Nietzsche Lays Out His Philosophy of Education and a Still-Timely Critique of the Modern University (1872)

Nietzsche

In a recent entry in the New York Times’ phi­los­o­phy blog “The Stone,” Robert Frode­man and Adam Brig­gle locate a “momen­tous turn­ing point” in the his­to­ry of phi­los­o­phy: its insti­tu­tion­al­iza­tion in the research uni­ver­si­ty in the late 19th cen­tu­ry. This, they argue, is when phi­los­o­phy lost its way—when it became sub­ject to the dic­tates of the acad­e­my, placed in com­pe­ti­tion with the hard sci­ences, and forced to prove its worth as an instru­ment of prof­it and progress. Well over a hun­dred years after this devel­op­ment, we debate a wider cri­sis in high­er edu­ca­tion, as uni­ver­si­ties (writes Mimi Howard in the Los Ange­les Review of Books) “increas­ing­ly resem­ble glob­al cor­po­ra­tions with their inter­na­tion­al cam­pus­es and multi­bil­lion dol­lar endow­ments. Tuition has sky­rock­et­ed. Debt is astro­nom­i­cal. The class­rooms them­selves are more often run on the backs of pre­car­i­ous adjuncts and grad­u­ate stu­dents than by real pro­fes­sors.”

It’s a cut­throat sys­tem I endured for many years as both an adjunct and grad­u­ate stu­dent, but even before that, in my ear­ly under­grad­u­ate days, I remem­ber well watch­ing pub­lic, then pri­vate, col­leges suc­cumb to demand for lean­er oper­at­ing bud­gets, more encroach­ment by cor­po­rate donors and trustees, and less auton­o­my for edu­ca­tors. Uni­ver­si­ties have become, in a word, high-priced, high-pow­ered voca­tion­al schools where every dis­ci­pline must prove its val­ue on the open mar­ket or risk mas­sive cuts, and where stu­dents are treat­ed, and often demand to be treat­ed, like con­sumers. Expen­sive pri­vate enti­ties like for-prof­it col­leges and cor­po­rate edu­ca­tion­al com­pa­nies thrive in this envi­ron­ment, often promis­ing much but offer­ing lit­tle, and in this envi­ron­ment, phi­los­o­phy and the lib­er­al arts bear a crush­ing bur­den to demon­strate their rel­e­vance and prof­itabil­i­ty.

Howard writes about this sit­u­a­tion in the con­text of her review of Friedrich Niet­zsche’s lit­tle-known, 1872 series of lec­tures, On the Future of Our Edu­ca­tion­al Insti­tu­tions, pub­lished in a new trans­la­tion by Damion Searls with the pithy title Anti-Edu­ca­tion. Niet­zsche, an aca­d­e­m­ic prodi­gy, had become a pro­fes­sor of clas­si­cal philol­o­gy at the Uni­ver­si­ty of Basel at only 24 years of age. By 27, when he wrote his lec­tures, he was already dis­il­lu­sioned with teach­ing and the stric­tures of pro­fes­sion­al acad­e­mia, though he stayed in his appoint­ment until ill­ness forced him to retire in 1878. In the lec­tures, Niet­zsche exco­ri­ates a bour­geois high­er edu­ca­tion sys­tem in terms that could come right out of a crit­i­cal arti­cle on the high­er ed of our day. In a Paris Review essay, his trans­la­tor Searls quotes the surly philoso­pher on what “the state and the mass­es were appar­ent­ly clam­or­ing for”:

as much knowl­edge and edu­ca­tion as possible—leading to the great­est pos­si­ble pro­duc­tion and demand—leading to the great­est hap­pi­ness: that’s the for­mu­la. Here we have Util­i­ty as the goal and pur­pose of edu­ca­tion, or more pre­cise­ly Gain: the high­est pos­si­ble income … Cul­ture is tol­er­at­ed only inso­far as it serves the cause of earn­ing mon­ey. 

Per­haps lit­tle has changed but the scale and the appear­ance of the uni­ver­si­ty. How­ev­er, Niet­zsche did admire the fact that the school sys­tem “as we know it today… takes the Greek and Latin lan­guages seri­ous­ly for years on end.” Stu­dents still received a clas­si­cal edu­ca­tion, which Niet­zsche approv­ing­ly cred­it­ed with at least teach­ing them prop­er dis­ci­pline. And yet, as the cliché has it, a lit­tle knowl­edge is a dan­ger­ous thing; or rather, a lit­tle knowl­edge does not an edu­ca­tion make. Though many pur­sue an edu­ca­tion, few peo­ple actu­al­ly achieve it, he believed. “No one would strive for edu­ca­tion,” wrote Niet­zsche, “if they knew how unbe­liev­ably small the num­ber of tru­ly edu­cat­ed peo­ple actu­al­ly was, or ever could be.” For Niet­zsche, the uni­ver­si­ty was a scam, trick­ing “a great mass of peo­ple… into going against their nature and pur­su­ing an edu­ca­tion” they could nev­er tru­ly achieve or appre­ci­ate.

