What is the Secret to Living a Long, Happy & Creatively Fulfilling Life?: Discover the Japanese Concept of Ikigai

Ikiru, one of sev­er­al Aki­ra Kuro­sawa films rou­tine­ly described as a mas­ter­piece, tells the sto­ry of Kan­ji Watan­abe, a mid­dle-aged wid­ow­er who, three decades into a dead-end bureau­crat­ic career, finds out he has just one year to live. This sends him on an urgent eleventh-hour quest to find some­thing to live for. The pic­ture’s The Death of Ivan Ilyich-inspired script orig­i­nal­ly bore the title The Life of Kan­ji Watan­abe, but Kuro­sawa chose to rename it for the Japan­ese verb mean­ing “to live” (生きる). And any­one who wants to tru­ly ikiru needs an iki­gai.

A com­bi­na­tion of char­ac­ters from the Japan­ese words for “liv­ing” and “effect” or “worth,” iki­gai (生き甲斐) as a con­cept has recent­ly come to atten­tion in the West, not least because of last year’s best­seller Iki­gai: The Japan­ese Secret to a Long and Hap­py Life by Héc­tor Gar­cía and‎ Francesc Miralles. (Note: You can get the best­seller as a free audio book if you sign up for Audi­ble’s 30-day free tri­al pro­gram. Get details on that here.)

Writer on health and longevi­ty Dan Buet­tner has also done his bit to pro­mote iki­gai, inter­pret­ing it as “the rea­son for which you wake up in the morn­ing” in a TED Talk based on his research in the places with the longest-lived pop­u­la­tions in the world, a group that includes the Japan­ese island of Oki­nawa.

“For this 102-year-old karate mas­ter, his iki­gai was car­ry­ing forth this mar­tial art,” Buet­tner says of one Oki­nawan in par­tic­u­lar. “For this hun­dred-year-old fish­er­man it was con­tin­u­ing to catch fish for his fam­i­ly three times a week.” He notes that “the two most dan­ger­ous years in your life are the year you’re born, because of infant mor­tal­i­ty, and the year you retire. These peo­ple know their sense of pur­pose, and they acti­vate it in their life, that’s worth about sev­en years of extra life expectan­cy.” This phe­nom­e­non has also come under sci­en­tif­ic study: one paper pub­lished in Psy­cho­so­mat­ic Med­i­cine found, track­ing a group of more than 40,000 Japan­ese adults over sev­en years, “sub­jects who did not find a sense of iki­gai were asso­ci­at­ed with an increased risk of all-cause mor­tal­i­ty.”

We in the West have long looked to the tra­di­tion­al con­cepts of oth­er cul­tures for guid­ance, but the Japan­ese them­selves, a pop­u­la­tion among whom dis­sat­is­fac­tion with life is not unknown, have long scru­ti­nized iki­gai to draw out use­ful lessons. “There are many books in Japan devot­ed to iki­gai, but one in par­tic­u­lar is con­sid­ered defin­i­tive: Iki­gai-ni-tsuite (About Iki­gai), pub­lished in 1966,” writes the BBC’s Yukari Mit­suhashi. “The book’s author, psy­chi­a­trist Mieko Kamiya, explains that as a word, iki­gai is sim­i­lar to ‘hap­pi­ness’ but has a sub­tle dif­fer­ence in its nuance. Iki­gai is what allows you to look for­ward to the future even if you’re mis­er­able right now.”

Aki­ra Kuro­sawa, who paint­ed his movies when he could­n’t find the mon­ey to shoot them, stands as a tow­er­ing exam­ple of some­one who found his iki­gai in film­mak­ing, which he kept on doing it into his eight­ies. In Ikiru, he guides the bewil­dered Watan­abe into an encounter with iki­gai in the form of a young lady who quits her job in his office to make toy rab­bits: more ardu­ous work than the civ­il ser­vice, she admits, but it gives her a sense of sat­is­fac­tion that feels like play­ing with every child in Japan. This inspires Watan­abe to return to find his own iki­gai, if only at the very end of his life, in cam­paign­ing for the con­struc­tion of a neigh­bor­hood play­ground. But one year with iki­gai, if you believe in the pow­er of the con­cept, beats a cen­tu­ry with­out it.

Relat­ed Con­tent:

“Inemuri,” the Japan­ese Art of Tak­ing Pow­er Naps at Work, on the Sub­way, and Oth­er Pub­lic Places

Wabi-Sabi: A Short Film on the Beau­ty of Tra­di­tion­al Japan

How a Kore­an Pot­ter Found a “Beau­ti­ful Life” Through His Art: A Short, Life-Affirm­ing Doc­u­men­tary

Change Your Life! Learn the Japan­ese Art of Declut­ter­ing, Orga­niz­ing & Tidy­ing Things Up

How the Japan­ese Prac­tice of “For­est Bathing”—Or Just Hang­ing Out in the Woods—Can Low­er Stress Lev­els and Fight Dis­ease

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

An Animated Introduction to Friedrich Nietzsche’s Philosophical Recipe for Getting Over the Sources of Regret, Disappointment and Suffering in Our Lives

The idea of accep­tance has found much, well… accep­tance in our ther­a­peu­tic cul­ture, by way of Elis­a­beth Kübler-Ross’ five stages of grief, 12-step pro­grams, the wave of sec­u­lar mind­ful­ness prac­tices, the body-accep­tance move­ment, etc. All of these inter­ven­tions into depressed, bereaved, guilt-rid­den, and/or anx­ious states of mind have their own aims and meth­ods, which some­times over­lap, some­times do not. But what they all share, per­haps, for all the strug­gle involved, is a gen­er­al sense of opti­mism about accep­tance.

One can­not say this defin­i­tive­ly about the Sto­ic idea of amor fati—the instruc­tion to “love one’s fate”—though you might be per­suad­ed to think oth­er­wise if you google the term and come up with a cou­ple dozen pop­u­lar­iza­tions. Yes, there’s love in the name, but the fate we’re asked to embrace may just as well be painful and debil­i­tat­ing as plea­sur­able and uplift­ing. We can­not change what has hap­pened to us, or much con­trol what’s going to hap­pen, so we might as well just get used to it, so to speak.

