An Introduction to the Political Philosophy of Isaiah Berlin Through His Free Writings & Audio Lectures


Isa­iah Berlin casts a long shad­ow over mod­ern polit­i­cal phi­los­o­phy. Ris­ing to promi­nence as a British pub­lic intel­lec­tu­al in the 1950s along­side thinkers like A.J. Ayer and Hugh Trevor-Rop­er, Berlin (writes Joshua Che­miss in The Oxon­ian Review of Books) was at one time a “cold war­rior,” his oppo­si­tion to Sovi­et Com­mu­nism the “lynch­pin” of his thought. But his longevi­ty and intel­lec­tu­al vital­i­ty meant he was much more besides, and he has remained a pop­u­lar ref­er­ence, though, as Che­miss points out, Berlin’s rep­u­ta­tion took a beat­ing from crit­ics on the left and right after his death in 1997. Born into a promi­nent Russ­ian-Jew­ish fam­i­ly, Berlin grew up in mid­dle class sta­bil­i­ty until the Russ­ian Rev­o­lu­tion dis­man­tled the Czarist Rus­sia of his youth and his fam­i­ly relo­cat­ed to Britain in 1921.

Berlin’s child­hood expe­ri­ence of the Bol­she­viks was nev­er far from his mind and pre­cip­i­tat­ed his aver­sion to vio­lence and coer­cion, he con­fess­es above in a 1992 inter­view with his biog­ra­ph­er Michael Ignati­eff (who spent ten years in con­ver­sa­tion with Berlin). Orig­i­nal­ly broad­cast on BBC 2, Ignatieff’s inter­view serves as an intro­duc­tion to both the man him­self and to his past—in lengthy seg­ments that detail Berlin’s his­to­ry through pho­tographs and nar­ra­tion. Refer­ring to Berlin’s huge­ly influ­en­tial cat­e­go­riza­tion of intel­lec­tu­al his­to­ry, The Hedge­hog and the Fox, Ignati­eff tells us: “He once wrote, ‘A fox knows many things, but a hedge­hog knows one, big thing.’ He was a hedge­hog, all his work was a defense of lib­er­ty.… All of his writ­ing can be read as a defense of the indi­vid­ual against the vio­lence of the crowd and the dog­ma of the par­ty line.”

Berlin was enor­mous­ly pro­lif­ic, in print as well as in record­ed media, and we have access to sev­er­al of his lec­tures online. One radio lec­ture series, Free­dom and its Betray­al, exam­ined six thinkers Berlin iden­ti­fied as “anti-lib­er­al.” Per­haps fore­most among these was Jean-Jacques Rousseau. In his lec­ture on Rousseau above (con­tin­ued here in Parts 2, 3, 4, 5 & 6), Berlin elab­o­rates on his impor­tant dis­tinc­tion between types of lib­er­ty, a theme he returned to again and again, most famous­ly in a lec­ture, even­tu­al­ly pub­lished as a 57-page pam­phlet, called “Two Con­cepts of Lib­er­ty.” Berlin adapt­ed much of the ideas in these lec­tures from his Polit­i­cal Ideas in the Roman­tic Age—writ­ten between 1950 and 1952 and pub­lished posthumously—a text that Berlin called his “tor­so.”

BerlinDraft

Oxford Uni­ver­si­ty hosts an exten­sive “Isa­iah Berlin Vir­tu­al Library” that details the com­po­si­tion of “Two Con­cepts of Lib­er­ty,” from its ear­li­est draft stages (above) to its pub­li­ca­tion his­to­ry. You can read the full text of the pub­lished lec­ture here and lis­ten to Berlin’s record­ed dic­ta­tion of an ear­ly draft below.

In the pub­lished ver­sion of “Two Con­cepts of Lib­er­ty,” Berlin suc­cinct­ly sums up his major premise: “To coerce a man is to deprive him of free­dom.” Then he goes on:

free­dom from what? Almost every moral­ist in human his­to­ry has praised free­dom. Like hap­pi­ness and good­ness, like nature and real­i­ty, the mean­ing of this term is so porous that there lit­tle inter­pre­ta­tion that it seems able to resist….[There are] more than two hun­dred sens­es.… of this pro­tean word….

Berlin reduces the more than two hun­dred to two: neg­a­tive liberty—dealing with the areas of life in which one is free from any inter­fer­ence; and pos­i­tive liberty—his term for that which inter­feres in people’s lives for their sup­posed ben­e­fit and pro­tec­tion. Berlin’s con­cep­tions of these two types is anchored in spe­cif­ic geopo­lit­i­cal arrange­ments and philo­soph­i­cal tra­di­tions, as Dwight Mac­Don­ald explained in a 1959 review of the pub­lished text. He saw Com­mu­nism as an abuse of pos­i­tive lib­er­ty and wished to enhance so-called neg­a­tive lib­er­ty as much as pos­si­ble. As such, Berlin is often cit­ed approv­ing­ly by politi­cians and philoso­phers with more clas­si­cal, lim­it­ed under­stand­ings of state pow­er, although these may include lib­er­tar­i­ans as well as lib­er­als, find­ing com­mon ground in val­ues of eth­i­cal plu­ral­ism and robust civ­il lib­er­ties, both of which Berlin defend­ed stren­u­ous­ly.