While it’s true that Niet­zsche’s cri­tiques are dri­ven in part by his own cul­tur­al elit­ism, it’s also true that he seeks in his lec­tures to define edu­ca­tion in entire­ly dif­fer­ent terms than the util­i­tar­i­an “state and masses”—terms more in line with clas­si­cal ideals as well as with the Ger­man con­cept of Bil­dung, the term for edu­ca­tion that also means, writes Searls, “the process of form­ing the most desir­able self, as well as the end point of the process.” It’s a res­o­nance that the Eng­lish word has lost, though its Latin roots—e duc­ere, “to lead out of” or away from the com­mon and conventional—still retain some of this sense. Bil­dung, Searls goes on, “means enter­ing the realm of the ful­ly formed: true cul­ture is the cul­mi­na­tion of an edu­ca­tion, and true edu­ca­tion trans­mits and cre­ates cul­ture.”

Niet­zsche the philol­o­gist took the rich valence of Bil­dung very seri­ous­ly. In the years after pen­ning his lec­tures on the edu­ca­tion­al sys­tem, he com­plet­ed the essays that would become Untime­ly Med­i­ta­tions (includ­ing one of his most famous, “On the Use and Abuse of His­to­ry for Life”). Among those essays was “Schopen­hauer as Edu­ca­tor,” in which Niet­zsche calls the gloomy philoso­pher Arthur Schopen­hauer his “true edu­ca­tor.” How­ev­er, writes Peter Fitzsi­mons, the “image” of Schopen­hauer “is more a metaphor for Niet­zsche’s own self-educa­tive process.” For Niet­zsche, the process of a true edu­ca­tion con­sists not in rote mem­o­riza­tion, or in attain­ing cul­tur­al sig­ni­fiers con­sis­tent with one’s class or ambi­tions, or in learn­ing a set of prac­ti­cal skills with which to make mon­ey. It is, Fitzsi­mons observes, “rather an exhor­ta­tion to break free from con­ven­tion­al­i­ty, to be respon­si­ble for cre­at­ing our own exis­tence, and to over­come the iner­tia of tra­di­tion and custom”—or what Niet­zsche calls the uni­ver­sal con­di­tion of “sloth.” In “Schopen­hauer as Edu­ca­tor,” Niet­zsche defines the role of the edu­ca­tor and expli­cates the pur­pose of learn­ing in delib­er­ate­ly Pla­ton­ic terms:

…for your true nature lies, not con­cealed deep with­in you, but immea­sur­ably high above you, or at least above that which you usu­al­ly take your­self to be. Your true edu­ca­tors and for­ma­tive teach­ers reveal to you what the true basic mate­r­i­al of your being is, some­thing in itself ined­u­ca­ble and in any case dif­fi­cult of access, bound and paral­ysed: your edu­ca­tors can be only your lib­er­a­tors.

As in Pla­to’s notion of innate knowl­edge, or anam­ne­sis, Niet­zsche believed that edu­ca­tion con­sists main­ly of a clear­ing away of “the weeds and rub­bish and ver­min” that attack and obscure “the real ground­work and import of thy being.” This kind of edu­ca­tion, of course, can­not be for­mal­ized with­in our present insti­tu­tions, can­not be mar­ket­ed to a mass audi­ence, and can­not serve the inter­ests of the state and the mar­ket. Hence it can­not be obtained by sim­ply pro­gress­ing through a sys­tem of grades and degrees, though one can use such sys­tems to obtain access to the lib­er­a­to­ry mate­ri­als one pre­sum­ably needs to real­ize one’s “true nature.”

For Niet­zsche, in his exam­ple of Schopen­hauer, achiev­ing a true edu­ca­tion is an enter­prise fraught with “three dangers”—those of iso­la­tion, of crip­pling doubt, and of the pain of con­fronting one’s lim­i­ta­tions. These dan­gers “threat­en us all,” but most peo­ple, Niet­zsche thinks, lack the for­ti­tude and vig­or to tru­ly brave and con­quer them. Those who acquire Bil­dung, or cul­ture, those who real­ize their “true selves,” he con­cludes “must prove by their own deed that the love of truth has itself awe and pow­er,” though “the dig­ni­ty of phi­los­o­phy is trod­den in the mire,” and one will like­ly receive lit­tle respite, rec­om­pense, or recog­ni­tion for their labors.