If this isn’t exact­ly opti­mism in the sense of “it gets bet­ter,” it isn’t entire­ly pes­simism either. But it can become a grim and joy­less fatal­is­tic exer­cise. Yet, as Friedrich Niet­zsche used the term—and he used it with much rel­ish—amor fati means not only accept­ing loss, suf­fer­ing, mis­takes, addic­tions, appear­ances, or men­tal and emo­tion­al tur­bu­lence; it means accept­ing all of itevery­thing and every­one that caus­es both pain and plea­sure, as Alain de Bot­ton says above, “with strength and an all-embrac­ing atti­tude that bor­ders on a kind of enthu­si­as­tic affec­tion.”

“I do not want to wage war against what is ugly,” he wrote in The Gay Sci­ence, “I do not want to accuse; I do not even want to accuse those who accuse.” Read­ers of Niet­zsche may find them­selves pick­ing up any one of his books, includ­ing The Gay Sci­ence, to see him doing all of the above, con­stant­ly, on any ran­dom page. But his is nev­er a sys­tem­at­ic phi­los­o­phy, but an expres­sion of pas­sion and atti­tude, incon­sis­tent in its parts but, as a whole, sur­pris­ing­ly holis­tic. “My for­mu­la for great­ness in a human being,” he writes in Ecce Homo, “is amor fati

That one wants noth­ing to be dif­fer­ent, not for­ward, not back­ward, not in all eter­ni­ty. Not mere­ly bear what is nec­es­sary, still less con­ceal it… but love it.

Although the con­cept may remind us of Sto­ic phi­los­o­phy, and is very often dis­cussed in those terms, Niet­zsche saw such thought—as he under­stood it—as gloomy, ascetic, and life-deny­ing. His use of amor fati goes beyond mere res­ig­na­tion to some­thing more rad­i­cal, and very dif­fi­cult for the human mind to stom­ach, to use a some­what Niet­zschean fig­ure of speech. “It encom­pass­es the whole of world his­to­ry (includ­ing the most hor­rif­ic episodes),” notes a Lei­den Uni­ver­si­ty sum­ma­ry, “and Nietzsche’s own role in this his­to­ry.” Above all, he desired, he wrote, to be a “Yes-say­er.”

Is amor fati a rem­e­dy for regret, dis­sat­is­fac­tion, the end­less­ly rest­less desire for social and self-improve­ment? Can it ban­ish our agony over history’s night­mares and our per­son­al records of fail­ure? De Bot­ton thinks so, but one nev­er real­ly knows with Nietzsche—his often satir­i­cal exag­ger­a­tions can turn them­selves inside out, becom­ing exact­ly the oppo­site of what we expect. Yet above all, what he always turns away from are absolute ideals; we should nev­er take his amor fati as some kind of divine com­mand­ment. It works in dialec­ti­cal rela­tion to his more vig­or­ous crit­i­cal spir­it, and should be applied with a sit­u­a­tion­al and prag­mat­ic eye. In this sense, amor fati can be seen as instrumental—a tool to bring us out of the paral­y­sis of despair and con­dem­na­tion and into an active realm, guid­ed by a rad­i­cal­ly lov­ing embrace of it all.

Relat­ed Con­tent:

The Phi­los­o­phy of “Opti­mistic Nihilism,” Or How to Find Pur­pose in a Mean­ing­less Uni­verse

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

An Ani­mat­ed Intro­duc­tion to Sto­icism, the Ancient Greek Phi­los­o­phy That Lets You Lead a Hap­py, Ful­fill­ing Life

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

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

350 Animated Videos That Will Teach You Philosophy, from Ancient to Post-Modern

Phi­los­o­phy is not an idle pur­suit of leisured gen­tle­men and tenured pro­fes­sors, though the life cir­cum­stances of many a philoso­pher might make us think oth­er­wise. The fore­most exam­ple of a priv­i­leged philoso­pher is Mar­cus Aure­lius, famous expos­i­tor of Sto­icism, and also, inci­den­tal­ly, Emper­or of Rome. Yet we must also bear in mind that Epicte­tus, the oth­er most famous expos­i­tor of Sto­icism, whom Aure­lius quotes repeat­ed­ly in his Med­i­ta­tions, was born a slave.

Against cer­tain ten­den­cies of mod­ern think­ing, we might haz­ard to believe that both men shared enough com­mon human expe­ri­ence to arrive at some uni­ver­sal prin­ci­ples ful­ly applic­a­ble to every­day life. Sto­icism, after all, is noth­ing if not prac­ti­cal. Con­sid­er, for exam­ple, the emperor’s advice below—how chal­leng­ing it might be for any­one, and how ben­e­fi­cial, not only for the indi­vid­ual, but—as Aure­lius makes plain—for every­one.

Begin the morn­ing by say­ing to your­self, I shall meet with the busy­body, the ungrate­ful, arro­gant, deceit­ful, envi­ous, unso­cial. All these things hap­pen to them by rea­son of their igno­rance of what is good and evil. But I who have seen the nature of the good that it is beau­ti­ful, and of the bad that it is ugly, and the nature of him who does wrong, that it is akin to mine, not only of the same blood or seed, but that it par­tic­i­pates in the same intel­li­gence and the same por­tion of divin­i­ty, I can nei­ther be harmed by any of them, nor no one can fix on me what is ugly, nor can I be angry with my broth­er, nor hate him. For we are made for coop­er­a­tion, like feet, like hands, like eye­lids, like the rows of the upper and low­er teeth. To act against one anoth­er then is con­trary to nature; and it is act­ing against one anoth­er to be vexed and to turn away.

Yes, a pas­sage that might have come from the speech­es of Gand­hi, the Dalai Lama, or Mar­tin Luther King, Jr. also belongs to the philo­soph­i­cal tra­di­tions of ancient Rome, though in the mouth of an emper­or it may not sound to us as com­pelling­ly rad­i­cal.