Berlin draws his account of neg­a­tive lib­er­ty from the work of clas­si­cal lib­er­al polit­i­cal philoso­phers like John Locke, Adam Smith, and John Stu­art Mill. Most of his cri­tique of pos­i­tive lib­er­ty focused on Roman­ti­cism and Ger­man Ide­al­ism, in which he saw the begin­nings of total­i­tar­i­an­ism (above, hear Berlin’s final 1965 lec­ture on the “Roots of Roman­ti­cism,” con­tin­ued in Parts 2, 3, 4, 5, 6, & 7). Despite his pre­oc­cu­pa­tion with kinds of free­dom, his thought was extra­or­di­nar­i­ly idio­syn­crat­ic, wide-rang­ing, and diverse. Oxford hopes to soon add the text of much of Berlin’s pub­lished work to its Vir­tu­al Library. Now, in addi­tion to “Two Con­cepts of Lib­er­ty,” it also hous­es online text of the essay col­lec­tion Con­cepts and Cat­e­gories. While we await the post­ing of more Berlin texts, we might attend again to Berlin’s con­cep­tion of types of free­dom, and hear them defined by the philoso­pher him­self in a 1962 inter­view:

As in the case of words which every­one is in favour of, ‘free­dom’ has a very great many sens­es – some of the world’s worst tyran­nies have been under­tak­en in the name of free­dom. Nev­er­the­less, I should say that the word prob­a­bly has two cen­tral sens­es, at any rate in the West. One is the famil­iar lib­er­al sense in which free­dom means that every man has a life to live and should be giv­en the fullest oppor­tu­ni­ty of doing so, and that there are only two ade­quate rea­sons for con­trol­ling men. The first is that there are oth­er goods besides free­dom, such as, for exam­ple, secu­ri­ty or peace or cul­ture, or oth­er things which human beings need, which must be giv­en them, apart from the ques­tion of whether they want them or not. Sec­ond­ly, if one man obtains too much, he will deprive oth­er peo­ple of their free­dom – free­dom for the pike means death to the carp – and this is a per­fect­ly ade­quate rea­son for cur­tail­ing free­dom. Still, cur­tail­ing free­dom isn’t the same as free­dom.

The sec­ond sense of the word is not so much a mat­ter of allow­ing peo­ple to do what they want as the idea that I want to be gov­erned by myself and not pushed around by oth­er peo­ple; and this idea leads one to the sup­po­si­tion that to be free means to be self-gov­ern­ing. To be self-gov­ern­ing means that the source of author­i­ty must lie in me – or in us, if we’re talk­ing about a com­mu­ni­ty. And if the source of free­dom lies in me, then it’s com­par­a­tive­ly unim­por­tant how much con­trol there is, pro­vid­ed the con­trol is exer­cised by myself, or my rep­re­sen­ta­tives, or my nation, my peo­ple, my tribe, my Church, and so forth. Pro­vid­ed that I am gov­erned by peo­ple who are sym­pa­thet­ic to me, or under­stand my inter­ests, I don’t mind how much of my life is pried into, or whether there is a pri­vate province which is divid­ed from the pub­lic province; and in some mod­ern States – for exam­ple the Sovi­et Union and oth­er States with total­i­tar­i­an gov­ern­ments – this sec­ond view seems to be tak­en.

Between these two views, I see no pos­si­bil­i­ty of rec­on­cil­i­a­tion.  

Relat­ed Con­tent:

Leo Strauss: 15 Polit­i­cal Phi­los­o­phy Cours­es Online

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Yale Course

Alain de Bot­ton Tweets Short Course in Polit­i­cal Phi­los­o­phy

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

Alain de Botton Shows How Art Can Answer Life’s Big Questions in Art as Therapy

Alain de Bot­ton, pop philoso­pher, has come out with a new book. Like his oth­ers, it’s full of sweep­ing ideas about an entire mode of human exis­tence. He’s writ­ten on reli­gion, sex, suc­cess, and hap­pi­ness, and now he takes on art in Art as Ther­a­py, co-writ­ten with art his­to­ri­an and author John Arm­strong. Like all of de Botton’s ven­tures, the new book is sure to polar­ize. Many peo­ple find his work pow­er­ful and imme­di­ate, many see it as blithe intel­lec­tu­al tourism. To the lat­ter crit­ics, one might reply that de Botton’s approach is some­what like that of oth­er non-pro­fes­sion­al philoso­phers ancient and mod­ern, from Pla­to to Schopen­hauer, who addressed any and every area of life. And yet de Bot­ton is a pro­fes­sion­al of anoth­er kind—he is a pro­fes­sion­al author, speak­er, and self-help guru, and unlike his pre­de­ces­sors, he express­ly sells a prod­uct. There’s no inher­ent rea­son why this should ren­der his phi­los­o­phy sus­pect. Yet, to use a favorite descrip­tor of his, some may find his media savvi­ness vul­gar, as Socrates found the so-called “sophists” of his day (a term of abuse that may be gen­er­al­ly unde­served then and now).