Relat­ed Con­tent:

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

What is the Good Life? Pla­to, Aris­to­tle, Niet­zsche, & Kant’s Ideas in 4 Ani­mat­ed Videos

Down­load Wal­ter Kaufmann’s Lec­tures on Niet­zsche, Kierkegaard, Sartre & Mod­ern Thought (1960)

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

Plato’s Cave Allegory Animated Monty Python-Style

There’s some­thing about Pla­to’s Alle­go­ry of the Cave that inspires peo­ple to get cre­ative. Orson Welles once nar­rat­ed an ani­mat­ed adap­ta­tion of the Cave alle­go­ry. The folks at Bull­head Enter­tain­ment brought to life the alle­go­ry appear­ing in Book VII of Pla­to’s Repub­lic using some fine clay­ma­tion. And Alex Gendler recent­ly craft­ed a ver­sion in an aes­thet­ic that calls Dr. Seuss to mind. Now, comes anoth­er one by The School of Life, done in a style rem­i­nis­cent of Ter­ry Gilliam’s cut-out ani­ma­tions for Mon­ty Python. It’s part of a series of 22 ani­mat­ed phi­los­o­phy videos, which takes you from the Ancients (Aris­to­tle, Pla­to, and the Sto­ics) straight through to the Mod­erns (Sartre, Camus, and Fou­cault). Find a com­plete playlist here.

Relat­ed Con­tent:

Two Ani­ma­tions of Plato’s Alle­go­ry of the Cave: One Nar­rat­ed by Orson Welles, Anoth­er Made with Clay

Ter­ry Gilliam Reveals the Secrets of Mon­ty Python Ani­ma­tions: A 1974 How-To Guide

What is the Good Life? Pla­to, Aris­to­tle, Niet­zsche, & Kant’s Ideas in 4 Ani­mat­ed Videos

135 Free Phi­los­o­phy eBooks

Free Online Phi­los­o­phy Cours­es

The Feminist Theory of Simone de Beauvoir Explained with 8‑Bit Video Games (and More)

Simone de Beau­voir, exis­ten­tial­ist philoso­pher, fem­i­nist the­o­rist, author of The Sec­ond Sex, whose birth­day we cel­e­brate today.

Metroid, an action-adven­ture video game designed for the Nin­ten­do in 1986.

At first glance, they’re not an obvi­ous pair­ing. But in 8‑Bit Phi­los­o­phy, a web series that explains philo­soph­i­cal con­cepts by way of vin­tage video games, things kind of hang togeth­er.

Gamers remem­ber Metroid for being the first video game to fea­ture a strong female pro­tag­o­nist, a char­ac­ter who blew apart exist­ing female stereo­types, kicked some alien butt, and cre­at­ed new pos­si­bil­i­ties for women in the video gam­ing space. And that lets Metroid set the stage for talk­ing about the intel­lec­tu­al con­tri­bu­tions of Simone de Beau­voir, who, back in the late 1940s, gave us new ways of think­ing about gen­der and gen­der-based hier­ar­chies in our soci­eties.

Clock­ing in at just 3:45, the clip offers but a brief intro­duc­tion to de Beau­voir’s the­o­ret­i­cal work. For a longer intro­duc­tion, you could down­load this recent episode of In Our Time, host­ed by Melvyn Bragg and fea­tur­ing the com­men­tary of Christi­na How­ells (Oxford), Mar­garet Atack (Uni­ver­si­ty of Leeds) and Ursu­la Tidd (Uni­ver­si­ty of Man­ches­ter). You can also lis­ten to a 2015 episode of Phi­los­o­phy Talk, co-host­ed by Stan­ford pro­fes­sors John Per­ry and Ken Tay­lor.

Or, bet­ter yet, go to the source itself, and lis­ten to de Beau­voir talk in two lengthy inter­views, both fea­tured on Open Cul­ture in years past. They’re pret­ty remark­able his­tor­i­cal doc­u­ments.

