941 trea­sure Escape from Free­dom,writes Maria Popo­va, serves as what he called “‘a diag­no­sis rather than a prog­no­sis,’ writ­ten dur­ing humanity’s grimmest descent into mad­ness in WWII, lay­ing out the foun­da­tion­al ideas on which Fromm would lat­er draw in con­sid­er­ing the basis of a sane soci­ety,” the title of his 1955 study of alien­ation, con­for­mi­ty, and author­i­tar­i­an­ism.

Fromm “is an unjust­ly neglect­ed fig­ure,” Kier­an Durkin argues at Jacobin, “cer­tain­ly when com­pared with his erst­while Frank­furt School col­leagues, such as Max Horkheimer and Theodor Adorno.” But he has much to offer as a “ground­ed alter­na­tive” to their crit­i­cal the­o­ry, and his work “reveals a dis­tinct­ly more opti­mistic and hope­ful engage­ment with the ques­tion of rad­i­cal social change.” Nonethe­less, Fromm well under­stood that social dis­eases must be iden­ti­fied before they can be treat­ed, and he did not sug­ar­coat his diag­noses. Had soci­ety become more “sane” thir­ty-plus years after the war? Fromm didn’t think so.

In the 1977 inter­view clip above, Fromm defends his claim that “We live in a soci­ety of noto­ri­ous­ly unhap­py peo­ple,” which the inter­view­er calls an “incred­i­ble state­ment.” Fromm replies:

For me it isn’t incred­i­ble at all, but if you just open your eyes, you see it. That is, most peo­ple pre­tend that they are hap­py, even to them­selves, because if you are unhap­py, you are con­sid­ered a fail­ure, so you must wear the mask of being sat­is­fied, of hap­py.

Con­trast this obser­va­tion with Albert Camus’ 1959 state­ment, “Today hap­pi­ness is like a crimenev­er admit it. Don’t say ‘I’m hap­py’ oth­er­wise you will hear con­dem­na­tion all around.” Were Fromm and Camus observ­ing vast­ly dif­fer­ent cul­tur­al worlds? Or is it pos­si­ble that in the inter­ven­ing years, forced hap­pi­nessakin to the social­ly coerced emo­tions Camus depict­ed in The Strangerhad become nor­mal­ized, a screen of denial stretched over exis­ten­tial dread, eco­nom­ic exploita­tion, and social decay?

Fromm’s diag­no­sis of forced hap­pi­ness res­onates strong­ly with The Stranger (and Bil­lie Hol­i­day), and with the image-obsessed soci­ety in which we live most of our lives now, pre­sent­ing var­i­ous curat­ed per­son­ae on social media and video­con­fer­enc­ing apps. Unhap­pi­ness may be a byprod­uct of depres­sion, vio­lence, pover­ty, phys­i­cal ill­ness, social alien­ation… but its man­i­fes­ta­tions pro­duce even more of the same: “Them that’s got shall get / Them that’s not shall lose.” If you’re unhap­py, says Fromm, “you lose cred­it on the mar­ket, you’re no longer a nor­mal per­son or a capa­ble per­son. But you just have to look at peo­ple. You only have to see how behind the mask there is unrest.”

Have we learned how to look at peo­ple behind the mask? Is it pos­si­ble to do so when we most­ly inter­act with them from behind a screen? These are the kinds of ques­tions Fromm’s work can help us grap­ple with, if we’re will­ing to accept his diag­no­sis and tru­ly reck­on with our unhap­pi­ness.

Relat­ed Con­tent: 

Albert Camus Explains Why Hap­pi­ness Is Like Com­mit­ting a Crime—”You Should Nev­er Admit to it” (1959)

How Much Mon­ey Do You Need to Be Hap­py? A New Study Gives Us Some Exact Fig­ures

The UN’s World Hap­pi­ness Report Ranks “Social­ist Friend­ly” Coun­tries like Fin­land, Nor­way, Den­mark, Ice­land & Swe­den as Among the Hap­pi­est in the World

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

An Animated Introduction to Baruch Spinoza: The “Philosopher’s Philosopher”

The so-called Enlight­en­ment peri­od encom­pass­es a sur­pris­ing­ly diverse col­lec­tion of thinkers, if not always in eth­nic or nation­al ori­gin, at least in intel­lec­tu­al dis­po­si­tion, includ­ing per­haps the age’s most influ­en­tial philoso­pher, the “philosopher’s philoso­pher,” writes Assad Mey­man­di. Baruch Spin­oza did not fit the image of the bewigged philoso­pher-gen­tle­man of means we tend to pop­u­lar­ly asso­ciate with Enlight­en­ment thought.