Nowa­days, sev­er­al mil­lion more peo­ple have access to books, lit­er­a­cy, and leisure than in Mar­cus Aure­lius’ era (and one won­ders where even an emper­or found the time), though few of us, it’s true, have access to a nobleman’s edu­ca­tion. While cur­rent­ly under threat, the inter­net still pro­vides us with a wealth of free content—and many of us are much bet­ter posi­tioned than Epicte­tus was to edu­cate our­selves about philo­soph­i­cal tra­di­tions, schools, and ways of think­ing.

We can learn about the Sto­ics, for example—or get the gist, and hope­ful­ly a taste for more—with Alain de Botton’s video appe­tiz­er at the top, just one of 35 short ani­mat­ed videos on the phi­los­o­phy YouTube chan­nel of his School of Life.

We can cruise through a sum­ma­ry of Aristotle’s views on “flour­ish­ing” in the video above, nar­rat­ed by the always-affa­ble Stephen Fry as part of the BBC’s “His­to­ry of Ideas” series, cur­rent­ly up to 48 unique­ly ani­mat­ed videos fea­tur­ing oth­er smart-sound­ing celebri­ty nar­ra­tors like Har­ry Shear­er and Gillian Ander­son.

The Macat series of phi­los­o­phy explain­er videos (136 in total) may lack celebri­ty cred, but it makes up for it with some very thor­ough short sum­maries of impor­tant works in philosophy—as well as soci­ol­o­gy, psy­chol­o­gy, his­to­ry, pol­i­tics, eco­nom­ics, and lit­er­a­ture. “The essen­tial pur­pose of pol­i­tics is free­dom,” Han­nah Arendt wrote in her 1958 The Human Con­di­tion, we learn above, a work of hers that is not focused on mass mur­der and total­i­tar­i­an­ism. Arendt had much more to say, and in this book, she relies on a clas­si­cal dis­tinc­tion well known to the Greeks and Romans and all who came after them: the con­trast between two kinds of life—the vita acti­va and vita con­tem­pla­ti­va.

While phi­los­o­phy may have become much more acces­si­ble, it has also become less “open access”—in the sense of being a pub­lic affair, tak­ing place in city squares and active­ly encour­aged by states­men and ordi­nary loi­ter­ers alike. For all its possibilities—and we hope they can remain—the inter­net has nev­er been able to recre­ate the Athen­ian ide­al of the philo­soph­i­cal pub­lic square, if such a thing ever real­ly exist­ed. But projects like Wire­less Phi­los­o­phy—spon­sored by Yale, MIT, Duke, and oth­er elite institutions—have sought for years to intro­duce peo­ple from every walk of life to the kinds of ideas that Athe­ni­ans sup­pos­ed­ly threw around like fris­bees in their spare time, includ­ing Plato’s notion (via his mouth­piece, Socrates) of “the good life,” which Uni­ver­si­ty of New Orleans pro­fes­sor Chris Sur­pre­nent, sum­ma­rizes above. See all of Wire­less Phi­los­o­phy’s 130 ani­ma­tions here.

The mate­r­i­al is out there. We’ve high­light­ed 350 philo­soph­i­cal ani­ma­tions above, and also sep­a­rate­ly gath­ered 200+ Free Online Phi­los­o­phy Cours­es. And, if you’re read­ing this, it’s a good bet you’ve prob­a­bly got a lit­tle time to spare. If it’s an old-fash­ioned sales pitch you need to get going, con­sid­er that for just pen­nies, er, min­utes a day, you can become more knowl­edge­able about ancient Greek and Roman thought, Kant­ian ethics, 20th cen­tu­ry Crit­i­cal The­o­ry, Niet­zsche, crit­i­cal think­ing skills, Scholas­tic the­o­log­i­cal thought, Bud­dhism, Wittgen­stein, Sartre, etc., etc, etc., etc. That said, how­ev­er, acquir­ing the con­cen­tra­tion, dis­ci­pline, and will to do your own think­ing about what you’ve learned, and to apply it, has nev­er been so free and easy to come by for any­one at any time in his­to­ry.

Relat­ed Con­tent:

48 Ani­mat­ed Videos Explain the His­to­ry of Ideas: From Aris­to­tle to Sartre

Watch Ani­mat­ed Intro­duc­tions to 25 Philoso­phers by The School of Life: From Pla­to to Kant and Fou­cault

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

135 Free Phi­los­o­phy eBooks 

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

What Books Did Wunderkind Philosopher J.S. Mill Read Between Ages 3 and 7?: Plato’s Apology (in Ancient Greek), Cervantes’ Don Quixote & Much More

I left much of my read­ing of C.S. Lewis behind, but one quote of his will stay with me for life: “It is a good rule,” he advised, “after read­ing a new book, nev­er to allow your­self anoth­er new one till you have read an old one in between.” I believe his advice is invalu­able for main­tain­ing a bal­anced per­spec­tive and achiev­ing a healthy crit­i­cal dis­tance from the tumult of the present.

Read­ing works of ancient writ­ers shows us how alike the mores and the crises of the ancients were to ours, and how vast­ly dif­fer­ent. Those sim­i­lar­i­ties and dif­fer­ences can help us eval­u­ate cer­tain cur­rent ortho­dox­ies with greater wis­dom. And that’s not to men­tion count­less his­to­ri­ans, nov­el­ists, poets, play­wrights, crit­ics, and philoso­phers from the past few hun­dred years, or sev­er­al decades, who have much to teach us about where our mod­ern ideas came from and how much they’ve devi­at­ed from their prece­dents.