In the video above—one of de Botton’s “Sun­day Ser­mons” for his School of Life, an orga­ni­za­tion that more and more resem­bles his vision of a “reli­gion for athe­ists”—de Bot­ton lays out the book’s argu­ment in a pret­ty uncon­ven­tion­al way. The intro looks exact­ly like an evan­gel­i­cal church ser­vice, scored by a Rob­bie Williams song, which de Bot­ton uses as his first exam­ple of “art.” It’s a tongue-in-cheek demon­stra­tion of de Botton’s claim that “art is our new reli­gion… cul­ture is some­thing that is immi­nent­ly suit­ed to fill­ing [religion’s] shoes.” Whether all of this large talk, pseu­do-reli­gios­i­ty, and Rob­bie Williams music inspires, bores, or dis­turbs you is a per­son­al mat­ter, I sup­pose, but it does pre­pare one for some­thing very dif­fer­ent from a philo­soph­i­cal lec­ture in any case. This is, in fact, a ser­mon, replete with lit­er­ary and the­o­ret­i­cal ref­er­ences, tai­lored to offer answers to Life’s Big Ques­tions.

art as therapyDe Bot­ton first iden­ti­fies the prob­lem. While the sec­u­lar gate­keep­ers of cul­ture pre­tend to believe in the mol­li­fy­ing spir­i­tu­al effects of art, “in fact,” he says, “the idea is dead.” Muse­ums are mori­bund because, for exam­ple, they don’t direct­ly address individual’s fear of death. Pre­sum­ably, his “art as ther­a­py” approach does. The book’s web­site con­tains snip­pets divid­ed into broad cat­e­gories like “Pol­i­tics,” “Work,” “Love,” “Anx­i­ety,” “Self,” and “Free Time.” In his ser­mon, de Bot­ton doesn’t seem to evince any recog­ni­tion of the field of art ther­a­py, which has been chug­ging along since the ear­ly 20th cen­tu­ry, but as he tells Joshua Roth­man in an inter­view for The New York­er he means the word therapy—“a big, sim­ple, vul­gar word”—broadly. Sound­ing for all like an Angli­can the­olo­gian, de Bot­ton says of an annun­ci­a­tion altar­piece by Fra Fil­lip­po Lip­pi:

There’s a sud­den ten­der­ness here, which is so far removed from the harsh­ness out­side. If I were to put a cap­tion here, it might say: ‘Our world, for all its tech­no­log­i­cal sophis­ti­ca­tion, is lack­ing in cer­tain qual­i­ties. But this paint­ing is a vis­i­tor from anoth­er world, where those qualities—tenderness, rev­er­ence, and modesty—are very high­ly val­ued. Take it as an argu­ment against Fox News and the New York Post. Use it to find the still places in your­self.’ 

The notion of this piece of art as “an argu­ment” on the same con­cep­tu­al plane as cor­po­rate mass media seems to con­tra­dict de Botton’s premise that it’s “from anoth­er world.” This cheek-by-jowl ref­er­enc­ing of the sacred and pro­fane, high and low, offends the sen­si­bil­i­ties of sev­er­al philo­soph­i­cal thinkers, and may have offend­ed Fra Fil­lip­po Lip­pi. But per­haps it’s too easy to be cyn­i­cal about de Botton’s pop­ulist approach. If all of his evan­ge­lism seems like noth­ing more than elab­o­rate pub­lic­i­ty for his books, he’s cer­tain­ly made things dif­fi­cult for him­self by found­ing a school. Whether you find his ideas com­pelling or not, he proves him­self a pas­sion­ate, if not par­tic­u­lar­ly mod­est, thinker attempt­ing to grap­ple with the prob­lems of mid­dle-class West­ern malaise and exis­ten­tial angst.

