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

A Fascinating Case Study by Oliver Sacks Inspires a Short Animated Film, The Lost Mariner

In Feb­ru­ary, Oliv­er Sacks announced that he was suf­fer­ing from ter­mi­nal can­cer. And, by August, he was gone — but not before show­ing us (if you read his op-eds in the Times) how to die with dig­ni­ty and grace. All of this I was remind­ed of again today when I stum­bled upon a recent ani­ma­tion inspired by Sacks’ work. Called The Lost Mariner, the short film offers an ani­mat­ed inter­pre­ta­tion of a chap­ter  in Sacks’ 1985 book The Man Who Mis­took His Wife for a Hat. The chap­ter (also called “The Lost Mariner”) presents a curi­ous case study of a patient known as Jim­mie G. who, suf­fer­ing from Kor­sakof­f’s syn­drome, los­es the abil­i­ty to form new mem­o­ries. To see how Tess Mar­tin made this award-win­ning short, you can watch the mak­ing-of video below.

via @OliverSacks

Relat­ed Con­tent:

This is What Oliv­er Sacks Learned on LSD and Amphet­a­mines

Oliv­er Sacks’ Last Tweet Shows Beethoven’s “Ode to Joy” Mov­ing­ly Flash­mobbed in Spain

Oliv­er Sacks Con­tem­plates Mor­tal­i­ty (and His Ter­mi­nal Can­cer Diag­no­sis) in a Thought­ful, Poignant Let­ter

The Life & Discoveries of Mary Leakey Celebrated in an Endearing Cutout Animation

“Over half a cen­tu­ry, Mary Leakey labored under the hot African sun, scratch­ing in the dirt for clues to ear­ly human phys­i­cal and cul­tur­al evo­lu­tion. Sci­en­tists in her field said she set the stan­dards for doc­u­men­ta­tion and exca­va­tion in pale­olith­ic arche­ol­o­gy. They spoke of hers as a life of envi­able achieve­ment.” That’s how The New York Times start­ed its 1996 obit­u­ary for Mary Leakey, “matri­arch of the famous fos­sil-hunt­ing fam­i­ly in Africa whose own rep­u­ta­tion in pale­oan­thro­pol­o­gy soared with dis­cov­er­ies of bones, stone tools and the foot­prints of ear­ly human ances­tors.”

Above, you can watch the Timesnew­ly-released cutout ani­ma­tion, cel­e­brat­ing her life and pale­oan­thro­pol­o­gy work in east­ern Africa. The endear­ing sev­en-minute film cov­ers her dis­cov­ery of Pro­con­sul africanus in 1948, Zin­jan­thro­pus boi­sei in 1959, Homo habilis in 1960, and the trail of ear­ly human foot­prints found at Lae­toli in the mid-1970s. The film also fea­tures some­thing you’ll like­ly nev­er see else­where — peo­ple throw­ing ele­phant dung fris­bees! Enjoy.

Relat­ed Con­tent:

A Creepy Cut Out Ani­ma­tion of Samuel Beckett’s 1953 Nov­el, The Unnam­able

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

The Adven­tures of Famed Illus­tra­tor Gus­tave Doré Pre­sent­ed in a Fantasic(al) Cutout Ani­ma­tion

Spike Jonze Presents a Stop Motion Film for Book Lovers

 

A Rollicking French Animation on the Perils of Drinking a Little Too Much Coffee

Mod­er­ate cof­fee con­sump­tion may decrease your risk of dying pre­ma­ture­ly from car­dio­vas­cu­lar dis­ease, reduce your risk of let­ting colon can­cer take you to the grave, pos­si­bly help you stave off demen­tia, and maybe, writes The New York Times, dodge a num­ber of oth­er bul­lets–“Type 2 dia­betes, basal cell car­ci­no­ma (the most com­mon skin can­cer), prostate can­cer, oral can­cer and breast can­cer recur­rence.” Pour me a cup, please.