For exam­ple, 19th cen­tu­ry lib­er­al polit­i­cal philoso­pher John Stu­art Mill is now wide­ly admired by con­ser­v­a­tive and lib­er­tar­i­an writ­ers and aca­d­e­mics as a pro­po­nent of indi­vid­ual eco­nom­ic lib­er­ty, the free mar­ket, and a flat tax. And they are not wrong, he was all of that, in his ear­ly thought. (Mill lat­er sup­port­ed sev­er­al social­ist caus­es.) Many of his oth­er polit­i­cal views might be denounced by quite a few as the excess­es of cam­pus activist left­ism. Adam Gop­nik sum­ma­rizes the Vic­to­ri­an philosopher’s gen­er­ous slate of posi­tions:

Mill believed in com­plete equal­i­ty between the sex­es, not just women’s col­leges and, some­day, female suf­frage but absolute par­i­ty; he believed in equal process for all, the end of slav­ery, votes for the work­ing class­es, and the right to birth con­trol (he was arrest­ed at sev­en­teen for help­ing poor peo­ple obtain con­tra­cep­tion), and in the com­mon intel­li­gence of all the races of mankind. He led the fight for due process for detainees accused of ter­ror­ism; argued for teach­ing Ara­bic, in order not to alien­ate poten­tial native rad­i­cals.…

Can peo­ple to Mill’s left on eco­nom­ics learn some­thing from him? Sure. Can peo­ple to his right on near­ly every­thing else learn a thing or two? It’s worth a shot. Mill cham­pi­oned engag­ing those with whom we dis­agree (he great­ly admired Thomas Car­lyle; the two could­n’t have been more dif­fer­ent in many respects). He also argued vig­or­ous­ly for “’lib­er­ty of the press’ as one of the secu­ri­ties against cor­rupt or tyran­ni­cal gov­ern­ment.” Before nod­ding your head in agree­ment—read Mill’s argu­ments. He might not agree with you.

And what did John Stu­art Mill read? In Chap­ter One of his auto­bi­og­ra­phy, Mill gives a detailed account of his clas­si­cal edu­ca­tion from ages 3–7, dur­ing which time he read “the whole of Herodotus,” “the first six dia­logues of Pla­to,” “part of Lucian,” all in their orig­i­nal Greek, of course, as any young gen­tle­man of the time would. Mil­l’s father, Scot­tish philoso­pher James Mill, inten­tion­al­ly set out to cre­ate a genius with this advanced course of study.

Lapham’s Quar­ter­ly excerpt­ed the pas­sage, and turned the many books Mill men­tions into a list called “Ear­ly Edu­ca­tion.” You can find all of the titles below, includ­ing the ancients men­tioned and over two dozen “mod­ern” works (that is, since the time of the Renais­sance) Mill read as a child in Eng­lish, includ­ing Cer­vantes’ mam­moth Don Quixote. Most of us will have to make do with trans­la­tions of the Greek texts, but take heart, even Mill “learnt no Latin until my eighth year.” The list shows not only Mill’s daunt­ing pre­coc­i­ty, but also how essen­tial clas­si­cal texts were to well-edu­cat­ed Euro­peans of any age.

It also high­lights what kinds of texts were val­ued by Mil­l’s soci­ety, or at least by his father. All of the authors but one are men, all of them are Euro­peans, most of the works are his­to­ries and biogra­phies. Giv­en Mill’s broad views, his own rec­om­mend­ed read­ing list might look dif­fer­ent. Nonethe­less, Mil­l’s account of his extra­or­di­nary ear­ly years gives us a fas­ci­nat­ing look at the rel­a­tive breadth of a lib­er­al edu­ca­tion in 19th cen­tu­ry Britain. What ancient authors did you read as a young stu­dent? Or do you read now, between books, essays, arti­cles, or Twit­ter­storms du jour?

 

In Greek

Aesop–The Fables

Xenophon–The Anaba­sis, Memo­ri­als of Socrates, The Cry­opadeia 

Herodotus–The His­to­ries

Dio­genes Laer­tius–some of The Lives of Philoso­phers

Lucian–various works

Isocrates–parts of To Demon­i­cus and To Nic­o­cles 

Pla­to--Euthy­phro, Apol­o­gy, Crito, Phae­do, Craty­lus, Theaete­tus

 

In Eng­lish

William Robert­son–The His­to­ry of Amer­i­ca, The His­to­ry of the Reign of the Emper­or Charles V, The His­to­ry of Scot­land Dur­ing the Reigns of Queen Mary and King James VI

David Hume–The His­to­ry of Eng­land

Edward Gib­bon–The His­to­ry of the Decline and Fall of the Roman Empire

Robert Watson–The His­to­ry of the Reign of Philip II, King of Spain

Robert Wat­son and William Thomp­son–The His­to­ry of the Reign of Philip III, King of Spain

Nathaniel Hooke–The Roman His­to­ry, from the Build­ing of Rome to the Ruin of the Com­mon­wealth 

Charles Rollin–The Ancient His­to­ry of the Egyp­tians, Carthagini­ans, Assyr­i­ans, Baby­lo­ni­ans, Medes and Per­sians, Mace­do­nians and Gre­cians

Plutarch–Par­al­lel Lives

Gilbert Bur­net--Bish­op Bur­net’s His­to­ry of His Own Time

The Annu­al Reg­is­ter of World Events, A Review of the Year (1758–1788)

John Mil­lar–An His­tor­i­cal View of the Eng­lish Gov­ern­ment

Johann Lorenz von Mosheim–An Eccle­si­as­ti­cal His­to­ry

Thomas McCrie–The Life of John Knox

William Sewell–The His­to­ry of the Rise, Increase, and Progress of the Chris­t­ian Peo­ple Called Quak­ers 

Thomas Wight and John Rut­ty–A His­to­ry of the Rise and Progress of Peo­ple Called Quak­ers in Ire­land

Philip Beaver–African Mem­o­ran­da

David Collins–An Account of the Eng­lish Colony in New South Wales

George Anson–A Voy­age Round the World

Daniel Defoe–Robin­son Cru­soe

The Ara­bi­an Nights and Ara­bi­an Tales

Miguel de Cer­vantes–Don Quixote

Maria Edge­worth–Pop­u­lar Tales

Hen­ry Brooke–The Fool of Qual­i­ty; or the His­to­ry of Hen­ry, Earl of More­land

via Lapham’s Quar­ter­ly

Relat­ed Con­tent:

Noam Chom­sky Defines What It Means to Be a Tru­ly Edu­cat­ed Per­son

Harold Bloom Cre­ates a Mas­sive List of Works in The “West­ern Canon”: Read Many of the Books Free Online