Relat­ed Con­tent:

Alain De Bot­ton Turns His Philo­soph­i­cal Mind To Devel­op­ing “Bet­ter Porn”

A Guide to Hap­pi­ness: Alain de Bot­ton Shows How Six Great Philoso­phers Can Change Your Life

Alain de Bot­ton Pro­pos­es a Kinder, Gen­tler Phi­los­o­phy of Suc­cess

Down­load 100 Free Online Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

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

Download 100 Free Philosophy Courses and Start Living the Examined Life

rodin-thinker-philosophy-courses

The Phi­los­o­phy sec­tion of our big Free Online Cours­es col­lec­tion just went through anoth­er update, and it now fea­tures 100 cours­es. Enough to give you a soup-to-nuts intro­duc­tion to a time­less dis­ci­pline. You can start with one of sev­er­al intro­duc­to­ry cours­es.

Then, once you’ve found your foot­ing, you can head off in some amaz­ing direc­tions. As we men­tioned many moons ago, you can access cours­es and lec­tures by mod­ern day leg­ends – Michel Fou­caultBertrand Rus­sellJohn Sear­leWal­ter Kauf­mannLeo StraussHubert Drey­fus and Michael Sandel. Then you can sit back and let them intro­duce you to the think­ing of Aris­to­tle, Socrates, Pla­to, Hobbes, Hegel, Hei­deg­ger, Kierkegaard, Kant, Niet­zsche, Sartre and the rest of the gang. The cours­es list­ed here are gen­er­al­ly avail­able via YouTube, iTunes, or the web.

Explore our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties, to find top­ics in many oth­er dis­ci­plines — His­to­ry, Lit­er­a­ture, Physics, Com­put­er Sci­ence and beyond. As we like to say, it’s the most valu­able sin­gle page on the web.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

Relat­ed Con­tent:

Michel Fou­cault: Free Lec­tures on Truth, Dis­course & The Self

Take First-Class Phi­los­o­phy Lec­tures Any­where with Free Oxford Pod­casts

Wal­ter Kaufmann’s Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960)

The His­to­ry of Phi­los­o­phy, from 600 B.C.E. to 1935, Visu­al­ized in Two Mas­sive, 44-Foot High Dia­grams

Leo Strauss: 15 Polit­i­cal Phi­los­o­phy Cours­es Online

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Hear Michel Foucault Deliver His Lecture on “Truth and Subjectivity” at UC Berkeley, In English (1980)

Michel Fou­cault first arrived at the Uni­ver­si­ty of Cal­i­for­nia, Berke­ley in 1975. By this time, he was already a celebri­ty in France. He had just pub­lished his enor­mous­ly influ­en­tial his­to­ry and cri­tique of the penal sys­tem, Dis­ci­pline and Pun­ish, and he occu­pied a posi­tion at the pres­ti­gious Col­lège de France as chair in the “his­to­ry of sys­tems of thought,” a posi­tion he cre­at­ed for him­self. But when he arrived on the West Coast, writes Mar­cus Wohlsen, “few at Berke­ley had heard of Michel Fou­cault.” Leo Bersani, then chair­man of the French depart­ment, even had to call phi­los­o­phy pro­fes­sor Hubert Drey­fus to help “come and fill out the ranks” for Foucault’s lec­tures.

After the pub­li­ca­tion of vol­ume one of The His­to­ry of Sex­u­al­i­ty, Fou­cault would return to Berke­ley in the fall of 1979, then again in 1980. By then, the scene had changed dra­mat­i­cal­ly. Fou­cault was invit­ed to deliv­er the How­i­son Lec­ture that year, a dis­tin­guished invi­ta­tion pre­vi­ous­ly extend­ed to such thinkers as John Dewey, Willard V.O. Quine and, the year pre­vi­ous, John Rawls. By this time, Wohlsen writes, Fou­cault was, reluc­tant­ly, “an inter­na­tion­al aca­d­e­m­ic super­star.” Fill­ing the hall for his lec­tures would not be an issue. In fact, Wohlsen tells us,

Crowds crammed the 2,000-seat Zeller­bach Hall so quick­ly that police had to bar the doors. Fou­cault fans milled around rest­less­ly out­side until [phi­los­o­phy pro­fes­sor Hans] Slu­ga arranged for a live broad­cast of the letures to Wheel­er Hall. Its 760 seats filled almost imme­di­ate­ly.

Accord­ing to Slu­ga, Fou­cault, increas­ing­ly wary of his fame, inten­tion­al­ly titled his lecture—“Truth and Sub­jec­tiv­i­ty: the Sto­ic Prac­tice of Self Examination”—to sound “learned, abstract, remote” in order to deter a large crowd. That ploy clear­ly failed.

In the first part of the lec­ture (at top), the pre­sen­ter who intro­duces Fou­cault begins by ges­tur­ing to the philosopher’s fame, then com­ments that Foucault’s promi­nent post at the Col­lège de France was “very para­dox­i­cal, since Michel Fou­cault, although pres­ti­gious, is not a typ­i­cal kind of aca­d­e­m­ic. He is sus­pi­cious of all titles and claims to dis­in­ter­est­ed truth that has been [sic] asso­ci­at­ed with acad­e­mia.” After men­tion­ing Foucault’s fierce crit­i­cism of every his­tor­i­cal assump­tion and method­ol­o­gy (he was a guest of the His­to­ry and French Depart­ments), he breaks off his remarks to note that “there’s a mob of peo­ple all around, try­ing to get in.”