These days, I’m feel­ing pret­ty good about my last remain­ing vice. But, as always, too much of any­thing is not a good thing. And that includes cof­fee too. Just ask Hon­oré de Balzac, who, accord­ing to leg­end, met an untime­ly death by drink­ing 50 cups per day. Or ask the fel­low fea­tured in the French ani­ma­tion called Le café–or sim­ply Cof­fee in Eng­lish. Up top, you can find a sub­ti­tled ver­sion of the riotous film direct­ed by Stephanie Mar­guerite and Emi­lie Taras­cou. Beneath, we have a non-sub­ti­tled but high­er res­o­lu­tion ver­sion. Enjoy, and remem­ber to drink cof­fee respon­si­bly.

More cre­ative shorts can be found in the Ani­ma­tion sec­tion of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

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

David Lynch Directs a Mini-Sea­son of Twin Peaks in the Form of Japan­ese Cof­fee Com­mer­cials

J.S. Bach’s Com­ic Opera, “The Cof­fee Can­ta­ta,” Sings the Prais­es of the Great Stim­u­lat­ing Drink (1735)

“The Virtues of Cof­fee” Explained in 1690 Ad: The Cure for Lethar­gy, Scurvy, Drop­sy, Gout & More

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Mœbius & Jodorowsky’s Sci-Fi Masterpiece, The Incal, Brought to Life in a Tantalizing Animation

Last year we fea­tured art­work from the Dune movie that nev­er was, a col­lab­o­ra­tion between Ale­jan­dro Jodor­owsky, the mys­ti­cism-mind­ed Chilean direc­tor of such oft-described-as-mind-blow­ing pic­tures as El Topo and The Holy Moun­tain, and the artist Jean Giraud, bet­ter known as Mœbius, cre­ator of oft-described-as-mind-blow­ing comics as Arzach, Blue­ber­ry, and The Air­tight GarageIf ever a meet­ing of two cre­ative minds made more sense, I haven’t heard about it. Alas, Jodor­owsky and Mœbius’ work did­n’t lead to their own Dune movie, but it did­n’t mark the end of their artis­tic part­ner­ship, as any­one who’s read The Incal knows full well.

Telling a meta­phys­i­cal, satir­i­cal, space-oper­at­ic sto­ry in the form of com­ic books orig­i­nal­ly pub­lished through­out the 1980s (with sequel and pre­quel series to come over the fol­low­ing 25 years), The Incal on the page became the fullest real­iza­tion of Jodor­owsky and Mœbius’ com­bined vision.

Its suc­cess made it a log­i­cal can­di­date for film adap­ta­tion, and so direc­tor Pas­cal Blais brought togeth­er artists from Heavy Met­al mag­a­zine (in which Mœbius first pub­lished some of his best known work) to make it hap­pen. It result­ed in noth­ing more than a trail­er, but what a trail­er; you can watch a recent­ly revamped edi­tion of the one Blais and his col­lab­o­ra­tors put togeth­er in the 1980s at the top of the post.

Any Incal fan who watch­es this spruced-up trail­er will imme­di­ate­ly want noth­ing more in this life than to see a fea­ture-film ver­sion of dis­solute pri­vate inves­ti­ga­tor John DiFool, his con­crete seag­ull Deepo, and the tit­u­lar all-pow­er­ful crys­tal that sets the sto­ry in motion. And any­one not yet ini­ti­at­ed into the sci­ence-fic­tion “Jodoverse” for which The Incal forms the basis will want to plunge into the com­ic books at the ear­li­est oppor­tu­ni­ty. Per­haps Blais will one day ful­ly revive the project; until then, we’ll have to con­tent our­selves with Luc Besson’s The Fifth Ele­ment (with its Mœbius-devel­oped pro­duc­tion design, sim­i­lar enough to The Incal’s to have sparked a law­suit) and maybe, just maybe, a live-action adap­ta­tion from Dri­ve direc­tor Nicholas Wind­ing Refn.