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Yale Course

Leo Strauss: 15 Polit­i­cal Phi­los­o­phy Cours­es Online

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

Research Finds That Intellectual Humility Can Make Us Better Thinkers & People; Good Thing There’s a Free Course on Intellectual Humility

We may have grown used to hear­ing about the impor­tance of crit­i­cal think­ing, and stowed away knowl­edge of log­i­cal fal­lac­i­es and cog­ni­tive bias­es in our argu­men­ta­tive toolk­it. But were we to return to the philo­soph­i­cal sources of infor­mal log­ic, we would find that we only grasped at some of the prin­ci­ples of rea­son. The oth­ers involve ques­tions of what we might call virtue or character—what for the Greeks fell into the cat­e­gories of ethos and pathos. The prin­ci­ple of char­i­ty, for exam­ple, in which we give our oppo­nents a fair hear­ing and respond to the best ver­sion of their argu­ments as we under­stand them. And the prin­ci­ple, exem­pli­fied by Plato’s Socrates, of intel­lec­tu­al humil­i­ty. Or as one punk band put it in their Socrat­ic trib­ute. “All I know is that I don’t know. All I know is that I don’t know noth­ing.”

Intel­lec­tu­al humil­i­ty is not, con­trary to most pop­u­lar appear­ances, reflex­ive­ly accord­ing equal weight to “both sides” of every argu­ment or assum­ing that everyone’s opin­ion is equal­ly valid. These are forms of men­tal lazi­ness and eth­i­cal abdi­ca­tion. It is, how­ev­er, believ­ing in our own fal­li­bil­i­ty and open­ing our­selves up to hear­ing argu­ments with­out imme­di­ate­ly form­ing a judg­ment about them or the peo­ple who make them. We do not aban­don our rea­son and val­ues, we strength­en them, argues Mark Leary, by “not being afraid of being wrong.” Leary, pro­fes­sor of psy­chol­o­gy and neu­ro­science at Duke Uni­ver­si­ty, is the lead author of a new study on intel­lec­tu­al humil­i­ty that found “essen­tial­ly no dif­fer­ence between lib­er­als and con­ser­v­a­tives or between reli­gious and non­re­li­gious peo­ple” when it comes to intel­lec­tu­al humil­i­ty.

The study chal­lenges many ideas that can pre­vent dia­logue. “There are stereo­types about con­ser­v­a­tives and reli­gious­ly con­ser­v­a­tive peo­ple being less intel­lec­tu­al­ly hum­ble about their beliefs,” says Leary. But he and his col­leagues “didn’t find a shred of evi­dence to sup­port that.” This doesn’t nec­es­sar­i­ly mean that such peo­ple have high degrees of intel­lec­tu­al humil­i­ty, only that all of us, per­haps equal­ly, pos­sess fair­ly low lev­els of the trait. I’ll be the first to admit that it is not an easy one to devel­op, espe­cial­ly when we’re on the defen­sive for some seem­ing­ly good reasons—and when we live in a cul­ture that encour­ages us to make deci­sions and take actions on the strength of an image, some min­i­mal text, and a few but­tons that lead us right to our bank accounts. (To quote Oper­a­tion Ivy again, “We get told to decide. Just like as if I’m not gonna change my mind.”)

But in the Duke study, reports Ali­son Jones at Duke Today, “those who dis­played intel­lec­tu­al humil­i­ty did a bet­ter job of eval­u­at­ing the qual­i­ty of evi­dence.” They took their time to make care­ful con­sid­er­a­tions. And they were gen­er­al­ly more char­i­ta­ble and “less like­ly to judge a writer’s char­ac­ter based on his or her views.” By con­trast, “intel­lec­tu­al­ly arro­gant” peo­ple gave writ­ers with whom they dis­agreed “low scores in moral­i­ty, hon­esty, com­pe­tence, and warmth.” As a for­mer teacher of rhetoric, I won­der whether the researchers account­ed for the qual­i­ty and per­sua­sive­ness of the writ­ing itself. Nonethe­less, this obser­va­tion under­scores the prob­lem of con­flat­ing an author’s work with his or her char­ac­ter. Moral judg­ment can inhib­it intel­lec­tu­al curios­i­ty and open-mind­ed­ness. Intel­lec­tu­al­ly arro­gant peo­ple often resort to insults and per­son­al attacks over thought­ful analy­sis.

The enor­mous num­ber of assump­tions we bring to almost every con­ver­sa­tion with peo­ple who dif­fer from us can blind us to our own faults and to oth­er people’s strengths. But intel­lec­tu­al humil­i­ty is not genet­i­cal­ly determined—it is a skill that can be learned, Leary believes. Big Think rec­om­mends a free MOOC from the Uni­ver­si­ty of Edin­burgh on intel­lec­tu­al humil­i­ty (see an intro­duc­tion to the con­cept at the top and a series of lec­tures here). “Faced with dif­fi­cult ques­tions,” explains course lec­tur­er Dr. Ian Church, “peo­ple often tend to dis­miss and mar­gin­al­ize dis­sent…. The world needs more peo­ple who are sen­si­tive to rea­sons both for and against their beliefs, and are will­ing to con­sid­er the pos­si­bil­i­ty that their polit­i­cal, reli­gious and moral beliefs might be mis­tak­en.” The course offers three dif­fer­ent lev­els of engage­ment, from casu­al to quite involved, and three sep­a­rate class sec­tions at Cours­era: The­o­ry, Prac­tice, and Sci­ence.