He was born to a fam­i­ly of Sephardic Por­tuguese Mar­ra­nos, Jews who were forced to con­vert to Catholi­cism but who reclaimed their Judaism when they relo­cat­ed to Calvin­ist Ams­ter­dam. Spin­oza him­self was “excom­mu­ni­cat­ed by Ams­ter­dam Jew­ry in 1656,” writes Harold Bloom in a review of Rebec­ca Goldstein’s Betray­ing Spin­oza: “The not deeply cha­grined 23-year-old Spin­oza did not become a Calvin­ist, and instead con­sort­ed with more lib­er­al Chris­tians, par­tic­u­lar­ly Men­non­ites.”

Spin­oza read “Hebrew, paleo-Hebrew, Aara­ma­ic, Greek, Latin, and to some degree Ara­bic,” writes Mey­man­di. “He was not a Mus­lim, but behaved like a Sufi in that he gave away all his pos­ses­sions to his step sis­ter. He was heav­i­ly influ­enced by Al Ghaz­a­li, Baba Taher Oryan, and Al Fara­bi.” He is also “usu­al­ly count­ed, along with Descartes and Leib­niz, as one of the three major Ratio­nal­ists,” Loy­ola pro­fes­sor Blake D. Dut­ton notes at the Inter­net Ency­clo­pe­dia of Phi­los­o­phy, a thinker who “made sig­nif­i­cant con­tri­bu­tions in vir­tu­al­ly every area of phi­los­o­phy.”

One might say with­out exag­ger­a­tion that it is impos­si­ble to under­stand Enlight­en­ment think­ing with­out read­ing this most het­ero­dox of thinkers, and in par­tic­u­lar read­ing his Ethics, which is itself no easy task. In this work, as Alain de Bot­ton puts it in his School of Life intro­duc­tion to Spin­oza above, the philoso­pher tried “to rein­vent reli­gion, mov­ing it away from some­thing based on super­sti­tion and direct divine inter­ven­tion to some­thing that is far more imper­son­al, qua­si-sci­en­tif­ic, and yet also, at times, serene­ly con­sol­ing.”

One might draw sev­er­al lines from Spin­oza to Sagan and also to Wittgen­stein and oth­er mod­ern skep­tics. His cri­tiques of such cher­ished con­cepts as prayer and a per­son­al rela­tion­ship with a deity did not qual­i­fy him as a reli­gious thinker in any ortho­dox sense, and he was derid­ed as an “athe­ist Jew” in his time. But he took reli­gion, and reli­gious awe, very seri­ous­ly, even if Spinoza’s God is indis­tin­guish­able from nature. To imag­ine that this great, mys­te­ri­ous enti­ty should bend the rules to suit our indi­vid­ual needs and desires con­sti­tutes a “deeply dis­tort­ed, infan­tile nar­cis­sism” in Spinoza’s esti­ma­tion, says de Bot­ton.

For Spin­oza, a mature ethics instead con­sists in find­ing out how the uni­verse works and accept­ing it, rather in the way of the Sto­ics or Nietzsche’s use of the Sto­ic idea of amor fati. It is with­in such accep­tance, what Bloom calls Spinoza’s “icy sub­lim­i­ty,” that true enlight­en­ment is found, accord­ing to Spin­oza. Or as the de Bot­ton video suc­cinct­ly puts it: “The free per­son is the one who is con­scious of the neces­si­ties that com­pel us all,” and who—instead of rail­ing against them—finds cre­ative ways to live with­in their lim­i­ta­tions peace­ful­ly.

Relat­ed Con­tent: 

An Ani­mat­ed Intro­duc­tion to Voltaire: Enlight­en­ment Philoso­pher of Plu­ral­ism & Tol­er­ance

The Diderot Effect: Enlight­en­ment Philoso­pher Denis Diderot Explains the Psy­chol­o­gy of Con­sumerism & Our Waste­ful Spend­ing

How to Teach and Learn Phi­los­o­phy Dur­ing the Pan­dem­ic: A Col­lec­tion of 450+ Phi­los­o­phy Videos Free Online

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

88 Philosophy Podcasts to Help You Answer the Big Questions in Life

The big ques­tions of phi­los­o­phy, sim­mer­ing since antiq­ui­ty, still press upon us as they did the Athe­ni­ans of old (and all ancient peo­ple who have phi­los­o­phized): what oblig­a­tions do we real­ly owe to fam­i­ly, friends, or strangers? Do we live as free agents or beings con­trolled by fate or the gods (or genes or a com­put­er sim­u­la­tion)? What is a good life? How do we cre­ate soci­eties that max­i­mize free­dom and hap­pi­ness (or what­ev­er ulti­mate val­ues we hold dear)? What is lan­guage, what is art, and where did they come from?