Relat­ed Con­tent:

Moe­bius’ Sto­ry­boards & Con­cept Art for Jodorowsky’s Dune

The Inscrutable Imag­i­na­tion of the Late Com­ic Artist Mœbius

Moe­bius Gives 18 Wis­dom-Filled Tips to Aspir­ing Artists (1996)

French Stu­dent Sets Inter­net on Fire with Ani­ma­tion Inspired by Moe­bius, Syd Mead & Hayao Miyaza­ki

Mœbius Illus­trates Paulo Coelho’s Inspi­ra­tional Nov­el The Alchemist (1998)

Mœbius Illus­trates Dante’s Par­adiso

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Nietzsche’s Concept of Superman Explained with Monty Python-Style Animation

Friedrich Niet­zsche first intro­duced the con­cept of the Über­men­sch — often trans­lat­ed in Eng­lish as “The Super­man” — in his influ­en­tial philo­soph­i­cal work, Thus Spake Zarathus­tra (1883), writ­ing:

I TEACH YOU THE SUPERMAN. Man is some­thing that is to be sur­passed. What have ye done to sur­pass man?

All beings hith­er­to have cre­at­ed some­thing beyond them­selves: and ye want to be the ebb of that great tide, and would rather go back to the beast than sur­pass man?…

Lo, I teach you the Super­man!

The Super­man is the mean­ing of the earth. Let your will say: The Super­man SHALL BE the mean­ing of the earth!

I con­jure you, my brethren, REMAIN TRUE TO THE EARTH, and believe not those who speak unto you of super­earth­ly hopes! Poi­son­ers are they, whether they know it or not.

Despis­ers of life are they, decay­ing ones and poi­soned ones them­selves, of whom the earth is weary: so away with them!

Once blas­phe­my against God was the great­est blas­phe­my; but God died, and there­with also those blas­phe­mers. To blas­pheme the earth is now the dread­fulest sin, and to rate the heart of the unknow­able high­er than the mean­ing of the earth!

As Eva Cybul­s­ka observes in an arti­cle on Phi­los­o­phy Now, Niet­zsche nev­er quite spelled out what he meant by Übermensch/The Super­man, leav­ing it to lat­er inter­preters to fill in the blanks. She notes: “RJ Holling­dale (in Niet­zsche) saw in Über­men­sch a man who had organ­ised the chaos with­in; [Wal­ter] Kauf­mann (Niet­zsche) a sym­bol of a man that cre­at­ed his own val­ues, and Carl Jung (Zarathustra’s Sem­i­nars) a new ‘God’. For Hei­deg­ger it rep­re­sent­ed human­i­ty that sur­passed itself, whilst for the Nazis it became an emblem of the mas­ter race.”

You can now add to the list of inter­pre­ta­tions anoth­er by Alain de Bot­ton’s School of Life. In a new­ly-released ani­mat­ed video, de Bot­ton treats The Super­man as the incar­na­tion of human per­fec­tion. Embody­ing char­ac­ter­is­tics pos­sessed by Goethe, Mon­taigne, Voltaire and Napoleon (peo­ple who came clos­est to achiev­ing per­fec­tion in Niet­zsche’s mind), the Übermenschen/Supermen will live by their own val­ues (Pagan in nature); delight in their supe­ri­or­i­ty and take pity on the weak; per­haps hurt peo­ple in the name of achiev­ing great things; accept that suf­fer­ing can be a nec­es­sary evil; use cul­ture to raise the men­tal­i­ty of the soci­ety around them; and beyond.

Whether you see The Super­man dif­fer­ent­ly is anoth­er ques­tion. You can down­load Thus Spake Zarathus­tra from our Dig­i­tal Niet­zsche col­lec­tion and come up with your own take.

And, tan­gen­tial­ly, you can watch The Orig­i­nal 1940s Super­man Car­toon Free Online.