It’s like­ly that many of us need some seri­ous prepa­ra­tion before we’re will­ing to lis­ten to those who hold cer­tain views. And per­haps cer­tain views don’t actu­al­ly deserve a hear­ing. But in most cas­es, if we can let our guard down, set aside feel­ings of hos­til­i­ty, and become will­ing to learn some­thing even from those with whom we dis­agree, we might be able to do what so many psy­chol­o­gists con­tin­ue to rec­om­mend. As Cindy Lamothe writes at New York Mag­a­zine’s Sci­ence of Us blog, “we have to be will­ing to expose our­selves to oppos­ing per­spec­tives in the first place—which means that, as daunt­ing as it may seem, lis­ten­ing to friends and fam­i­ly with rad­i­cal­ly dif­fer­ent views can be ben­e­fi­cial to our long-term intel­lec­tu­al progress.” The hol­i­days are soon upon us. Let the healing—or at least the char­i­ta­ble tol­er­ance if you can man­age it—begin.

via Big Think

Relat­ed Con­tent:

Stephen Fry Iden­ti­fies the Cog­ni­tive Bias­es That Make Trump Tick       

32 Ani­mat­ed Videos by Wire­less Phi­los­o­phy Teach You the Essen­tials of Crit­i­cal Think­ing

Why We Need to Teach Kids Phi­los­o­phy & Safe­guard Soci­ety from Author­i­tar­i­an Con­trol

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

The Philosophy of Rick and Morty: What Everyone’s New Favorite Cartoon Has in Common with Albert Camus

“Nobody exists on pur­pose, nobody belongs any­where, every­body’s gonna die.” So, in one episode of Rick and Morty, says the four­teen-year-old Morty Smith, one of the show’s tit­u­lar co-pro­tag­o­nists. With the oth­er, a mad sci­en­tist by the name of Rick Sanchez, who also hap­pens to be Morty’s grand­fa­ther, he con­sti­tutes the ani­mat­ed team that has enter­tained thou­sands and thou­sands of view­ers — and made insa­tiable fans of seem­ing­ly all of them — over the past four years. To those few who haven’t yet seen the show, it may just look like a sil­ly car­toon, but the true fans under­stand that under­neath all of the mem­o­rable gags and quotable lines lies an unusu­al philo­soph­i­cal depth.

“The human desire to ful­fill some spe­cial exis­ten­tial pur­pose has exist­ed through­out his­to­ry,” says video essay­ist Will Schoder in his analy­sis of the phi­los­o­phy of Rick and Morty. But the tit­u­lar duo’s adven­tures through all pos­si­ble real­i­ties of the “mul­ti­verse” ensure that they expe­ri­ence first­hand the utter mean­ing­less­ness of each indi­vid­ual real­i­ty.

When Morty breaks that bleak-sound­ing news to his sis­ter Sum­mer with the now oft-quot­ed line above, he actu­al­ly deliv­ers a “com­fort­ing mes­sage”: once you con­front the ran­dom­ness of the uni­verse, as Rick and Morty con­stant­ly do, “the only option is to find impor­tance in the stuff right in front of you,” and their adven­tures show that “friends, fam­i­ly, and doing what we enjoy are far more impor­tant than any unsolv­able ques­tions about exis­tence.”

Schoder, also the author of a video essay on Rick and Morty co-cre­ator Dan Har­mon’s mytho­log­i­cal sto­ry­telling tech­nique as well as one we’ve pre­vi­ous­ly fea­tured about David Fos­ter Wal­lace’s cri­tique of post­mod­ernism, makes the clear philo­soph­i­cal con­nec­tion to Albert Camus. The philoso­pher and author of The Stranger wrote and thought a great deal about the “con­tra­dic­tion between humans’ desire to find mean­ing in life and the mean­ing­less­ness of the uni­verse,” and the absur­di­ty that results, a notion the car­toon has dra­ma­tized over and over again, with an ever-height­en­ing absur­di­ty. We must, like Sisy­phus eter­nal­ly push­ing his rock uphill, rec­og­nize the true nature of our sit­u­a­tion yet defi­ant­ly con­tin­ue “to explore and search for mean­ing.” Morty, as any fan well knows, offers Sum­mer anoth­er solu­tion to her despair: “Come watch TV.”

Relat­ed Con­tent:

Albert Camus: The Mad­ness of Sin­cer­i­ty — 1997 Doc­u­men­tary Revis­its the Philosopher’s Life & Work

David Fos­ter Wal­lace on What’s Wrong with Post­mod­ernism: A Video Essay

The Phi­los­o­phy of The Matrix: From Pla­to and Descartes, to East­ern Phi­los­o­phy

The Phi­los­o­phy of Bill Mur­ray: The Intel­lec­tu­al Foun­da­tions of His Comedic Per­sona

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Philosophy of “Optimistic Nihilism,” Or How to Find Purpose in a Meaningless Universe

In one account of human affairs, an all-pow­er­ful deity rules over every­thing. Noth­ing can occur with­out the knowl­edge and sanc­tion of the omnipo­tent cre­ator god. In a much more recent iter­a­tion, we inhab­it an unimag­in­ably com­plex com­put­er sim­u­la­tion, in which every thing—ourselves included—has been cre­at­ed by all-pow­er­ful pro­gram­mers. The first sce­nario gives mil­lions of peo­ple com­fort, the sec­ond… well, maybe only a hand­ful of cult-like Sil­i­con Val­ley techo-futur­ists. But in either case, the ques­tion inevitably aris­es: how is it pos­si­ble that there is any such thing as true free­dom? The idea that free will is an illu­sion has haunt­ed philo­soph­i­cal thought for at least a cou­ple thou­sand years.

But in the exis­ten­tial­ist view, the real fear is not that we may have too lit­tle free­dom, but that we may have too much—indeed that we may have the ulti­mate free­dom, that of con­scious beings who appeared in the uni­verse unbid­den and by chance, and who can only deter­mine for them­selves what form and direc­tion their being might take. This was the ear­ly view of Jean-Paul Sartre. “We are left alone, with­out excuse”—he famous­ly wrote in his 1946 essay “Exis­ten­tial­ism is a Human­ism”—“This is what I mean when I say that man is con­demned to be free.” Free­dom is a bur­den; with­out gods, dev­ils, or soft­ware engi­neers to fault for our actions, or any pre­de­ter­mined course of action we might take, each of us alone bears the full weight of respon­si­bil­i­ty for our lives and choic­es.