Fou­cault begins his lec­ture in French (at 8:08), then switch­es to Eng­lish for the remain­der (at 9:18). He quotes from a his­tor­i­cal French psychiatrist’s account of a “cure” involv­ing an “inter­ro­ga­tion” and a coerced con­fes­sion of mad­ness. Fou­cault calls this one among many exam­ples of “truth ther­a­pies,” and it serves—as do such vivid­ly spe­cif­ic archival exam­ples in his books—as a har­row­ing intro­duc­tion to the polic­ing of capital‑T Truth that is the essence of the human­ist enter­prise.

Despite the often pro­found­ly unset­tling nature of his inves­ti­ga­tions, and his attempt to scare off the crowd, Fou­cault is not dour or bor­ing, nor does he seem at all unap­proach­able or for­bid­ding. He is patient and self-dep­re­cat­ing­ly fun­ny: in a cut­ting, rue­ful ref­er­ence to the grow­ing dom­i­nance of ana­lyt­ic phi­los­o­phy in British and Amer­i­can uni­ver­si­ties, he says, “I con­fess, with the appro­pri­ate cha­grin, that I am not an ana­lyt­i­cal philoso­pher. Nobody is per­fect.” Then he sums up his project suc­cinct­ly: “I have tried to explore anoth­er direc­tion. I have tried to get from a phi­los­o­phy of sub­jec­tiv­i­ty to a geneal­o­gy of the sub­ject.”

Fou­cault is a very charm­ing speak­er, sprin­kling his lec­ture with lit­tle jokes like “It goes with­out say­ing… but it goes bet­ter with say­ing…” and drop­ping in Amer­i­can­isms like “Mon­day morn­ing quar­ter­back­ing,” to the amuse­ment of the crowd. He shows him­self to be very much aware of his audience—these are deeply seri­ous lec­tures, with­out a doubt, but Fou­cault nev­er for­gets that he’s fac­ing liv­ing human beings, with their own domains of knowl­edge and subjectivities—and he seeks to reach them where they are while report­ing on his dis­turb­ing dis­cov­er­ies as an archae­ol­o­gist of West­ern human­ist dis­course.

Fou­cault returned to Berke­ley again as a vis­it­ing pro­fes­sor in 1981 and again 1983, the year before his death. Alain Beaulieu, who has cat­a­logued Foucault’s Berke­ley archives, described his time in Cal­i­for­nia as hap­py and pro­duc­tive, “while he remain[ed] crit­i­cal of some fea­tures asso­ci­at­ed with the ‘Cal­i­forn­ian cult of the self.’” In fact, “Cult of the Self” was the title of three lec­tures Fou­cault deliv­ered at Berke­ley in 1983 (lis­ten here), along with six lec­tures on “Dis­course and Truth.” Dur­ing his time at Berke­ley in 1980, when he deliv­ered the lec­ture above, grad­u­ate stu­dent Michael Bess inter­viewed the philoso­pher. Fou­cault spoke plain­ly and pas­sion­ate­ly about the impe­tus for his relent­less cri­tiques of insti­tu­tion­al pow­er and knowl­edge:

In a sense, I am a moral­ist, inso­far as I believe that one of the tasks, one of the mean­ings of human existence—the source of human freedom—is nev­er to accept any­thing as defin­i­tive, untouch­able, obvi­ous, or immo­bile. No aspect of real­i­ty should be allowed to become a defin­i­tive and inhu­man law for us.

We have to rise up against all forms of power—but not just pow­er in the nar­row sense of the word, refer­ring to the pow­er of a gov­ern­ment or of one social group over anoth­er: these are only a few par­tic­u­lar instances of pow­er.

Pow­er is any­thing that tends to ren­der immo­bile and untouch­able those things that are offered to us as real, as true, as good.

Read the com­plete inter­view, first pub­lished in the Novem­ber 10, 1980 Dai­ly Cal­i­forn­ian, here.