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: 

Simone de Beau­voir & Jean-Paul Sartre Shoot­ing a Gun in Their First Pho­to Togeth­er (1929)

Pho­tos of Jean-Paul Sartre & Simone de Beau­voir Hang­ing with Che Gue­vara in Cuba (1960)

Edward Said Recalls His Depress­ing Meet­ing With Sartre, de Beau­voir & Fou­cault (1979)

Free Online Phi­los­o­phy Cours­es

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Sartre Writes a Tribute to Camus After His Friend-Turned-Rival Dies in a Tragic Car Crash: “There Is an Unbearable Absurdity in His Death”

The friend­ship of Jean-Paul Sartre and Albert Camus end­ed, famous­ly, in 1951. That year, increas­ing­ly frac­tious polit­i­cal ten­sions between the two philoso­pher-writ­ers came to a head over the pub­li­ca­tion of Camus’ The Rebel, a book-length essay that marked a depar­ture from rev­o­lu­tion­ary thought and a turn toward a more prag­mat­ic indi­vid­u­al­ism (as well as recall­ing the anar­cho-syn­di­cal­ism Camus had embraced in the 30s). The doc­tri­naire Sartre and his intel­lec­tu­al coterie took excep­tion, and while Sartre fur­ther pur­sued a Marx­ist polit­i­cal pro­gram, informed by a cri­tique of racism and colo­nial­ism, Camus con­front­ed the absurd; he “begins to sound more like Samuel Beck­ett,” writes Andy Mar­tin at the New York Times’ phi­los­o­phy blog, “all alone, in the night, between con­ti­nents, far away from every­thing.”

The two split not only over ideas, how­ev­er: after the war, Camus became increas­ing­ly dis­il­lu­sioned with Stalin’s total­i­tar­i­an Sovi­et rule, while Sartre made what Camus con­sid­ered weak attempts to defend or excuse the regime’s crimes. At first, writes Volk­er Hage in Der Spiegel, their dis­agree­ments were “lim­it­ed to a rel­a­tive­ly small group of intel­lec­tu­als.” Then Sartre pub­lished Fran­cis Jean­son’s scathing review of The Rebel in the jour­nal Sartre found­ed in 1945, Les Temps Mod­ernes. (See Jean­son dis­cuss the review in the video inter­view below, excerpt­ed from the short doc­u­men­tary on Sartre and Camus at the top of the post). Camus, Hage writes, “made the mis­take of send­ing a long rejoin­der. What fol­lowed was a trag­ic dis­so­lu­tion of what had once been a friend­ship.”

Sartre made his final kiss-off very pub­lic, print­ing in Les Temps Mod­ernes a “mer­ci­less” response, “insid­i­ous and mali­cious, yet also a mag­nif­i­cent mas­ter­piece of per­son­al polemics.” Almost ten years lat­er, in 1960, Camus was killed in a car acci­dent at the age of 46. Though the two nev­er for­mal­ly rec­on­ciled, Sartre penned a heart­felt trib­ute to his for­mer friend in The Reporter that con­tained none of the vit­ri­ol of his past con­dem­na­tions. Instead, he describes their falling out in the terms one might use for a for­mer lover:

He and I had quar­reled. A quar­rel does­n’t mat­ter — even if those who quar­rel nev­er see each oth­er again — just anoth­er way of liv­ing togeth­er with­out los­ing sight of one anoth­er in the nar­row lit­tle world that is allot­ted us. It did­n’t keep me from think­ing of him, from feel­ing that his eyes were on the book or news­pa­per I was read­ing and won­der­ing: “What does he think of it? What does he think of it at this moment?”

Sartre con­fess­es his uneasi­ness with Camus’ moody silence, “which accord­ing to events and my mood I con­sid­ered some­times too cau­tious and some­times too painful.” It was a silence that seem­ing­ly over­took Camus in his final years as he retreat­ed from pub­lic life, and though Camus’ fierce indi­vid­u­al­ism lay at the heart of their falling-out, Sartre wrote in deep appre­ci­a­tion of his friend and antagonist’s soli­tude and stub­born res­olute­ness:

He rep­re­sent­ed in our time the lat­est exam­ple of that long line of moral­istes whose works con­sti­tute per­haps the most orig­i­nal ele­ment in French let­ters. His obsti­nate human­ism, nar­row and pure, aus­tere and sen­su­al, waged an uncer­tain war against the mas­sive and form­less events of the time. But on the oth­er hand through his dogged rejec­tions he reaf­firmed, at the heart of our epoch, against the Machi­avel­lians and against the Idol of real­ism, the exis­tence of the moral issue.

In a way, he was that res­olute affir­ma­tion. Any­one who read or reflect­ed encoun­tered the human val­ues he held in his fist; he ques­tioned the polit­i­cal act. One had to avoid him or fight him-he was indis­pens­able to that ten­sion which makes intel­lec­tu­al life what it is.