These ques­tions may not be answered with a brute appeal to facts, though with­out sci­ence we are grop­ing in the dark. Reli­gion takes big ques­tions seri­ous­ly but tells con­verts to take its super­nat­ur­al answers on faith. “Between the­ol­o­gy and sci­ence there is a No Man’s Land,” writes Bertrand Rus­sell, “exposed to attack from both sides; this No Man’s Land is phi­los­o­phy.” Phi­los­o­phy reach­es beyond cer­tain­ty, to “spec­u­la­tions on mat­ters as to which def­i­nite knowl­edge has, so far, been unascer­tain­able.” And yet, like sci­ence, “it appeals to human rea­son rather than author­i­ty.”

The con­cerns of phi­los­o­phy have nar­rowed since Russell’s time, not to men­tion the time of Socrates, put to death for lead­ing the youth astray. But pro­fes­sors of phi­los­o­phy still raise the ire of the pub­lic, accused of seduc­ing stu­dents from the safe spaces of sacred dog­ma and sec­u­lar util­i­ty. “To study phi­los­o­phy,” wrote Cicero, “is noth­ing but to pre­pare one­self to die.” It is a poet­ic turn of phrase, and yes, we must con­front mor­tal­i­ty, but phi­los­o­phy also asks us to con­front the lim­its of human knowl­edge and pow­er in the face of the unknown. Dan­ger­ous indeed.

Should you decide to embark on this jour­ney your­self, you will meet with no small num­ber of fel­low trav­el­ers along the way. Bring some ear­phones, you can hear them in the trove of 88 phi­los­o­phy pod­casts com­piled on the phi­los­o­phy web­site Dai­ly Nous. “How many phi­los­o­phy pod­casts are there?” asks Dai­ly Nous, who brings us this list. “Over 80, and they take a vari­ety of forms.” See 15 below, with descrip­tions, see the rest at Dai­ly Nous, and enjoy your sojourn into “no man’s land.”

See the full list here. And explore our col­lec­tion of 200 Free Online Phi­los­o­phy Cours­es here.

Relat­ed Con­tent: 

Free Online Phi­los­o­phy Cours­es

Learn Phi­los­o­phy with a Wealth of Free Cours­es, Pod­casts and YouTube Videos

Oxford’s Free Intro­duc­tion to Phi­los­o­phy: Stream 41 Lec­tures

Dis­cov­er the Cre­ative, New Phi­los­o­phy Pod­cast Hi-Phi Nation: The First Sto­ry-Dri­ven Show About Phi­los­o­phy

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

The Japanese Traditions of Sashiko & Boro: The Centuries-Old Craft That Mends Clothes in a Sustainable, Artistic Way

The state of our trou­bled plan­et dic­tates that dis­pos­ables are out.

Reusables are in.

And any­one who’s taught them­selves how to mend and main­tain their stuff has earned the right to flaunt it!

A quick scroll through Insta­gram reveals loads of vis­i­ble mend­ing projects that high­light rather than dis­guise the area of repair, draw­ing the eye to con­trast­ing threads rein­forc­ing a thread­bare knee, frayed cuff, ragged rip, or moth hole.

While some prac­ti­tion­ers take a freeform approach, the most pleas­ing stitch­es tend to be in the sashiko tra­di­tion.

Sashiko—fre­quent­ly trans­lat­ed as “lit­tle stabs”—was born in Edo peri­od Japan (1603–1868), when rur­al women attempt­ed to pro­long the life of their fam­i­lies’ tat­tered gar­ments and bed­ding, giv­ing rise to a hum­ble form of white-on-indi­go patch­work known as boro.

While sashiko can at times be seen serv­ing a pure­ly dec­o­ra­tive func­tion, such as on a very well pre­served Mei­ji peri­od jack­et in the Met­ro­pol­i­tan Muse­um of Art’s col­lec­tion, its pri­ma­ry use was always one born of neces­si­ty.