Relat­ed Con­tent:

Michel Foucault’s Con­tro­ver­sial Life and Phi­los­o­phy Explored in a Reveal­ing 1993 Doc­u­men­tary

Clash of the Titans: Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er on Dutch TV, 1971

Down­load Free Cours­es from Famous Philoso­phers: From Bertrand Rus­sell to Michel Fou­cault

Michel Fou­cault: Free Lec­tures on Truth, Dis­course & The Self

90 Free Phi­los­o­phy Cours­es in our Col­lec­tion of 800 Free Cours­es Online

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

Mike Tyson Lists the Philosophy & History Books He’s Reading These Days

Mike_Tyson_Portrait

Last year, Mike Tyson staged a one-man Broad­way show, direct­ed by Spike Lee, called “Mike Tyson: The Undis­put­ed Truth.” In Novem­ber, the box­ing leg­end pub­lished an auto­bi­og­ra­phy by the same title. And now comes this: a short let­ter in The Wall Street Jour­nal where Iron Mike lists the phi­los­o­phy and his­to­ry texts he’s read­ing these days. The list includes:

  • The Quotable Kierkegaard, edit­ed by Gor­don Mari­no, “a col­lec­tion of awe­some quotes from that great Dan­ish philoso­pher.”

[Note: Niet­zsche is his favorite philoso­pher. Says Tyson, “He’s just insane. You have to have an IQ of at least 300 to tru­ly under­stand him.”

Why? Because “Alexan­der kept push­ing for­ward. He did­n’t want to have to go home and be dom­i­nat­ed by his moth­er.” The same impulse drove Tyson to box his way out of Brownsville, Brook­lyn. That’s all cov­ered in his auto­bi­og­ra­phy.

What else is Tyson read­ing? Love let­ters. He men­tions Napoleon’s love let­ters to Josephine, and Vir­ginia Woolf’s let­ter to her hus­band before com­mit­ting sui­cide. Tyson then quips “I don’t real­ly do any light read­ing, just deep, deep stuff. I’m not a light kind of guy.”

Get more at The Wall Street Jour­nal.

H/T Par­tial­ly Exam­ined Life

Relat­ed Con­tent:

Iron Mike Tyson Sings “The Girl From Ipane­ma”

The Phi­los­o­phy of Kierkegaard, the First Exis­ten­tial­ist Philoso­pher, Revis­it­ed in 1984 Doc­u­men­tary

Wal­ter Kaufmann’s Clas­sic Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960)

Down­load 90 Free Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

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Watch Michel Gondry Animate Philosopher, Linguist & Activist Noam Chomsky

As an arts major who doo­dled my way through every required sci­ence course in high school and col­lege, I am deeply grat­i­fied by film­mak­er Michel Gondry’s approach to doc­u­ment­ing the ideas of Noam Chom­sky. Hav­ing filmed about three hours worth of inter­views with the activist, philoso­pher, and father of mod­ern lin­guis­tics in a ster­ile MIT con­fer­ence room, Gondry head­ed back to his charm­ing­ly ana­log Brook­lyn digs to spend three years ani­mat­ing the con­ver­sa­tions. It’s nice to see a film­mak­er of his stature using books to jer­ry-rig his cam­era set up. At one point, he hud­dles on the floor, puz­zling over some sequen­tial draw­ings on 3‑hole punch paper. Seems like the kind of thing most peo­ple in his field would tack­le with an iPad and an assis­tant.

Gondry may have felt intel­lec­tu­al­ly dwarfed by his sub­ject, but there’s a kind of genius afoot in his work too. Describ­ing the stop-motion tech­nique he used for Is the Man Who Is Tall Hap­py?, he told Amy Good­man of Democ­ra­cy Now, “I have a light­box, and I put paper on it, and I ani­mate with Sharpies, col­or Sharpies. And I have a 16-mil­lime­ter cam­era that is set up on a tri­pod and looks down, and I take a pic­ture. I do a draw­ing and take a pic­ture.”

A pret­ty apt summation—watch him in action above—but the curios­i­ty and human­i­ty so evi­dent in such fea­tures as Eter­nal Sun­shine of the Spot­less Mind and The Sci­ence of Sleep is a mag­i­cal ingre­di­ent here, too. He attrib­ut­es bio­log­i­cal prop­er­ties to his Sharpie mark­ers, and takes a break from some of Chom­sky’s more com­plex thoughts to ask about his feel­ings when his wife passed away. He does­n’t seem to mind that he might seem a bit of a school­boy in com­par­i­son, one whose tal­ents lie beyond this par­tic­u­lar pro­fes­sor’s scope.

As Chom­sky him­self remarks in the trail­er, below, “Learn­ing comes from ask­ing why do things work like that, why not some oth­er way?”

Is the Man Who Is Tall Hap­py? is avail­able on iTunes.