Emerg­ing from com­fort­ing visions of human­i­ty as the cen­ter of the universe—says the nar­ra­tor in the video above from philo­soph­i­cal ani­ma­tion chan­nel Kurzge­sagt—“we learned that the twin­kling lights are not shin­ing beau­ti­ful­ly for us, they just are. We learned that we are not at the cen­ter of what we now call the uni­verse, and that it is much, much old­er than we thought.” We learned that we are alone in the cos­mos, on a com­plete­ly insignif­i­cant speck of space dust, more or less. Even the con­cepts we use to explain this over­whelm­ing sit­u­a­tion are total­ly arbi­trary in the face of our pro­found igno­rance. Add to this the prob­lem of our infin­i­tes­i­mal­ly brief lifes­pans and inevitable death and you’ve got the per­fect recipe for exis­ten­tial dread.

For this con­di­tion, Kurzge­sagt rec­om­mends a rem­e­dy: “Opti­mistic Nihilism,” a phi­los­o­phy that posits ulti­mate free­dom in the midst of, and sole­ly enabled by, the utter mean­ing­less­ness of exis­tence: “If our life is the only thing we get to expe­ri­ence, then it’s the only thing that mat­ters. If the uni­verse has no prin­ci­ples, then the only prin­ci­ples rel­e­vant are the ones we decide on. If the uni­verse has no pur­pose, then we get to dic­tate what its pur­pose is.” This is more or less a para­phrase of Sartre, who made vir­tu­al­ly iden­ti­cal claims in what he called his “athe­is­tic exis­ten­tial­ism,” but with the added force in his “doc­trine” that “there is no real­i­ty except in action… Man is noth­ing else but what he pur­pos­es, he exists only in so far as he real­izes him­self.” We not only get to deter­mine our pur­pose, he wrote, we have to do so, or we can­not be said to exist at all.

In the midst of this fright­en­ing­ly rad­i­cal free­dom, Sartre saw the ulti­mate oppor­tu­ni­ty: to make of our­selves what we will. But this dizzy­ing pos­si­bil­i­ty may send us run­ning back to com­fort­ing pre­fab illu­sions of mean­ing and pur­pose. How ter­ri­ble, to have to decide for your­self the pur­pose of the entire uni­verse, no? But the phi­los­o­phy of “Opti­mistic Nihilism” goes on to expound a the­sis sim­i­lar to that of the Zen pop­u­lar­iz­er, Alan Watts, who has soothed many a case of exis­ten­tial dread with his response to the idea that we are some­how sep­a­rate from the uni­verse, either hov­er­ing above it or crushed beneath it. Humans are not, as Watts col­or­ful­ly wrote, “iso­lat­ed ‘egos’ inside bags of skin.” Instead, as the video goes on, “We are as much the uni­verse as a neu­tron star, or a black hole, or a neb­u­la. Even bet­ter, actu­al­ly, we are its think­ing and feel­ing part, the sen­so­ry organs of the uni­verse.”

Nei­ther Sartre nor Watts, with their very dif­fer­ent approach­es to the same set of exis­ten­tial con­cerns, would like­ly endorse the tidy sum­ma­tion offered by the phi­los­o­phy of “Opti­mistic Nihilism.” But just as we would be fool­ish to expect a six-minute ani­mat­ed video to offer a com­plete phi­los­o­phy of life, we would be painful­ly naïve to think of free­dom as a con­di­tion of com­fort and ease, built on ratio­nal cer­tain­ties and absolute truths. For all of the dis­agree­ment about what we should do with rad­i­cal exis­ten­tial free­dom, every­one who rec­og­nizes it agrees that it entails rad­i­cal uncertainty—the ver­tig­i­nous sense of unknow­ing that is the source of our con­stant free-float­ing anx­i­ety.

If we are to act in the face of doubt, mys­tery, igno­rance, and the immen­si­ty of seem­ing­ly gra­tu­itous suf­fer­ing, we might heed John Keats’ pre­scrip­tion to devel­op “Neg­a­tive Capa­bil­i­ty,” the abil­i­ty to remain “con­tent with half-knowl­edge.” This was not, as Lionel Trilling writes in an intro­duc­tion to Keats’ let­ters, advice only for artists, but “a cer­tain way of deal­ing with life”—one in which, Keats wrote else­where, “the only means of strength­en­ing one’s intel­lect,” and thus a sense of iden­ti­ty, mean­ing, and pur­pose in life, “is to make up one’s mind about nothing—to let the mind be a thor­ough­fare for all thoughts.”

Keats’ is a very Zen sen­ti­ment, a moody ver­sion of the “don’t-know mind” that rec­og­nizes empti­ness and suf­fer­ing as hall­marks of exis­tence, and finds in them not a rea­son for opti­mism but for the indef­i­nite sus­pen­sion of judge­ment. Still, the approach of Roman­tic poets and Bud­dhist monks is not for every­one, and even Sartre even­tu­al­ly turned to ortho­dox Marx­ism to impose a mean­ing upon exis­tence that claimed depen­dence on the hard facts of mate­r­i­al con­di­tions rather than the unbound­ed abstrac­tions of the intel­lect.

Per­haps we are are free, at least, to com­mit to an ide­ol­o­gy to assuage our exis­ten­tial dread. We are also free to adopt the trag­ic defi­ance of anoth­er Marx­ist, Anto­nio Gram­sci, who con­fessed to some­thing of an “Opti­mistic Nihilism” of his own. Only he referred to it as a “pes­simism of the intel­lect” and “opti­mism of the will”—an atti­tude that rec­og­nizes the severe social and mate­r­i­al lim­its imposed on us by our often painful, short, seem­ing­ly mean­ing­less exis­tence in a mate­r­i­al world, and that strives nonethe­less toward impos­si­ble ideals.