Relat­ed Con­tent:

Down­load 100 Free Phi­los­o­phy Cours­es and Start Liv­ing the Exam­ined Life

Free Online Phi­los­o­phy Cours­es

135 Free Phi­los­o­phy eBooks

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

Hear Clas­si­cal Music Com­posed by Friedrich Niet­zsche: 43 Orig­i­nal Tracks

How Mar­tin Luther King, Jr. Used Hegel, Kant & Niet­zsche to Over­turn Seg­re­ga­tion in Amer­i­ca

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The Myth of Sisyphus Wonderfully Animated in an Oscar-Nominated Short Film (1974)

Even if you don’t know the myth by name, you know the sto­ry. In Greek mythol­o­gy, Sisy­phus, King of Corinth, was pun­ished “for his self-aggran­diz­ing crafti­ness and deceit­ful­ness by being forced to roll an immense boul­der up a hill, only to watch it roll back down, repeat­ing this action for eter­ni­ty.” In mod­ern times, this sto­ry inspired Albert Camus to write “The Myth of Sisy­phus,” an essay where he famous­ly intro­duced his con­cept of the “absurd” and iden­ti­fied Sisy­phus as the absurd hero. And it pro­vid­ed the cre­ative mate­r­i­al for a breath­tak­ing­ly good ani­ma­tion cre­at­ed by Mar­cell Jankovics in 1974. The film, notes the anno­ta­tion that accom­pa­nies the ani­ma­tion on Youtube, is “pre­sent­ed in a sin­gle, unbro­ken shot, con­sist­ing of a dynam­ic line draw­ing of Sisy­phus, the stone, and the moun­tain­side.” Fit­ting­ly, Jankovics’ lit­tle mas­ter­piece was nom­i­nat­ed for the Best Ani­mat­ed Short Film at the 48th Acad­e­my Awards. Enjoy watch­ing it above.

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:

Free Cours­es in Ancient His­to­ry, Lit­er­a­ture & Phi­los­o­phy

Watch Art on Ancient Greek Vas­es Come to Life with 21st Cen­tu­ry Ani­ma­tion

What Ancient Greek Music Sound­ed Like: Hear a Recon­struc­tion That is ‘100% Accu­rate’

Dis­cov­er the “Brazen Bull,” the Ancient Greek Tor­ture Machine That Dou­bled as a Musi­cal Instru­ment

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

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Edvard Munch’s The Scream Animated to the Psychedelic Sounds of Pink Floyd: The Winter Version

Back in the spring, we fea­tured Roman­ian ani­ma­tor Sebas­t­ian Cosor’s ani­ma­tion of Edvard Munch’s The Scream set to Pink Floy­d’s “The Great Gig in the Sky.” But the win­ter­time has almost come, which neces­si­tates not just a change in the clothes we wear, but a change in the ani­ma­tions of The Scream we watch. For­tu­nate­ly, Cosor has already put togeth­er a sea­son­al­ly appro­pri­ate ver­sion of his ear­li­er video, which you can see above.

The set­ting of Munch’s orig­i­nal Scream paint­ing can, with its depop­u­lat­ed land­scape under a hot orange sky, look pret­ty hell­ish, even before you notice the ago­nized fel­low writhing in the mid­dle of it. Would­n’t it feel alto­geth­er more pleas­ant under a snow­fall? And the scream­er him­self — sure­ly he’d give off a jol­lier vibe if he wore a San­ta hat? Cosor has answered these ques­tions and oth­ers in this humor­ous two-minute CGI film, which once again unites 1970s psy­che­del­ic rock with late-19th/ear­ly-2oth-cen­tu­ry Nor­we­gian paint­ing.

Some may con­sid­er this a kind of des­e­cra­tion of an impor­tant work of art (whether they mean the Nor­we­gian paint­ing or the psy­che­del­ic rock), but even those who don’t might har­bor one seri­ous objec­tion: isn’t the mid­dle of Novem­ber a bit ear­ly to haul out the Christ­mas stuff? Fair enough, as the hol­i­day dec­o­ra­tions in stores and pub­lic places do seem to appear a lit­tle ear­li­er each year. But if we can’t make an excep­tion for the case of a fes­tive pro­duc­tion as strange as this, for what can we make an excep­tion?

Relat­ed Con­tent:

Edvard Munch’s Famous Paint­ing The Scream Ani­mat­ed to the Sound of Pink Floyd’s Pri­mal Music

30,000 Works of Art by Edvard Munch & Oth­er Artists Put Online by Norway’s Nation­al Muse­um of Art

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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