As Austin Bryant notes on Hed­dels, a news and edu­ca­tion web­site ded­i­cat­ed to sus­tain­able goods:

Over gen­er­a­tions of fam­i­lies, these tex­tiles would acquire more and more patch­es, almost to the point of the com­mon observ­er being unable to rec­og­nize where the orig­i­nal fab­ric began. As they recov­ered after the end of World War II, to some the boro tex­tiles remind­ed the Japan­ese of their impov­er­ished rur­al past.

Keiko & Atsushi Futat­suya are a moth­er-and-son arti­san team whose posts on sashiko and boro go beyond straight­for­ward how-tos to delve into cul­tur­al his­to­ry.

Accord­ing to them, the goal of sashiko should not be aes­thet­i­cal­ly pleas­ing rows of uni­form stitch­es, but rather “enjoy­ing the dia­logue” with the fab­ric.

As Atsushi explains in an Insta­gram post, view­ers see­ing their work with a West­ern per­spec­tive may respond dif­fer­ent­ly than those who have grown up with the ele­ments in play:

This is a pho­to of a “Boro-to-be Jack­et” in the process. This is the back (hid­ing) side of the jack­et and many non-Japan­ese would say this should be the front and should show to the pub­lic. The Japan­ese would under­stand why it is a back­side nat­u­ral­ly, but I would need to “explain” to the non-Japan­ese who do not share the same val­ue (why we) pur­pose­ful­ly make this side as “hid­ing” side. That’s why, I keep shar­ing in words. One pic­ture may be worth a thou­sand words, but the thou­sand words may be com­plete­ly dif­fer­ent based on their (free) inter­pre­ta­tion. In shar­ing the cul­ture, some “actu­al words” would be also very impor­tant.

To try your hand at sashiko, you will need a long nee­dle, such as a cot­ton darn­ing nee­dle, white embroi­dery thread, and—for boro—an aging tex­tile in need of some atten­tion.

Should you find your­self slid­ing into a full blown obses­sion, you may want to order sashiko nee­dles and thread, and a palm thim­ble to help you push through sev­er­al weights of fab­ric simul­ta­ne­ous­ly.

You’ll find many pat­terns, tips, and tuto­ri­als on the Futat­suya family’s Sashi.co YouTube chan­nel.

via Vox

Relat­ed Con­tent: 

20 Mes­mer­iz­ing Videos of Japan­ese Arti­sans Cre­at­ing Tra­di­tion­al Hand­i­crafts

See How Tra­di­tion­al Japan­ese Car­pen­ters Can Build a Whole Build­ing Using No Nails or Screws

Explore the Beau­ti­ful Pages of the 1902 Japan­ese Design Mag­a­zine Shin-Bijut­sukai: Euro­pean Mod­ernism Meets Tra­di­tion­al Japan­ese Design

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

Watch Cornel West’s Free Online Course on W.E.B. Du Bois, the Great 20th Century Public Intellectual

A giant of 20th cen­tu­ry schol­ar­ship, W.E.B. Du Bois’ career spanned six decades, two World Wars, and sev­er­al waves of civ­il rights and decolo­nial move­ments; he saw the twen­ti­eth cen­tu­ry with more clar­i­ty than per­haps any­one of his gen­er­a­tion through the lens of “dou­ble con­scious­ness”;  he wrote pre­scient­ly about geopol­i­tics, polit­i­cal econ­o­my, insti­tu­tion­al racism, impe­ri­al­ism, and the cul­ture and his­to­ry of both black and white Amer­i­cans; we find in near­ly all of his work pierc­ing obser­va­tions that seem to look direct­ly at our present con­di­tions, while ana­lyz­ing the con­di­tions of his time with rad­i­cal rig­or.

“An activist and a jour­nal­ist, a his­to­ri­an and a soci­ol­o­gist, a nov­el­ist, a crit­ic, and a philoso­pher,” notes the Stan­ford Ency­clo­pe­dia of Phi­los­o­phy, Du Bois “exam­ined the race prob­lem in its many aspects more pro­found­ly, exten­sive­ly, and sub­tly” than “any­one, at any time.” And there is no one more flu­ent in the ver­nac­u­lars, lit­er­a­tures, and philoso­phies Du Bois mas­tered than Cor­nel West, who lays out for us what this means:

Du Bois, like Pla­to, like Shake­speare, like Toni Mor­ri­son, like Thomas Pyn­chon, like Vir­ginia Woolf…. What do they do? They push you against a wall: heart, mind, soul. Struc­tures and insti­tu­tions, vicious forms of sub­or­di­na­tion, but also joy­ful and hero­ic forms of cri­tique and resis­tance.