Camus’ “silence,” the theme of Sartre’s trib­ute, “had some­thing pos­i­tive about it.” The for­mer harsh­ness of Sartre’s cri­tiques soft­ens as he chides Camus’ refusal “to leave the safe ground of moral­i­ty and ven­ture on the uncer­tain paths of prac­ti­cal­i­ty.” Camus’ con­fronta­tion with the Absurd, writes Sartre, with “the con­flicts he kept hid­den… both requires and con­demns revolt.”

At the bit­ter end of their friend­ship, Sartre vicious­ly con­demned the con­tra­dic­tions of Camus’ polit­i­cal thought as the prod­uct of per­son­al fail­ings, telling him, “You have become the vic­tim of an exces­sive sul­len­ness that masks your inter­nal prob­lems. Soon­er or lat­er, some­one would have told you, so it might as well be me.” In his final trib­ute to Camus, he returns to this idea, in much dif­fer­ent lan­guage, writ­ing that, at the age of 20, Camus had become “sud­den­ly afflict­ed with a mal­a­dy that upset his whole life”; he had “dis­cov­ered the Absurd—the sense­less nega­tion of man.” Rather than suc­cumb­ing, however—Sartre writes—Camus “became accus­tomed to it, he thought out his unbear­able con­di­tion, he came through.”

After the car acci­dent, Sartre acknowl­edged Camus’ fierce indi­vid­u­al­ism and prin­ci­ple in the face of life’s absur­di­ty as an exis­ten­tial tri­umph rather than a hand­i­cap: “We shall rec­og­nize in that work and in the life that is insep­a­ra­ble from it the pure and vic­to­ri­ous attempt of one man to snatch every instant of his exis­tence from his future death.”

Read the full trib­ute essay in a down­load­able PDF for­mat here.

Relat­ed Con­tent:

Albert Camus Writes a Friend­ly Let­ter to Jean-Paul Sartre Before Their Per­son­al and Philo­soph­i­cal Rift

Hear Albert Camus Deliv­er His Nobel Prize Accep­tance Speech (1957)

The Absurd Phi­los­o­phy of Albert Camus Pre­sent­ed in a Short Ani­mat­ed Film by Alain De Bot­ton

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

What is the Good Life? Plato, Aristotle, Nietzsche, & Kant’s Ideas in 4 Animated Videos

We all have some vision of what the good life should look like. Days filled with read­ing and strolls through muse­ums, retire­ment to a trop­i­cal island, unlim­it­ed amounts of time for video games…. What­ev­er they may be, our con­cepts tend toward fan­ta­sy of the grass is green­er vari­ety. But what would it mean to live the good life in the here and now, in the life we’re giv­en, with all its warts, rou­tines, and dai­ly oblig­a­tions? Though the work of philoso­phers for the past hun­dred years or so may seem divorced from mun­dane con­cerns and desires, this was not always so. Thinkers like Pla­to, Aris­to­tle, Immanuel Kant, and Friedrich Niet­zsche once made the ques­tion of the good life cen­tral to their phi­los­o­phy. In the videos here, Uni­ver­si­ty of New Orleans phi­los­o­phy pro­fes­sor Chris Sur­prenant sur­veys these four philoso­phers’ views on that most con­se­quen­tial sub­ject.

The view we’re like­ly most famil­iar with comes from Socrates (as imag­ined by Pla­to), who, while on tri­al for cor­rupt­ing the youth, tells his inquisi­tors, “the unex­am­ined life is not worth liv­ing.” Pithy enough for a Twit­ter bio, the state­ment itself may too often go unex­am­ined. Socrates does not endorse a life of pri­vate self-reflec­tion; he means that “an indi­vid­ual become a mas­ter of him­self,” says Surprenant,”using his rea­son to reign in his pas­sions, as well as doing what he can to help pro­mote the sta­bil­i­ty of his com­mu­ni­ty.” In typ­i­cal ancient Greek fash­ion, Pla­to and his men­tor Socrates define the good life in terms of rea­son­able restraint and civic duty.

The Pla­ton­ic ver­sion of the good life comes in for a thor­ough drub­bing at the hands of Friedrich Niet­zsche, as do Aris­totelian, Kant­ian, and Judeo-Chris­t­ian ideals. Nietzsche’s dec­la­ra­tion that “God is dead,” and in par­tic­u­lar the Chris­t­ian god, “allows us the pos­si­bil­i­ty of liv­ing more mean­ing­ful and ful­fill­ing lives,” Sur­prenant says. Niet­zsche, who describes him­self as an “amoral­ist,” uses the pro­posed death of god—a metaphor for the loss of reli­gious and meta­phys­i­cal author­i­ty gov­ern­ing human behavior—to stage what he calls a “reval­u­a­tion of val­ues.” His cri­tique of con­ven­tion­al moral­i­ty pits what he calls life-deny­ing val­ues of self-restraint, democ­ra­cy, and com­pas­sion (“slave moral­i­ty”) against life-affirm­ing val­ues.