Relat­ed Con­tent:

Free Online Phi­los­o­phy Cours­es

A Crash Course in Exis­ten­tial­ism: A Short Intro­duc­tion to Jean-Paul Sartre & Find­ing Mean­ing in a Mean­ing­less World

Alan Watts Explains the Mean­ing of the Tao, with the Help of the Great­est Nan­cy Pan­el Ever Drawn

Are We Liv­ing Inside a Com­put­er Sim­u­la­tion?: An Intro­duc­tion to the Mind-Bog­gling “Sim­u­la­tion Argu­ment”

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

What Makes The Death of Socrates a Great Work of Art?: A Thought-Provoking Reading of David’s Philosophical & Political Painting

When we think of polit­i­cal pro­pa­gan­da, we do not typ­i­cal­ly think of French Neo­clas­si­cal painter Jacques-Louis David. There’s some­thing debased about the term—it stinks of insin­cer­i­ty, stagi­ness, emo­tion­al manip­u­la­tion, qual­i­ties that can­not pos­si­bly belong to great art. But let us put aside this prej­u­dice and con­sid­er David’s 1787 The Death of Socrates. Cre­at­ed two years before the start of the French Rev­o­lu­tion, the paint­ing “gave expres­sion to the prin­ci­ple of resist­ing unjust author­i­ty,” and—like its source, Plato’s Phae­do—it makes a mar­tyr of its hero, who is the soul of rea­son and a thorn in the side of dog­ma and tra­di­tion.

Nonethe­less, as Evan Puschak, the Nerd­writer, shows us in the short video above, The Death of Socrates sit­u­ates itself firm­ly with­in the tra­di­tions of Euro­pean art, draw­ing heav­i­ly on clas­si­cal sculp­tures and friezes as well as the great­est works of the Renais­sance. There are echoes of da Vinci’s Last Sup­per in the num­ber of fig­ures and their place­ment, and a dis­tinct ref­er­ence of Raphael’s School of Athens in Socrates’ upward-point­ing fin­ger, which belongs to Pla­to in the ear­li­er paint­ing. Here, David has Pla­to, already an old man, seat­ed at the foot of the bed, the scene arranged behind him as if “explod­ing from the back of his head.”

Socrates, says Puschak, “has been dis­cussing at length the immor­tal­i­ty of the soul, and he doesn’t even seem to care that he’s about to take the imple­ment of his death in hand. On the con­trary, Socrates is defi­ant… David ide­al­izes him… he would have been 70 at the time and some­what less mus­cu­lar and beau­ti­ful than paint­ed here.” He is a “sym­bol of strength over pas­sion, of sto­ic com­mit­ment to an abstract ide­al,” a theme David artic­u­lat­ed with much less sub­tle­ty in an ear­li­er paint­ing, The Oath of the Hor­atii, with its Roman salutes and bun­dled swords—a “severe, moral­is­tic can­vas,” with which the artist “effec­tive­ly invent­ed the Neo­clas­si­cal style.”

In The Death of Socrates, David refines his moral­is­tic ten­den­cies, and Puschak ties the com­po­si­tion loose­ly to a sense of prophe­cy about the com­ing Ter­ror after the storm­ing of the Bastille. The Nerd­writer sum­ma­tion of the painting’s angles and influ­ences does help us see it anew. But Puschak’s vague his­tori­ciz­ing doesn’t quite do the artist jus­tice, fail­ing to men­tion David’s direct part in the wave of bloody exe­cu­tions under Robe­spierre.

David was an active sup­port­er of the Rev­o­lu­tion and designed “uni­forms, ban­ners, tri­umphal arch­es, and inspi­ra­tional props for the Jacobin Club’s pro­pa­gan­da,” notes a Boston Col­lege account. He was also “elect­ed a Deputy form the city of Paris, and vot­ed for the exe­cu­tion of Louis XVI.” His­to­ri­ans have iden­ti­fied over “300 vic­tims for whom David signed exe­cu­tion orders.” The sever­i­ty of his ear­li­er clas­si­cal scenes comes into greater focus in The Death of Socrates around the cen­tral fig­ure, a great man of his­to­ry, one whose hero­ic feats and trag­ic sac­ri­fices dri­ve the course of all events worth men­tion­ing.

Indeed, we can see David’s work as a visu­al pre­cur­sor to philoso­pher and his­to­ri­an Thomas Carlyle’s the­o­ries of “the hero­ic in his­to­ry.” (Car­lyle also hap­pened to write the 19th century’s defin­i­tive his­to­ry of the French Rev­o­lu­tion.) In 1793, David took his visu­al great man the­o­ry and Neo­clas­si­cal style and applied them for the first time to a con­tem­po­rary event, the mur­der of his friend Jean-Paul Marat, Swiss Jacobin jour­nal­ist, by the Girondist Char­lotte Cor­day. (Learn more in the Khan Acad­e­my video above.) This is one of three can­vas­es David made of “mar­tyrs of the Revolution”—the oth­er two are lost to his­to­ry. And it is here that we can see the evo­lu­tion of his polit­i­cal paint­ing from clas­si­cal alle­go­ry to con­tem­po­rary pro­pa­gan­da, in a can­vas wide­ly hailed, along with The Death of Socrates, as one of the great­est Euro­pean paint­ings of the age.

We can look to David for both for­mal mas­tery and didac­tic intent. But we should not look to him for polit­i­cal con­stan­cy. He was no John Mil­ton—the poet of the Eng­lish Rev­o­lu­tion who was still devot­ed to the cause even after the restora­tion of the monarch. David, on the oth­er hand, “could eas­i­ly be denounced as a bril­liant cyn­ic,” writes Michael Glover at The Inde­pen­dent. Once Napoleon came to pow­er and began his rapid ascen­sion to the self-appoint­ed role of Emper­or, David quick­ly became court painter, and cre­at­ed the two most famous por­traits of the ruler.

We’re quite famil­iar with The Emper­or Napoleon in His Study at the Tui­leries, in which the sub­ject stands in an awk­ward pose, his hand thrust into his waist­coat. And sure­ly know Napoleon at the Saint-Bernard Pass, above. Here, the fin­ger point­ing upward takes on an entire­ly new res­o­nance than it has in The Death of Socrates. It is the ges­ture not of a man nobly pre­pared to leave the world behind, but of one who plans to con­quer and sub­due it under his absolute rule.

Relat­ed Con­tent:

The Art of Restor­ing a 400-Year-Old Paint­ing: A Five-Minute Primer

Gus­tav Klimt’s Haunt­ing Paint­ings Get Re-Cre­at­ed in Pho­tographs, Fea­tur­ing Live Mod­els, Ornate Props & Real Gold

The MoMA Teach­es You How to Paint Like Pol­lock, Rothko, de Koon­ing & Oth­er Abstract Painters

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

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