H/T @kirstinbutler

Relat­ed Con­tent:

Film­mak­er Michel Gondry Presents an Ani­mat­ed Con­ver­sa­tion with Noam Chom­sky

Noam Chom­sky Schools 9/11 Truther; Explains the Sci­ence of Mak­ing Cred­i­ble Claims

Ayun Hal­l­i­day puts her life­long pen­chant for doo­dling to good use in her award-win­ning, hand­writ­ten, illus­trat­ed zine, The East Vil­lage Inky. Fol­low her @AyunHalliday

A Guide to Happiness: Alain de Botton’s Documentary Shows How Nietzsche, Socrates & 4 Other Philosophers Can Change Your Life

Alain de Bot­ton is a not a philosopher’s philoso­pher. This means that his work is giv­en lit­tle con­sid­er­a­tion inside acad­e­mia. It also means that he speaks to many, many more people—ordinary peo­ple hun­gry for human­ist ideas about living—than his peers. In his six-part video series, Phi­los­o­phy: A Guide to Hap­pi­ness, de Bot­ton tells us that he’d always looked to phi­los­o­phy as a dis­ci­pline that “has wise things to say about every­day wor­ries…. Phi­los­o­phy promised some­thing that might sound a lit­tle naïve, but was in fact rather pro­found: A way to learn to be hap­py.” I’m still not sure if this sounds more naïve or pro­found, but de Botton’s videos, each near­ly 25 min­utes long, con­cern thinkers who sure­ly knew the dif­fer­ence. Each video also func­tions as a trav­el­ogue of sorts, as de Bot­ton vis­its the cities that pro­duced the thinkers, and tries to square their his­to­ries with the mod­ern world around the relics.

Above, de Bot­ton dis­cuss­es Roman sto­ic philoso­pher and trage­di­an Seneca. An advi­sor to Nero, Seneca’s life may have been hap­py, at times, but it was hard­ly restrained. In any case, he had some­thing to teach us about the futil­i­ty of anger, and he was also, like de Bot­ton, a great pop­u­lar­iz­er of oth­er peo­ple’s ideas. Seneca char­ac­ter­ized anger as a ratio­nal response that nonethe­less relies on false premis­es, name­ly that we have more con­trol over our cir­cum­stances than we actu­al­ly do, and that our opti­mism about out­comes is unfound­ed and sets us up with unre­al­is­tic expec­ta­tions. De Bot­ton has before pro­fessed an affin­i­ty for the trag­ic view, and Seneca’s hor­ri­bly bloody works, which inspired the Eliz­a­bethan genre known as “Revenge Tragedy,” are par­tic­u­lar­ly grotesque explo­rations of anger. But per­haps it is those who most clear­ly see the per­ni­cious effects of an emo­tion, or lack of it, who under­stand it best.

Take Arthur Schopen­hauer, whom de Bot­ton con­sults as his author­i­ty on love. Like Seneca, Schopen­hauer seems very much at odds with much of his philo­soph­i­cal writ­ing on love and com­pas­sion. His essay “On Women” earned him a per­ma­nent rep­u­ta­tion as a misog­y­nist, deserved or not. He’s rumored to have had a vio­lent tem­per and wrote approv­ing­ly of keep­ing one’s dis­tance from the mass of peo­ple, most of whom annoyed him dis­pro­por­tion­ate­ly. Schopen­hauer also famous­ly wrote that it would have been prefer­able not to have been born at all, a posi­tion of extreme mis­an­thropy known as anti­na­tal­ism.

But there are oth­er aspects of Schopen­hauer’s roman­tic life to dis­cuss, both its ear­ly suc­cess­es and lat­er fail­ures. “Noth­ing in life,” says de Bot­ton, “is more impor­tant than love for Schopen­hauer.” Even with all of its pains of rejec­tion, roman­tic love, Schopen­hauer wrote in The World as Will and Rep­re­sen­ta­tion, “is more impor­tant than all oth­er aims in man’s life; and there­fore it is quite wor­thy of the pro­found seri­ous­ness with which every­one pur­sues it.”

Anoth­er pop­u­lar British philo­soph­i­cal thinker, John Gray, has a very dif­fer­ent take on the great Ger­man pes­simist, call­ing his philosophy “more sub­ver­sive of human­ist hopes than any oth­er.” But de Botton’s tech­nique seems in many ways cal­cu­lat­ed as a mild sub­ver­sion of expec­ta­tion, choos­ing as he does such con­tra­dic­to­ry, and often very soli­tary fig­ures.

One soli­tary thinker who occu­pies a trea­sured place in the library of every human­ist is Michel de Mon­taigne, the genial French essay­ist who invent­ed the lit­er­ary term essai, and who some might say also per­fect­ed the form. Mon­taigne has always struck me as the hap­pi­est of men, even in, or espe­cial­ly in his long stretch­es of soli­tude, punc­tu­at­ed by con­sci­en­tious pub­lic ser­vice (despite his life­long painful kid­ney stones). While both Schopen­hauer and Mon­taigne engaged in lengthy self-exam­i­na­tion, Mon­taigne seems to have gen­uine­ly liked him­self and oth­ers. He treats him­self in his writ­ings as an old and hon­est friend with whom one can be per­fect­ly can­did with­out any fear of reprisal. This is per­haps why de Bot­ton chose him to illus­trate self-esteem.