For Niet­zsche, life is best affirmed by a striv­ing for indi­vid­ual excel­lence that he iden­ti­fied with an ide­al­ized aris­toc­ra­cy. But before we begin think­ing that his def­i­n­i­tion of the good life might accord well with, say, Ayn Rand’s, we should attend to the thread of skep­ti­cism that runs through­out all his work. Despite his con­tempt for tra­di­tion­al moral­i­ty, Niet­zsche did not seek to replace it with uni­ver­sal pre­scrip­tions, but rather to under­mine our con­fi­dence in all such notions of uni­ver­sal­i­ty. As Sur­prenant points out, “Niet­zsche is not look­ing for fol­low­ers,” but rather attempt­ing to “dis­rupt old con­cep­tu­al schemes,” in order to encour­age us to think for our­selves and, as much as it’s pos­si­ble, embrace the hand we’re dealt in life.

For con­trast and com­par­i­son, see Surprenant’s sum­maries of Aris­to­tle and Kant’s views above and below. This series of ani­mat­ed videos comes to us from Wire­less Phi­los­o­phy (Wi-Phi for short), a project joint­ly cre­at­ed by Yale and MIT in 2013. We’ve pre­vi­ous­ly fea­tured video series on meta­phys­i­cal prob­lems like free will and the exis­tence of god and log­i­cal prob­lems like com­mon cog­ni­tive bias­es. The series here on the good life should give you plen­ty to reflect on, and to study should you decide to take up the chal­lenge and read some of the philo­soph­i­cal argu­ments about the good life for your­self, if only to refute them and come up with your own. But as the short videos here should make clear, think­ing rig­or­ous­ly about the ques­tion will like­ly force us to seri­ous­ly re-exam­ine our com­fort­able illu­sions.

For many more open access phi­los­o­phy videos, check out the Wi Phi Youtube chan­nel. You can also find com­plete cours­es by Prof. Sur­prenant in our col­lec­tion of Free Online Phi­los­o­phy Cours­es.

Relat­ed Con­tent:

105 Ani­mat­ed Phi­los­o­phy Videos from Wire­less Phi­los­o­phy: A Project Spon­sored by Yale, MIT, Duke & More

135 Free Phi­los­o­phy eBooks

How to Live a Good Life? Watch Phi­los­o­phy Ani­ma­tions Nar­rat­ed by Stephen Fry on Aris­to­tle, Ayn Rand, Max Weber & More

Learn Right From Wrong with Oxford’s Free Course A Romp Through Ethics for Com­plete Begin­ners

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

Alan Watts Introduces America to Meditation & Eastern Philosophy: Watch the 1960 TV Show, Eastern Wisdom and Modern Life

Alan Watts moved from his native Lon­don to New York in 1938, then even­tu­al­ly head­ed west, to San Fran­cis­co in the ear­ly 1950s. On the left coast, he start­ed teach­ing at the Acad­e­my of Asian Stud­ies, wrote his best­seller Way of Zen, and began deliv­er­ing a long-run­ning series of talks about east­ern phi­los­o­phy on KPFA radio in Berke­ley. Dur­ing these years, Watts became one of the fore­most pop­u­lar­iz­ers of Zen Bud­dhism, Hin­duism, and Tao­ism, which made him some­thing of a celebri­ty, espe­cial­ly when the 60s coun­ter­cul­ture move­ment kicked into gear.

Now, 40 years and change after his death, you can find no short­age of vin­tage Watts’ media online (includ­ing this archive of stream­ing lec­tures). And today we’re fea­tur­ing an episode from a TV series called East­ern Wis­dom and Mod­ern Life, which aired in San Fran­cis­co cir­ca 1960. “The Silent Mind” runs 28 min­utes, and it offered Amer­i­can view­ers an intro­duc­tion to the phi­los­o­phy and prac­tice of med­i­ta­tion, some­thing still con­sid­ered exot­ic at the time. His­to­ry in the mak­ing. You’re watch­ing it hap­pen right here. Find more med­i­ta­tion and Alan Watts resources below.

