Has TV Rotted Our Minds? On Neil Postman’s Amusing Ourselves to Death (A Pretty Much Pop Culture Podcast/Partially Examined Life Philosophy Podcast Crossover)

Marshall McLuhan famously said “The medium is the message,” by which he meant that when we receive information, its effect on us is determined as much by the form of that information as by the actual content.

Neil Postman, in his 1985 book Amusing Ourselves to Death: Public Discourse in the Age of Show Business, ran with this idea, arguing that TV has conditioned us to expect that everything must be entertaining, and that this has had a disastrous effect on news, politics, education, and thinking in general.

In this discussion, your Pretty Much Pop hosts Mark Linsenmayer and Brian Hirt join with the rest of the Partially Examined Life crew: Seth Paskin, Dylan Casey and Wes Alwan.

The result is much more philosophical context than you’d get in a typical Pretty Much Pop discussion. Plato, for example, argued (through the character of Socrates) in the Phaedrus against writing, which he said amounts to off-loading thought to this inert thing, when it should be lively in our minds and our direct conversations. Postman’s book describes the Age of Print as highly congenial toward lengthy, abstract reasoning. High literacy rates, particularly in America, conditioned people to expect that this is how information is to be received, and as such they were, for instance, prepared to listen raptly to the Lincoln-Douglas debates in which the speakers provided lawyerly speeches that might span multiple hours.

Postman, an educational theorist, described television as not just providing a no-context experience whose high level of visual and auditory stimulation beats its spectators into thoughtless passivity, but that its popularity positively infects all the other communication channels available. Of course there is still in-person teaching, but television shortens attention spans such that teachers now feel the need to constantly entertain instead of forcing students to make the effort required to attend carefully to what they have to teach. Of course there are still books, but they are less read, and the competition of television for our time has changed the presentation within books so that they must be as immediately and consistently appealing as television.

McLuhan described television as a “hot” medium due to its high level of stimulation, where a “cool” one like a textbook requires more active participation of the recipient. We discuss how Postman’s critique fares in the Age of the Internet, which interestingly mixes things up, with more interactivity (in that sense cooler) yet even more possibility for sensory distraction (in that perhaps more important sense hotter). To supplement Postman, we also consulted a widely read article from The Atlantic written by Nicholas Carr in 2008 called “Is Google Making Us Stupid.”

For more philosophical touchpoints, see the post for this discussion at partiallyexaminedlife.com.

Hear more Pretty Much Pop at prettymuchpop.com. This episode includes an equally long second part that you can access by supporting Pretty Much Pop at patreon.com/prettymuchpop or by supporting The Partially Examined Life at partiallyexaminedlife.com/support. Listen to a preview of part two.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

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.”

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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, 1,150 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc..

Would you like to support the mission of Open Culture? Please 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.

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

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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.

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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.

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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.

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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

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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.

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

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