Mon­taigne comes from a tra­di­tion much friend­lier to phi­los­o­phy as mem­oir (he invent­ed the tra­di­tion). And so, in this age of the mem­oir, he has seen a great resur­gence. In 2011, at least three pop­u­lar books on Mon­taigne came out, one titled How to Live and anoth­er sub­ti­tled Mon­taigne and Being in Touch With Life. Of all the six philoso­phers de Bot­ton sur­veys in his series, which also includes Niet­zsche, Epi­cu­rus, and Socrates, Mon­taigne would seem the most com­pli­men­ta­ry to de Botton’s casu­al, per­son­al approach to phi­los­o­phy, which seeks not to dig new ground nor dis­cov­er dis­tant coun­tries but to con­front the vex­ing human ques­tions that meet us always at home.

You can view all six episodes in the embed­ded playlist below:

Relat­ed Con­tent:

Down­load 90 Free Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

Alain de Bot­ton Pro­pos­es a Kinder, Gen­tler Phi­los­o­phy of Suc­cess

The Dai­ly Habits of High­ly Pro­duc­tive Philoso­phers: Niet­zsche, Marx & Immanuel Kant

Alain de Botton’s Quest for The Per­fect Home and Archi­tec­tur­al Hap­pi­ness

The Art of Liv­ing: A Free Stan­ford Online Course Explores Time­less Ques­tions

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

Slavoj Žižek Examines the Perverse Ideology of Beethoven’s Ode to Joy

Beethoven’s icon­ic Ninth Sym­pho­ny pre­miered in Vien­na in 1824, at “a time of great repres­sion, of ultra-con­ser­v­a­tive nation­al­ism” as the old orders fought back against the rev­o­lu­tions of the pre­vi­ous cen­tu­ry. But it’s dif­fi­cult to imag­ine the com­pos­er hav­ing any nation­al­ist intent, what with his well-known hatred of author­i­ty, par­tic­u­lar­ly impe­ri­al­ist author­i­ty (and par­tic­u­lar­ly of Napoleon). Even less obvi­ous is the impu­ta­tion of nation­al­ist ten­den­cies to Friedrich Schiller, whose poem, “Ode to Joy” Beethoven adapts to a glo­ri­ous cho­rus in the fourth move­ment. Schiller’s poem, writes Scott Hor­ton in Harper’s, “envi­sions a world with­out mon­archs” in which uni­ver­sal friend­ship “is essen­tial if humankind is to over­come its dark­er moments.” And in his take on the ubiq­ui­tous piece of music, con­trar­i­an the­o­rist Slavoj Žižek acknowl­edges in the clip above from his lat­est film, A Pervert’s Guide to Ide­ol­o­gy, that the Ninth is gen­er­al­ly tak­en for grant­ed “as a kind of an ode to human­i­ty as such, to the broth­er­hood and free­dom of all peo­ple.”

And yet Žižek , being Žižek, draws our atten­tion to the Ninth Sym­pho­ny as a per­fect ide­o­log­i­cal con­tain­er, by ref­er­ence to its unfor­get­table use in Stan­ley Kubrick’s A Clock­work Orange, as unspar­ing a look at humanity’s “dark­er moments” as one might find on film (excerpt above). Kubrick (and com­pos­er Wendy Car­los) drew on a long, dark his­to­ry of asso­ci­a­tions with the Ninth. As evi­dence of its “uni­ver­sal adapt­abil­i­ty,” Žižek points to its well-known use by the Nazis as a nation­al­ist anthem, as well as by the Sovi­et Union as a com­mu­nist song; in Chi­na dur­ing the Cul­tur­al Rev­o­lu­tion, when almost all oth­er West­ern music was pro­hib­it­ed; and at the extreme Apartheid right in South Rhode­sia. “At the oppo­site end,” Žižek says, the Ninth Sym­pho­ny was the favorite of ultra-left­ist Shin­ing Path leader Abi­mael Guz­man, and in 1972, it became the unof­fi­cial “Anthem of Europe” (now of the Euro­pean Union). The tow­er­ing piece of music, Žižek claims, enables us to imag­ine a “per­verse scene of uni­ver­sal fra­ter­ni­ty” in which the world’s dic­ta­tors, arch-ter­ror­ists, and war crim­i­nals all embrace each oth­er. It’s a deeply dis­turb­ing image, to say the least. Watch the full excerpt for more of Žižek’s exam­i­na­tion of the ide­o­log­i­cal weight Beethoven car­ries.

via Bib­liokept

Relat­ed Con­tent:

In His Lat­est Film, Slavoj Žižek Claims “The Only Way to Be an Athe­ist is Through Chris­tian­i­ty”

Slavoj Žižek’s Pervert’s Guide to Ide­ol­o­gy Decodes The Dark Knight and They Live

The Mak­ing of Stan­ley Kubrick’s A Clock­work Orange

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

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