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Relat­ed Con­tent:

The Wis­dom of Alan Watts in Four Thought-Pro­vok­ing Ani­ma­tions

The Zen Teach­ings of Alan Watts: A Free Audio Archive of His Enlight­en­ing Lec­tures

Free Guid­ed Med­i­ta­tions From UCLA: Boost Your Aware­ness & Ease Your Stress

Med­i­ta­tion 101: A Short, Ani­mat­ed Beginner’s Guide

Son­ny Rollins Describes How 50 Years of Prac­tic­ing Yoga Made Him a Bet­ter Musi­cian

David Lynch Explains How Med­i­ta­tion Enhances Our Cre­ativ­i­ty

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Marcel Marceau Mimes the Progression of Human Life, From Birth to Death, in 4 Minutes

What do you think of when you hear the word “mime.”

A cheeky, stripe-shirt­ed, invis­i­ble lad­der-climb­ing pub­lic nui­sance?

The soli­tary prac­ti­tion­er Dustin Hoff­man word­less­ly top­pled in the 1982 film Toot­sie?

Or Mar­cel Marceau?

Ah ha, and what does the name “Mar­cel Marceau” bring to mind?

The cheeky, stripe shirt­ed, but­ter­fly chas­ing Bip (who maybe caus­es you to cringe a lit­tle, despite his creator’s rep­u­ta­tion as a great artist)?

I was sur­prised to learn that he was a for­mer French Resis­tance fight­er, whose first review was print­ed in Stars and Stripes after he accept­ed an Amer­i­can general’s spur of the moment invi­ta­tion to per­form for 3,000 GIs in 1945 Frank­furt.

The film above doc­u­ments a 1965 per­for­mance of his most cel­e­brat­ed piece, Youth, Matu­ri­ty, Old Age, and Death, giv­en at 42, the exact mid­point of his life. In four abstract min­utes, he pro­gress­es through the sev­en ages of man, rely­ing on nuances of gait and pos­ture to con­vey each stage.

He per­formed it count­less times through­out his extra­or­di­nary career, nev­er stray­ing from his own pre­cise­ly ren­dered chore­og­ra­phy. The play­ing area is just a few feet in diam­e­ter.

Observe the 1975 per­for­mance that film­mak­er John Barnes cap­tured for his series Mar­cel Marceau’s Art of Silence, below. Noth­ing left to chance there, from the tim­ing of the small­est abdom­i­nal iso­la­tions to the angle of his head in the final tableau.

Time’s effects may have pro­vid­ed the sub­ject for the piece, but its peren­ni­al­ly lithe author claimed not to con­cern him­self with age, telling the New York Times in 1993 that his focus was on “life-force and cre­ation.”

Lat­er in the same inter­view, he reflect­ed:

When I start­ed, I hunt­ed but­ter­flies. Lat­er, I began to remem­ber the war and I began to dig deep­er, into mis­ery, into soli­tude, into the fight of human souls against robots.

This would seem to sup­port the the­o­ry that matu­ri­ty is a side effect of age.

His alter ego Bip’s lega­cy may be the infer­nal invis­i­ble ropes and glass cages that are a mime’s stock in trade, but dis­till­ing human expe­ri­ence to its purest expres­sion was the basis of Marceau’s silent art.

In a recent appre­ci­a­tion pub­lished in the Paris Review, author Mave Fel­lowes con­sid­ers the many stages of Marceau, from the for­ma­tive effects of child­hood encoun­ters with Char­lie Chap­lin films to his death at 84:

He feels his advanc­ing age and fears that the art of mime will die with him. It’s a tran­si­to­ry, ephemer­al art, he explains, as it exists only in the moment. As an old man, he works hard­er than ever, per­form­ing three hun­dred times a year, teach­ing four hours a day. He is named the UN Ambas­sador for Aging. Five nights a week he smears the white paint over his face, draws in the red bud at the cen­ter of his lips, fol­lows the line of his eye­lid with a black pen­cil. And then takes to the stage, his side­burns frayed, his hair dyed chest­nut and combed for­ward, look­ing like a toupee.

His body is as elas­tic as ever, but the old suit of Bip hangs loose on him now. Beneath the whitened jaw­line is a bag­gy, sinewy neck. With each con­tor­tion of his face, the white paint reveals deep lines. At the end of his show, he folds in a deep bow and the knobs of his spine show above the low cut of Bip’s Bre­ton top.