West begins his course on Du Bois—delivered in the sum­mer of 2017 at Dart­mouth—with this descrip­tion (things get going in the first lec­ture at 3:15 after the course intro), which ges­tures toward the com­par­a­tive, “call and response,” dis­cus­sion to come. All nine lec­tures from “The His­tor­i­cal Phi­los­o­phy of W.E.B. Du Bois” (plus an addi­tion­al pub­lic talk West deliv­ered at the uni­ver­si­ty) are avail­able at Dart­mouth’s Depart­ment of Eng­lish and Cre­ative Writ­ing site, as well as this YouTube playlist.

The course fol­lows the move­ment of Du Bois’ com­plex his­tor­i­cal phi­los­o­phy and pio­neer­ing use of schol­ar­ly autobiography—(what West calls the “cul­ti­va­tion” of a “crit­i­cal self”)—through a num­ber of themes, from “Du Bois and the Cat­a­stroph­ic 20th Cen­tu­ry” to, in the final lec­ture, “Rev­o­lu­tion, Race, and Amer­i­can Empire.” It begins with 1903’s The Souls of Black Folk, in which Du Bois first wrote of dou­ble con­scious­ness and penned the famous line, “The prob­lem of the twen­ti­eth cen­tu­ry is the prob­lem of the col­or-line.”

West puts close read­ings of that sem­i­nal work next to “sub­se­quent essays in [Du Bois’] mag­is­te­r­i­al cor­pus, espe­cial­ly his clas­sic auto­bi­og­ra­phy Dusk of Dawn (1940),” the course descrip­tion reads. The lat­ter text is not only a Bil­dung, a “spir­i­tu­al auto­bi­og­ra­phy,” Du Bois called it, but also a crit­i­cal analy­sis of sci­ence and empire, white­ness, pro­pa­gan­da, world war, rev­o­lu­tion, and a con­cep­tu­al­iza­tion of race that sees the idea’s arbi­trary illog­ic, in the “con­tin­u­ous change in the proofs and argu­ments advanced.” These ideas became for­ma­tive for anti-colo­nial, anti-impe­r­i­al, and Pan-African move­ments.

Du Bois first formed his “rad­i­cal cos­mopoli­tanism,” as Gunter Lenz writes in The Jour­nal of Transna­tion­al Amer­i­can Stud­ies, dur­ing his stud­ies in Ger­many, where he arrived in 1892 and found him­self, he wrote, “on the out­side of the Amer­i­can world, look­ing in.” He returned to Ger­many over the decades and, in a 1936 vis­it, was one of the few pub­lic intel­lec­tu­als who pre­dict­ed a “world war on Jews” and “all non-Nordic races.” But Du Bois not only con­front­ed the geno­ci­dal wars and helped lead the lib­er­a­to­ry move­ments of the 20th cen­tu­ry; he also, with uncan­ny per­spi­cac­i­ty, both antic­i­pat­ed and shaped the strug­gles of the 21st. Access West­’s full lec­ture course here.

West­’s course, “The His­tor­i­cal Phi­los­o­phy of W.E.B. Du Bois,” will be added to our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent: 

Free Online His­to­ry Cours­es

Take Free Online Cours­es on African-Amer­i­can His­to­ry from Yale and Stan­ford: From Eman­ci­pa­tion, to the Civ­il Rights Move­ment, and Beyond

W.E.B. Du Bois Cre­ates Rev­o­lu­tion­ary, Artis­tic Data Visu­al­iza­tions Show­ing the Eco­nom­ic Plight of African-Amer­i­cans (1900)

W.E.B. Du Bois Dev­as­tates Apol­o­gists for Con­fed­er­ate Mon­u­ments and Robert E. Lee (1931)

Daniel Den­nett and Cor­nel West Decode the Phi­los­o­phy of The Matrix

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

What Voltaire Meant When He Said That “We Must Cultivate Our Garden”: An Animated Introduction

“Voltaire’s goal in writ­ing [his 1759 satire Can­dide] was to destroy the opti­mism of his times,” says Alain de Bot­ton in the School of Life video above, “an opti­mism that cen­tered around sci­ence, love, tech­ni­cal progress, and a faith in rea­son.” These beliefs were fol­ly, Voltaire thought: the trans­fer of faith from a prov­i­den­tial God to a per­fect, clock­work uni­verse. Can­dide sat­i­rizes this hap­py ratio­nal­ism in Doc­tor Pan­gloss, whose belief that ours is the best of pos­si­ble worlds comes direct­ly from the philo­soph­i­cal opti­mism of Got­tfried Leib­niz.