Relat­ed Con­tent:

Édith Piaf’s Mov­ing Per­for­mance of ‘La Vie en Rose’ on French TV, 1954

David Bowie Launch­es His Act­ing Career in the Avant-Garde Play Pier­rot in Turquoise (1967)

Klaus Nomi: The Bril­liant Per­for­mance of a Dying Man

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. In col­lege, she earned a hun­dred dol­lars for appear­ing as a mime before a con­ven­tion of hun­gover glass­ware sales­men, an expe­ri­ence briefly recalled in her mem­oir, Job Hop­per. Fol­low her @AyunHalliday

 

Immanuel Kant’s Life & Philosophy Introduced in a Short Monty Python-Style Animation

Philoso­pher Immanuel Kant (1724–1804) is per­haps best known for his sys­tem­at­ic philo­soph­i­cal ethics, con­ceived of as a post-reli­gious frame­work for sec­u­lar moral­i­ty. His pri­ma­ry eth­i­cal man­date, which he called the “cat­e­gor­i­cal imper­a­tive,” enables us—Alain de Bot­ton tells us in his short School of Life video above—to “shift our per­spec­tive, to get us to see our own behav­ior in less imme­di­ate­ly per­son­al terms.” It’s a philo­soph­i­cal ver­sion, de Bot­ton says, of the Gold­en Rule. “Act only accord­ing to that max­im,” Kant famous­ly wrote of the imper­a­tive in his Ground­work of the Meta­physics of Morals, “by which you can at the same time will that it should become a uni­ver­sal law.”

This guide to moral behav­ior seems on its face a sim­ple one. It asks us to imag­ine the con­se­quences of behav­ior should every­one act in the same way. How­ev­er, “almost every con­ceiv­able analy­sis of the Ground­work has been tried out over the past two cen­turies,” writes Har­vard pro­fes­sor Michael Rosen, “yet all have been found want­i­ng in some way or oth­er.” Friedrich Niet­zsche allud­ed to a seri­ous prob­lem with what Rosen calls Kant’s “rule-util­i­tar­i­an­ism.” How, Niet­zsche asks in On the Geneal­o­gy of Morals, are we to deter­mine whether an action will have good or bad con­se­quences unless we have “learned to sep­a­rate nec­es­sary events from chance events, to think in terms of cause and effect, to see dis­tant events as if they were present, to antic­i­pate them….”

Can we ever have that kind of fore­sight? Can we for­mu­late rules such that every­one who acts on them will pre­dict the same pos­i­tive or neg­a­tive out­comes in every sit­u­a­tion? The ques­tions did not seem to per­son­al­ly dis­turb Kant, who lived his life in a high­ly pre­dictable, rule-bound way—even, de Bot­ton tells us, when it came to struc­tur­ing his din­ner par­ties. But while the cat­e­gor­i­cal imper­a­tive has seemed unwork­ably abstract and too divorced from par­tic­u­lar cir­cum­stances and con­tin­gen­cies, an elab­o­ra­tion of the max­im has had much more appeal to con­tem­po­rary ethi­cists. We should also, Kant wrote, “act so as to treat peo­ple always as ends in them­selves, nev­er as mere means.” De Bot­ton pro­vides some help­ful con­text for why Kant felt the need to cre­ate these eth­i­cal prin­ci­ples.

Kant lived in a time when “the iden­ti­fy­ing fea­ture of his age was its grow­ing sec­u­lar­ism.” De Bot­ton con­tends that while Kant wel­comed the decline of tra­di­tion­al reli­gion, he also feared the con­se­quences; as “a pes­simist about human char­ac­ter,” Kant “believed that we are by nature intense­ly prone to cor­rup­tion.” His solu­tion was to “replace reli­gious author­i­ty with the author­i­ty of rea­son.” The project occu­pied all of Kant’s career, from his work on polit­i­cal phi­los­o­phy to that on aes­thet­ics in the Cri­tique of Pure Judg­ment. And though philoso­phers have for cen­turies had dif­fi­cul­ty mak­ing Kant’s ethics work, his dense, dif­fi­cult writ­ing has nev­er­the­less occu­pied a cen­tral place in West­ern thought. In his defense of the author­i­ty of rea­son, Kant pro­vid­ed us with one of the most com­pre­hen­sive means for under­stand­ing how exact­ly human rea­son works—and for rec­og­niz­ing its many lim­i­ta­tions.

To read Kan­t’s work for your­self, down­load free ver­sions of his major texts in a vari­ety of dig­i­tal for­mats from our archive of Free Phi­los­o­phy eBooks. Kant is no easy read, and it helps to have a guide. To learn how his work has been inter­pret­ed over the past two hun­dred years, and how he arrived at many of his con­clu­sions, con­sid­er tak­ing one of many online class­es on Kant we have list­ed in our archive of Free Phi­los­o­phy Cours­es.

Relat­ed Con­tent:

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

Man Shot in Fight Over Immanuel Kant’s Phi­los­o­phy in Rus­sia

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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