The pre­pon­der­ance of the evi­dence, Voltaire made abun­dant­ly clear in the novel’s series of increas­ing­ly hor­rif­ic episodes, points toward a blind, indif­fer­ent uni­verse full of need­less cru­el­ty and chaos. “Hope was, he felt, a dis­ease,” de Bot­ton says, and “it was Voltaire’s gen­er­ous goal to try and cure us of it.” But as every­one who has read Can­dide (or read a sum­ma­ry or brief notes on Can­dide) knows, the nov­el does not end with despair, but on a “Sto­ic note.”

After endur­ing immense suf­fer­ing on their many trav­els, Can­dide and his com­pan­ions set­tle in Turkey, where they meet an old man sit­ting qui­et­ly under a tree. He tells them about his phi­los­o­phy, how he abstains from pol­i­tics and sim­ply cul­ti­vates the fruits of his gar­den for mar­ket as his sole con­cern. Invit­ed to feast with the man and his fam­i­ly, they remark upon the lux­u­ri­ous ease in which they live and learn that they do so on a fair­ly small plot of land.

Voltaire loved to goose his large­ly Chris­t­ian read­ers and delight­ed in putting the novel’s part­ing wis­dom, “arguably the most impor­tant adage in mod­ern phi­los­o­phy,” in the mouth of an Islam­ic char­ac­ter: Il faut cul­tiv­er notre jardin, “we must cul­ti­vate our gar­den.” What does this mean? De Bot­ton inter­prets the line in the lit­er­al spir­it with which the char­ac­ter known only as “the Turk” deliv­ers it: we should keep a “safe dis­tance between our­selves and the world.”

We should not, that is, become over­ly engaged in pol­i­tics, and should devote our­selves to tend­ing our own liveli­hood and wel­fare, not tak­ing more than we need. We should leave our neigh­bors alone and not both­er about what they do in their gar­dens. To be at peace in the world, Voltaire argued, we must accept the world as it is, not as we want it to be, and give up utopi­an ideas of soci­eties per­fect­ed by sci­ence and rea­son. In short, to “tie our per­son­al moods” to human affairs writ large is to invite end­less mis­ery.

The phi­los­o­phy of Can­dide is not pes­simistic or nihilis­tic. A hap­py, ful­filled human life is entire­ly pos­si­ble, Voltaire sug­gests, if not human hap­pi­ness in gen­er­al. Can­dide has much in com­mon with the ancient Roman out­look. But it might also express what could be seen as an ear­ly attempt at a sec­u­lar Bud­dhist point of view. Voltaire was famil­iar with Bud­dhism, though it did not go by that name. Bud­dhists were lumped in, Don­ald S. Lopez, pro­fes­sor of Bud­dhist and Tibetan Stud­ies at the Uni­ver­si­ty of Michi­gan, writes at the Pub­lic Domain Review, with the mass of “idol­aters” who were not Chris­t­ian, Jew­ish, or Mus­lim.

Yet the many Jesuit accounts of East­ern reli­gion reach­ing Europe at the time cir­cu­lat­ed wide­ly among intel­lec­tu­als, includ­ing Voltaire, who wrote approv­ing­ly, though crit­i­cal­ly, of Bud­dhist tenets in his 1764 Dic­tio­n­naire philosophique. As the sec­u­lar mind­ful­ness move­ment has done in the 21st cen­tu­ry, Lopez argues, Voltaire sought in the age of Enlight­en­ment to sep­a­rate mirac­u­lous leg­end from prac­ti­cal teach­ing. But like the Bud­dha, whose sup­posed biog­ra­phy Voltaire knew well, Can­dide begins his life in a cas­tle. And the sto­ry ends with a man sit­ting qui­et­ly under a tree, more or less advis­ing Can­dide to do what Voltaire had heard of in the “reli­gion of the Siamese…. Med­i­tate in pri­vate, and reflect often on the fragili­ty of human affairs.”

Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to Voltaire: Enlight­en­ment Philoso­pher of Plu­ral­ism & Tol­er­ance

Voltaire: “Those Who Can Make You Believe Absur­di­ties, Can Make You Com­mit Atroc­i­ties”

Philoso­phers Drink­ing Cof­fee: The Exces­sive Habits of Kant, Voltaire & Kierkegaard

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

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